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  • image SM 47/5/25

Reference number

SM 47/5/25


[62] Design for St John’s Bethnal Green, London, including the vaults, 1826-7


Plan of the church of five-by-nine-bays and with the right side showing the arrangement of the floor timbers, and the right side showing the landings and paving, with the positions of the supporting columns and the external rear staircase between the projections that leads down to the vaults, and the front end bays have internal staircases indicated


bar scale of 1 inch to 5 feet


Bethnal Green Chapel XXIV/25 / Mem. This Plan refers entirely to the design with the Vaults / For the amount of the works connected with the vaults, a separate tender is to be made / This half of the Plan shews the joists & Sleepers under Pews & Free Seats. / Oak Sleeper / Oak Sleeper / 3” Rubbed York Paving / Oak Sleeper / Oak / 4” York / 4” York / 6” Rubbed York Ladg / York Coping / Portland / York steps leading to / Vaults / 4” York / Portland / 3” Rubbed York Paving / 3” Rubbed York Paving / 6” inch Rubbed York Landings joggled and the joints drawn up with white Lead. / 6 Inch York Landings (and rubbed) / On the backs of these Ground Arches, brick walls are to be Roughed up / to carry the Paving, Sleepers on which the joists lie &c / 3” Rubbed York Paving / This half of the Plan shews the York Landings. Paving &c forming the floor of the Chapel &c and some measurements given

Signed and dated

  • 1826-7
    The round-stepped entrance may indicate this is a post-1826 scheme as opposed to the earlier 1825 straight-stepped manifestation

Medium and dimensions

Pencil, pen, red pen, wash, coloured washes of brown, pink, light pink and yellow, on wove paper (720 x 525)





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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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