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You are here: CollectionsOnline  /  [11] Design for a roof truss, St Peter's, Walworth, London, September 1822
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image SM 54/6/48

Reference number

SM 54/6/48

Purpose

[11] Design for a roof truss, St Peter's, Walworth, London, September 1822

Aspect

Section of the roof truss showing the arrangement of rafters, principal, king post, collar beams, struts, and purlins. Unknown faded pencil design above the main elevation

Scale

bar scale of 11/4 inches to 1 foot

Inscribed

Design for the Roof of St. Peters Walworth, (in the Parish of St. Mary Newington) / Roof for Newington Church, / Tye Beam / Rafter over principal / Purloin / King / Collar Beam / Ridge / Com: Rafters 9 at bottom as at top + 3 h [_ _ _ _ ] / Joists Bracing the floor 11 feet by 9 by 3. measurements, and some calculations given

Signed and dated

  • 13 September 1822
    13 Sept 1822.

Medium and dimensions

Pencil, pen coloured washes of yellow and orange, pricked for transfer on wove paper (522 x 726)

Hand

Probably Bailey, George (1792--1860), draughtsman
Office Day Book for 13 September 1822 has both Bailey and Mee working on drawings for Newington Church
Probably Mee, Arthur Patrick (1802--1868), draughtsman
Office Day Book for 13 September 1822 has both Bailey and Mee working on drawings for Newington Church
Probably Mocatta, David Alfred (1806--1882), draughtsman
The letter forms conform to those used by David Mocatta in the Office Day Book and on other drawings

Watermark

SMITH&ALLNUTT / 1817

Notes

This truss design reflects the one seen in SM 54/6/10, and in form escapes a straightforward typology. It has certain elements of a hip truss in the centre, but with a wider squared top, and the posts are arranged forming a central X pattern rather than the usual W shape.

Level

Drawing

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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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