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  • image SM 54/1/21

Reference number

SM 54/1/21


[4] Finished drawing for the interior at Holy Trinity Church, Marylebone, London, November 1820


Perspectives for the east and west ends of the church shown in three window-shaped panels with the largest being in the centre, flanked by two others, both of equal size. On the left is the interior looking towards the east with pews, internal arches separating nave and gallery aisles, a vaulted compartmentalised ceiling, with windows on the side, and the altar end has an alcove for the altarpiece with three window above, and a Diocletian window at ceiling level. The centre is identical to that on the left but has three painted panels showing rleigious scenes above the altarpiece instead of windows. On the right is an identical interior perspective, but looks towards the western main entrance, where there are three doors at nave level, and an organ at gallery level


to a scale


Design for a Church proposed to be erected in the Parish of St. Marylebone / Views of the Interior. / F. / View looking towards the East End. / View, looking towards the East End. / View looking towards the West End.

Signed and dated

  • November 1820
    John Soane / Lincolns Inn Fields. / November 1820

Medium and dimensions

Pen, wash, coloured washes of Cerulean blue, brown, Payne’s grey, pink, red, stone, and yellow within a triple ruled border, and pricked for transfer on wove paper (980 x 670)


Soane Office, draughtsman


J WHATMAN / 1820


These three perpectives show differences to the earlier interior view (SM 53/3/13). The ceiling is compartmentalised, and the large windows are set square with deeper inner sills channeling strong shafts of light, and an arch divides the nave from the chancel. Diocletian windows are added at both ends too. It seems Soane was thinking more about illuminating the interiors from various sources, and angles. The nave ends show two possible variations: either three windows set into the rear wall, or three painted panels. The painted panels in this design are the only instant throughout the corpus of all three of Soane's Churches when figurative painted designs are included. Nonetheless, these paintings do not make it into the final design.


Carr, 1976, vol. II, 354, vol. III, p. 828 fig. 146



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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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