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  • image SM 54/1/8

Reference number

SM 54/1/8


[13] Finished drawing for the ground floor of Holy Trinity Church, Marylebone, London, November 1820


Plan of a church of five by nine bays. On the entrance front, the central three bays are recessed behind a colonnade of four columns. The central two columns are paired, and with a second colonnade behind with a design of recessed panels to reflect the compartmental ceiling. The columns are flanked by two towers containing D-shaped 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 of the chancel is the altar. Beyond is the rear entrance accessed by external steps and flanked by towers containing the vestry and robing room. To the left-hand side of the entrance is a faded pencil design for what may be an arch


bar scale of 23/10 inches to 10 feet


Design for a Church to be erected in the Parish of St. Marylebone / Design. No. 1. / Front Extends / Front Extends / Staircase to Gallery &c / The Principal Entrance / Staircase to Gallery &c / Clerks Desk / Reading Desk / Pulpit / Communion Table / The Eastern Entrance. / Vestry Room. / Robing Room some measurements given

Signed and dated

  • November 1820
    Lincoln’s Inn Fields / November. 1820.

Medium and dimensions

Pencil, pen, red pen, wash, coloured washes of pink and yellow within a triple ruled border, and pricked for transfer on wove paper (949 x 614)


Soane Office
Drawing signed off by John Soane


J WHATMAN / 1820



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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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