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  • image Image 1 for SM 54/3/5
  • image Image 2 for SM 54/3/5
  • image Image 1 for SM 54/3/5
  • image Image 2 for SM 54/3/5

Reference number

SM 54/3/5


[6] Design for the exterior of Holy Trinity Church, Marylebone, London, September 1820


Perspective of a five-by-nine bay church within a landscape. Similar in many regards to SM 54/3/4, with the exceptions of: the walls are all plain; and doors are visible behind the front columns, the windows have console hood mouldings and balusters. There are relief tablets above the end bay windows and the first and last bays on the side. All the columns are unfluted. At roof level, the tower base is shallower at the front, and without volute pediments, the drum of the tower is not strigilated, and the pinnacle of the tower has figures standing back-to-back on a strigilated plinth. Behind the tower is a shallow pitched roof Verso: Elevation in pencil of the principal front for a church showing steps leading to a portico of four Doric columns. The bottom half of the walls are dressed in banded masonry, the upper half plain. Recessed between the centre intercolumniation is a door. The end bays have windows with console hood mouldings and with relief tablets above. At the sides Doric columns support part of a projecting architrave. All the columns support a Doric frieze. Above is a wide base which is divided by four recessed pilasters. Between the pilasters there is a clock face in the centre and two relief tablets. Above each pilaster is a standing statue of a human figure. Recessed between the central figures is a tower with a pendentive dome with a louvre window within, and it is supported by Ionic columns. Above is a square base surmounted by standing figures


to a scale


Sketch for a design for a new Church in the Parish of St. Marylebone.

Signed and dated

  • September 1820
    [_ _] Sept. 1820

Medium and dimensions

Pen, wash, coloured washes of light blue, brown, green, olive green, Payne’s grey, sepia, stone, and yellow on wove paper (496 x 350) (verso) pencil


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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