[51] Finished drawing for the ground floor of Holy Trinity Church, Marylebone, London, 4 May 1824

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Churches and chapels
  - London: Holy Trinity Church, Marylebone, designs for construction and interiors, 1820-34 (120)
    - Designs and finished drawings for a Neo-Gothic scheme for Holy Trinity Church, Marylebone, London, May 1824 (4)

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Reference number

SM 54/1/1

Purpose

[51] Finished drawing for the ground floor of Holy Trinity Church, Marylebone, London, 4 May 1824

Aspect

Plan of a church of five by nine bays. On the entrance front, the central three bays are recessed behind a colonnade of four paired columns accessed by an external staircase. These are flanked by towers containing internal staircases. The interior is divided into a nave and two side aisles articulated by free-standing columns, and containing pews arranged horizontally in the nave and vertically in the aisles, with a row of poor benches down the centre. At the end of the nave are the pulpit and reading desk. At the rear is the chancel. Beyond is the rear entrance accessed by external steps and flanked by towers containing internal staircases. There are some pencil emendations on the right side

Scale

bar scale of 1 inch to 5 feet

Inscribed

Plan for the Church in the Gothic Style proposed to be erected in the Eastern division of the Parish of S^tMarylebone

Signed and dated

4 May 1824
Lincolns Inn Fields / C.J.R. 4^th_.May. 1824.

Medium and dimensions

Pencil, pen, wash, coloured washes of brown and yellow within a quintuplet ruled border, and pricked for transfer on wove paper (964 x 627)

Hand

Probably Richardson, Charles James (1806--1871), draughtsman

Watermark

J WHATMAN / 1822

Literature

John, 2003, p. 59 fig. 55, p. 62

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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