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  • image SM 54/4/18

Reference number

SM 54/4/18


[102] Design for the iron posts and timbers for the roof at Holy Trinity Church, Marylebone, London, copied 18 January 1826


Plan, elevation and section of the iron work supporting the roof. An iron post runs from the top of the Doric column and through the bressumer, and iron work curves to mirror the arch and is clamped to the bressumer above. Two oak braces emanate from the neck of the post and are attached to the bressumer for reinforcement. Iron rods are also shown connecting the bressumer and raising plates. The section shows rods also arranged horizontally to connect pieces of oak together. At the bottom is a plan of an iron post going through soft and hard wood of the roof, and it is connected by metal rods and plates


bar scale of 1½ inches to 10 feet


Iron Work supporting the Roof / Copy. / (to be returned) / No 18. / Plan of Cap / Circular Wrought Iron Bar / Stone Column / Bressumer supporting Gallery Front / Elevation of the Cast iron Standards / with the Oak Braces / Elevation of the Cast Iron Standards / Profile / Section through the Centre of Arch / Oak Brace / Bressumer / Bressumer / End of Gallery Roof Beam / Centre Roof Beam / Raising Plate / Raising Plate

Signed and dated

  • 18 January 1826
    Lincolns Inn Fields / Janry. 18th 1826

Medium and dimensions

Pencil, pen, coloured washes of blue, orange and yellow, and pricked for transfer on wove paper (753 x 542)


Soane Office, draughtsman
Soane Office Day Book for Wednesday 18 January 1826 records: Burchell, Mocatta, Richardson and Davis all as copying drawings for Marylebone Church




The use of iron pillars supports the timber for the roof, and also the arches forming the arcade at gallery level. Dean observed the use of iron in this situation at St Peter's Walworth, and is just as pertinent to Holy Trinity, Marylebone, as enabling the plaster covering to appear 'almost as thin as a paper chain'. Dean also noted this feature enabled Soane to make the arches as thin as the metal support would allow, and push the nave ceiling as high as it could go to maximise light.


Dean, 2006, p. 89



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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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