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  • image Image 1 for SM 54/4/34
  • image Image 2 for SM 54/4/34
  • image Image 1 for SM 54/4/34
  • image Image 2 for SM 54/4/34

Reference number

SM 54/4/34


[77] Design for the vaults at Holy Trinity Church Marylebone, London, 15 October 1825


Sections of the vaults of a church. The section at the bottom of the page has steps along the bottom and is divided into two-and-a-half bays, with the bay on the left-hand side being wider than the others. In between the bays are plans for the piers. The section above has steps along the front and is divided into five bays, the first being a narrow arched topped doorway, and bays two to five having oval openings with inverted arches. Red pen is used for centring lines


bar scale of 2 inches to 5 feet


Section through the Vaults on the line. A.B. / (to be returned) / 4” Yorkshire Landings / 4 Yorkshire Landings / Inverted Arch.. / Plan of the Pier. / Plan of the Pier. / Level of Footpath. / 3’ York Capstones. / Eliptical Arch. / Centre. / Portland / Stone. / 2.3 / Brickwork / Section on the Line C.D / Centre. / 4 inch Yorkshire Landings. / 1’. 1 ½” Inverted Arch. / Inverted Arch / Springing of Groins / 3” York Cap Stones. / Eliptical Groin / Portland Plinth. / average Bed 9” / Staircase. / 10. 0 / Level of the Floor of the Church / Sections through the Vaults. / New Church. Eastern Division of the Parish of St. Marylebone..

Signed and dated

  • 15 October 1825
    Lincolns Inn Fields. / 15th. October 1825.

Medium and dimensions

Pencil, pen, red pen, coloured washes of brown and pink, and pricked for transfer on wove paper (711 x 512)


Probably Bailey, George (1792--1860), draughtsman
Soane Office Day Book for 15 October 1825 only has Bailey as working on drawings for Marylebone Church, and letter types such as S and the t-bar crossing the adjacent h conform to Bailey’s hand


Pencil-drawn plan of an unknown house




John, 2003, p. 61 fig. 58, p. 63



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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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