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  • image SM 54/2/21

Reference number

SM 54/2/21


[104] Design for the doors for Holy Trinity Church, Marylebone, London, August 1824


Plans and elevations of the doors. The bottom plan shows the arrangement of the double doors and where they are connected, with studs sticking out from the front. The plan above shows the point where the doors connect at full size. The elevations show the designs for three sets of panelled-double doors intended for different locations within the church. On the left-hand side there are 14-panel double doors, with three sets of half-sized panels. The stiles, rails and mullions are interspersed with round studs. The double doors in the middle repeat the arrangement of the left-hand side door, but are shorter. On the right-hand side there are five-panel double doors, with three sets of half-sized panels


bar scale of 1 inch to 1 foot


Design for a Church intended to be erected in the Parish of St. Marylebone. / Plan of the Doors under Western portico / Full size. / A / Elevation of the Doors under / Western Portico. / (No. 1) / Elevation of the Side Doors under / Western Portico. / (No. 2) / Doors from the staircases to the interior / of the Church, and to Galleries / (No. 3) / Mouldings as A / Mouldings as A / Mouldings as A / Mouldings as A / No.. 25

Signed and dated

  • August 1824
    Lincolns Inn Fields. / August 1824

Medium and dimensions

Pen, wash and yellow wash, and pricked for transfer on wove paper (725 x 524)


Probably Stephen Burchell (1806 - c.1843), draughtsman
Recorded in Office Day Books for the 2 and 3 August 1824 as drawing doors for Marylebone Church





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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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