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  • image SM 54/1/6

Reference number

SM 54/1/6


[29] Design for the ground floor of Holy Trinity Church, Marylebone, March-April 1822


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, with two sets of poor benches down the centre. At the end of the nave are the pulpit and reading desk. At the rear is the chancel with the altar to the rear. Beyond is the rear entrance accessed by external steps and flanked by towers containing internal staircases. A pencil design is on the left-hand side of the sheet


scale of 12/10 to 5 feet (from area marked as measuring 5 feet behind the Communion Table)


Sketch of a Design for a New Church to [be erected in the] eastern Division of the Parish of St. Marylebone / Triglyphs / Metopes / Extent of Front / Front Extend / Doric Light Col / in the back [_ _ _ _ ] / instead of Stone / In the fai[_] Plan / the Staircase to be /shewn / as in the former Plan / Flank extends / Triglyphs / Metopes / Extent / Closet / (in pencil) Section / (Red?) / [_ _ _ _] / Closet / Water Closet / Staircase to Gallery / Communion Table / Robing Room / Lobby / Arcade / Arcade / Arcade / Lobby / Vestry Room / Ch[_]. [_ _ _ _ _ _] Window / Ch[_]. [_ _ _ _ _ _] Window measurements given and some faint pencil calculations

Signed and dated

  • 1822
    26 March 1822. To / 2nd April 1822.

Medium and dimensions

Pencil, pen, wash, coloured washes of brown and yellow, and pricked for transfer on wove paper (960 x 614)


Soane Office, draughtsman





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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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