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  • image SM 54/3/10

Reference number

SM 54/3/10


[11] Design for the principal front of Holy Trinity Church, Marylebone, London, 1820


Elevation of a church of five bays with a four-columned front in the Doric order with a three-door entrance behind. The end bays have rectangular windows with console-hood mouldings and recessed panels beneath. On the roof above the entrance is a plinth with a clock face and sculpture panels, above are volute capitals with pinecone finials, and between them is a drum topped by a round dome surmounted by a pinecone finial


to a scale

Signed and dated

  • September 1820
    This is a front elevation of SM Vol 60/192 and as that is drawing from the same perspective as SM 54/3/4-5, and SM 54/3/7 and so dated accordingly to September 1820. This is the only other double-dome drawing and so should be placed with the other around this date

Medium and dimensions

Pencil, pen, sepia ink and brown wash, on wove paper (511 x 332)


Soane Office, draughtsman


An variant of the drawing can be found in the V&A collection (No. 3307.32), but the end bays have wreathed clock-faces above the window, the central door is taller than those on either side, and a Dicoletian window is on the square base for the dome, Being part of this same scheme, it means the V&A drawing should be dated to 1820 as well.


Carr, 1976. vol. II, p. 351; vol. III, p. 825 fig. 140
Du Prey, 1985, p. 73 Cat. No. 226



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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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