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  • image SM 54/1/34

Reference number

SM 54/1/34


[36] Finished drawing showing variant designs for the principal front of Holy Trinity Church, Marylebone, London, 1822


Elevation of the principal front of a church, merging two designs to the left and right.The elevation shows a five-bay church, with a four-columned Doric portico. Behind the centre intercolumniation is a double door with surround. On the left the inner wall shows the individual stonework, on the right it is plain. The end bays have arched round-topped latticed windows within relieving arches. Above is a tower, and behind is a raised roof at a higher level on the left than on the right.The tower on the left is virtually identical to that seen in SM 54/1/26. The tower on the right is taller, having a higher base of banded masonry. The windows of the third tier with the segmented arches are larger than those on the left


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. measurements are given

Signed and dated

  • 1822
    Lincolns Inn Fields / 1822.

Medium and dimensions

Pencil, pen, wash, coloured washes of blue, brown, olive green, Payne’s grey, stone, and yellow within a triple ruled border, and pricked for transfer on wove paper (942 x 627)


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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