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image SM 47/5/58

Reference number

SM 47/5/58

Purpose

[12] Design for the interior of St John’s, Bethnal Green, London, May-June 1825

Aspect

Section and plan of the tower for the church. The longitudinal section shows the south side of the church with nine bays. The section is from vault to roof level, and the left side includes the section of the tower. On the left side of the nave are the pews for the organ and childrens’ gallery. To the right the section shows the internal arrangement of the arcade of arches, supporting pillars, latticed windows: round topped at both nave and gallery level, and above are the timber arrangements for the roof. Above the roof line is a plan of the first tier of the tower

Scale

bar scale of 1 inch to 5 feet

Inscribed

Longitudinal Section of a design for a new Church to be erected in the Parish of St. Matthew. Bethnal Green. / No.6./0 (8)? / proposed line of footings (Design No..2) / Ground / See Elevation / A. / A. / Plan of the Steeple at A and measurements given

Signed and dated

  • May-June 1825
    Dated by Carr to this time, as it is part of a series, here No. 6/8, which was sent to the Commissioners that year, but also the round-topped windows at nave and gallery are part of the first scheme only changed the following year

Medium and dimensions

pencil, pen, wash, coloured washes of brown, Cerulean blue, orange, pink and sepia, pricked for transfer, on wove paper (747 x 544)

Hand

Probably Soane Office, draughtsman
The Soane Office Day Books for May-June 1825 record Burchell and Davis as working on designs for St John's, Bethnal Green, and in June Richardson was added

Watermark

SMITH & ALLNUTT / 1820

Literature

Carr, 1976, Vol II p. 425; Vol III p. 886 fig. 259

Level

Drawing

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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