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  • image SM 54/4/5

Reference number

SM 54/4/5


[81] Design for the side of Holy Trinity Church, Marylebone, London, copied December 1825


Elevation of the south side of a nine-bay church. At the western end is a porch with a supporting Ionic column in profile. There are square-topped latticed windows at vault level and above square-topped latticed windows at nave level and latticed arch-topped windows at gallery level of uniform size set within relieving arches. The second and eighth bays are flanked by Giant Corinthian pilasters and the third to seventh by engaged Ionic columns. Above the second, fifth and seventh bays a frieze of fret is depicted. On the roof at the west end is the base of the tower with an arch-topped window. Behind, the roof extends to the eighth bay and is shallow with two skylights. Red pen is used for centring. Above the tower and part of the roof is a separate elevation of a balustrade which is punctuated by sets of turned half-balusters


bar scale of 1 inch to 5 feet


16’ 4” to stone plinth / Elevation of one of the Flanks. / (Copy) / to be returned / No 5./25 / Portland Pink / average Bed 9” / Portland 2’ 3” Bed. / Portland, average Bed 9”. / y_ _ ¬_ _ _ _ / 6” Bed. / 6” Bed. / 21’ 0” to Springing / Steeple. See Drawings at large / No. 8. / Balustrade as executed.

Signed and dated

  • January 1826
    L.I.F. Janr 1826.

Medium and dimensions

Pencil, pen, red pen, wash, coloured washes of brown, Payne’s grey, stone and yellow, pricked for transfer on wove paper (747 x 539)


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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