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image SM 45/7/27

Reference number

SM 45/7/27


[26] Designs for the vault at St John’s, Bethnal Green, London, June-July 1826


Six sections and two elevations of the vaults of the church. The bottom section on the left shows a vault with a window within, and the section on the left a larger window within. The sections above show multiple vaults and footings. Some have windows within. The elevation on the left shows a window and surrounding masonry from the outside. The elevation on the right shows the rear entrance with the steps and opening to the vaults


bar scale of 1 inch to 5 feet


Section through Centre of / Ground Arches under side Aisles / 4 York Landing / Elliptical Groin / Section through Arches under / Communion / Section through the Centre (looking North) / [_ _ _ _ _ ]. / [_ _ _ _ _ ] / Semi circular / Arch A / 6” York Landings / [_ _ _ _ _ ] / Step / 6”York Lds / Elevation of Entrance to Vaults – East End. / York / York Step. / 4 york Landing / External Elevation of / Aperture / York Stone. / Stone Plinth / Ground Line / Section through the Centre (Looking East.) / Inverted Arch / Stone / Inverted Arch / 6” York Landings / Inverted Arch / Inverted Arch / Section thro’ Groins under Altar steps (Looking North (in pencil) East) / Inverted Arch / Stone / Semicircular / Elliptical / Inverted Arch / Section through the Groins next Flank Walls (Looking North) / 3” York stone / Elliptical Groin and measurements given

Signed and dated

  • June-July 1826
    This drawing has more in common with SM 47/5/28 and should be seen as part of a series with those dated to June or July 1826

Medium and dimensions

Pencil, pen, wash, coloured washes of brown, orange, pink and sepia, pricked for transfer, on wove paper (747 x 543)





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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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