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  • image SM 54/3/13

Reference number

SM 54/3/13


[2] Design for the interior of Holy Trinity Church, Marylebone, London, 1820


Perspective of the interior of a church. The central nave is framed by an arcade of arches with a landing separating the nave from the gallery level, and a balustrade runs between each arch. At nave and gallery level are windows. The vaulted ceiling is compartmentalised. The coffers have diamond-shaped recessed compartments, with one at each end being a window. At the far end of the nave is a wall with a recessed panel, and above is a set of three latticed windows, separated by two engaged Corinthian columns. Beside the windows are niches with the vague outlines of statues within. Some pencil emendations show a potential arch between the nave and the chancel


to a scale


Sketch for a design for the Interior of a Church proposed to be erected on the Parish of St. Marylebone

Signed and dated

  • 1820

Medium and dimensions

Pencil, pen, wash, coloured washes of cerulean blue, brown and stone, on wove paper (491 x 361)


Soane Office, draughtsman


This design differs from SM 54/2/8 in having a flatter, compartmentalised ceiling, suggesting a lower clerestory level. The windows are aligned flatter along the edges of the roof line, which Carr believes would have caused constructional problems at this scale. However, this feature means the light enters the Church using more of a top-down lighting effect rather than the oblique light seen in the earlier drawing. Large windows on the left-hand side remain, and three flat windows on the rear wall suggested to Carr that Soane was still experimenting with potential lighting effects. Soane was still thinking about separating the nave and chancel with an arch (as he did in SM 54/2/8), but it is only suggested on this version.


Carr, 1976, vol. I, pp. 344-345



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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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