Explore Collections Explore The Collections
You are here: CollectionsOnline  /  [5] Finished drawing for the entrance and loggia at Holy Trinity Church, Marylebone, London, 1820


  • image SM 54/1/22

Reference number

SM 54/1/22


[5] Finished drawing for the entrance and loggia at Holy Trinity Church, Marylebone, London, 1820


An elevation flanked by two perspective views of the principal entrance and loggia. On the left is a perspective view of the loggia with a series of compartments each lit from the top via oculi, and supported by fluted Doric columns, paired at the front. The centre shows a perspectival elevation of the front, consisting of a screen of four fluted Doric columns, supporting pillars and the main door between the centre intercolumniations.The right is a similar perspective of the loggia as that on the left, but has a plain ceiling and supporting columns, with fluted Doric columns only along the front


to a scale


Design for a Church proposed to be erected in the Parish of St. Marylebone. / View of Loggia. / Principal Entrance. / View of Loggia.

Signed and dated

  • 1820
    1820. / 1820. Faint writing in pencil showing either the 25th or 28th October 1820, in the right-hand corner

Medium and dimensions

Pencil, pen, wash, coloured washes of Cerulean blue, brown, Payne’s grey, sepia, stone, and yellow within a triple ruled border on wove paper (918 x 636)


Possibly Mee, Arthur Patrick (1802--1868), draughtsman
Arthur Mee is recorded in the office day books as working on designs for the church on 25-28 October inclusive, and the letter forms coincide with Mee, especially on the word Church.


J WHATMAN / 1820


This design contrasts with SM 54/3/14 from the same year in emphasising fluted Doric columns within the porch, not just outside on the left-hand side, whilst using squared columns on the right-hand side version. The end of the loggia in these designs is also an arch topped opening.

Nevertheless, within these designs Soane was still attempting to find the type of top-lighting effect. The loggia on the left-hand side has a higher vaulted ceiling with an oculus which is perhaps repeated along the length of the loggia, which allows successive shafts of light to fall between the intercolumniations when viewed from the front. The right-hand side design has a flatter ceiling with larger but fewer openings. The central drawing of the front columns corresponds more closely to the left-hand side loggia design, which may indicate at this point, Soane was favouring this option over the right-hand side design.


Carr, 1976, vol. II, p. 346-347, vol. III, p. 822 fig. 135



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.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).