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  • image SM 47/5/20

Reference number

SM 47/5/20


[50] Design for the side window at St John’s, Bethnal Green, London, 1826


Two elevations, three sections and three plans for the side window of the church. The elevation on the left shows a square latticed window below and a round-topped window above separated by a transom. To the right is a section in profile showing the masonry and metal-work with the casement windows open. The elevation in the centre shows a single latticed round-topped window. The sections to the right show the masonry and metal-work with the casement windows open, the first only shows the top window, the furthest right both windows. The plans in the centre show the arrangement of masonry either side of the window sills


bar scale of 4 inches to 5 feet


Bethnal Green Chapel. XIX / (Copy) / Elevation of one of the Windows. / A / Brickwork. / B / Casement / to open. / Springing / Rough Cut Arch with Mortar / Floor. / The whole of the Masonry of these Windows to be of Bath Stone. / Plan of Lower Window. A / Wall Lining / Wall Lining / Plan of upper Window B. / Plaster / Plan of Vestry Window. / Elevation of one of the Vestry Windows. / Casement / to open. / Section through Wall / of Staircase / 6 inch Portland Stone. and measurements given

Signed and dated

  • 1826
    Lincolns Inn F[ields] These windows represent the second scheme for window designs which follow the model of St Peter's Walworth so this drawing is dated to 1826 when this design was initiated

Medium and dimensions

Pen, wash, coloured washes of blue, brown, Payne’s grey, orange, pink, stone and yellow, pricked for transfer, on wove paper (722 x 527)


Probably Soane Office, draughtsman


This drawing is very similar to one produced for Holy Trinity, Marylebone (SM 54/4/22), also produced in 1826



If you have any further information about this object, please contact us: drawings@soane.org.uk

Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

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