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image Image 1 for SM (4) 47/2/54 (5) 47/2/55
image Image 2 for SM (4) 47/2/54 (5) 47/2/55
image Image 3 for SM (4) 47/2/54 (5) 47/2/55
  • image Image 1 for SM (4) 47/2/54 (5) 47/2/55
  • image Image 2 for SM (4) 47/2/54 (5) 47/2/55
  • image Image 3 for SM (4) 47/2/54 (5) 47/2/55

Reference number

SM (4) 47/2/54 (5) 47/2/55


Variant designs for sanctuary addition (2)


4 Ground floor plan and section; (verso) section of the roof over the nave; detail of cornice, rough section of roof over the aisle 5 Ground floor plan and unfinished basement plan


(4) bar scale of 2/13 inch to 1 foot; (verso) bar scale of 3/7 inch to 1 foot, approximately (5) bar scale of 2/13 inch to 1 foot


4 (verso, pencil) 129'4, 6'6¼, 8'3, 4'0, Cornice and some calculations 5 (pencil) dimensions given, Mr (?)Parker

Medium and dimensions

(4) pencil, pen and wash on laid paper (583 x 465) (5) Pencil, pen and wash on laid paper (583 x 471)


(4-5) John Sanders (pupil 1784-90)


Soane's addition is sympathetic with Payne's original chapel, having the same orders and scale as Payne's building, with the elliptical arched ceiling continued across. Drawings 4 and 5 show variant designs for the addition, with drawing 4 having wider transepts and a variant segmental-arched east end (ritually east). Drawing 4 shows a ceiling design of square coffering. Drawing 5 has stairwells penciled in at the north and south corners; these stairwells became part of the executed design.

The rough section of the roof on drawing 4 verso was made later. It shows an arched brace roof measuring 6 feet 6¼ inches high with a king post and struts to the collar-beam. This design is similar to the executed version, fitting over the domed ceiling of the final design (as in drawing 7). The recto of drawing 4 has an alternative queen post design that suits the elliptical arched ceiling of this early design.



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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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