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  • image Image 1 for SM 54/6/39
  • image Image 2 for SM 54/6/39
  • image Image 1 for SM 54/6/39
  • image Image 2 for SM 54/6/39

Reference number

SM 54/6/39


[66] Design for the entablature of the altarpiece, St Peter's, Walworth, London, c.1825


Elevation of details of the entablature for the altarpiece. The central areas show square panels, and banded work at one side. The architrave has a beed-and-reel motif, and above the cornice has ogee and dart moulding. On the right-hand side there is a putti mask shown in left profile, with a wing emanating behind. The tympanum has ogee and dart decoration within. On the left-hand side, the putti mask is shown frontally with the wings covering its neck and framing its face up to the ears. The putti is placed between two anthemion caps. There are some pencil sketches within the panels, with a Vitruvian scroll in the centre panel


full size


Entablature of Altar Piece - Full Size. St Peters Church Walworth.

Signed and dated

  • c.1824-1825
    Lincolns Inn Fields datable to perhaps July 1824 or January 1825, in accordance with SM 54/6/37 and SM 54/6/38

Medium and dimensions

Pencil, pen, and wash, pricked for transfer on wove paper (715 x 535)


Possibly Stephen Burchell (1806 - c.1843), draughtsman
The Soane Office Day Book for 12-14 July 1824 records Stephen Burchell as producing drawings for the altarpiece at Newington Church


faint pencil sketch of a beam and arch, some measurements given


Winged putti masks were also used on the later altarpiece for St John's Bethnal Green (SM 47/5/31; SM 47/5/33; SM 47/5/36). They also appeared in a perspective for the interior at Holy Trinity, Marylebone, dated to 19-20 October 1824, where they would adorn the exterior panels of the reading desk and pulpit (SM 54/2/9-10).



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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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