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  • image Image 1 for SM 54/1/33
  • image Image 2 for SM 54/1/33
  • image Image 1 for SM 54/1/33
  • image Image 2 for SM 54/1/33

Reference number

SM 54/1/33


[37] Finished drawing for the principal front of Holy Trinity Church, Marylebone, London, 1822


Elevation of a five-bay church with a Doric portico and a double-door between the central intercolumniation. The end bay windows are arch-topped, latticed, and within relieving arches. The tower is similar to that for the left side of SM 54/1/34 but the lancet windows on the third tier are larger and latticed. The dome is toped with a pinecone finial. Behind the tower is a raised central roof Flyer: the tower conforms to all the details above, but the base has no roundel, the multi-faceted portion has thinner lancet windows and the Corinthian columns are blank. To the right of the tower is an alternative version of the multi-faceted portion with decorated segmental pediments, above is a circular balustrade and a short column surmounted by a pinecone finial, with a centring line added


bar scale of 22/10 inches to 10 feet


Design for a Church proposed to be erected in the Parish of St. Marylebone. / Elevation of the West Front / No. 3. / No. 3 (flyer) one measurement given Flyer: / 2nd May. 1823 one measurement given

Signed and dated

  • 1822
    Lincolns Inn Fields. / 1822.
  • 2 May 1823
    2nd May. 1823. (on flyer)

Medium and dimensions

Pencil, pen, wash, coloured washes of brown, Payne’s grey, stone, and yellow within a double ruled border, and pricked for transfer on wove paper (900 x 630)


Soane Office, draughtsman




This front elevation should be conceived of as a companion to the elevation for the side seen on SM 54/1/32.



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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