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  • image SM 47/5/10
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Reference number

SM 47/5/10

Purpose

[18] Design for one half of the interior of St John’s, Bethnal Green, London, 26 June 1826

Aspect

Ground plan, half section at the top and small section on the bottom right of the timbers of the church.

The Ground plan in the bottom left corner shows the horizontal and vertical arrangement of wooden slats for the gallery

To the right side of the plan is a section of the truss to support the timbers of the flat roof to the gallery with a column support

Transverse section of one half of the church shows the interior from the: footings, vault, nave, organ gallery with column supports, side aisles to roof level, with the timber supports for the gallery aisle pews, and the trusses with iron rods for the aisle and central roof. Behind the pitched roof is half of a base and part of the first tier of the tower. On the corners of the base and the roof are caps with pinecone finials

Scale

bar scale of 1 inch to 1 feet (Plan), 2 inches to 5 feet (approx.) for small section, 3 inches to 8 feet (large section

Inscribed

Bethnal Green Chapel / Copy No 9. / Plan of the Timbers of the / Gallery Floor. / (in pencil) no 9 / To be Returned. / No 9 / Oak / Oak. / Oak. / York Stone / Portland Stone / Iron Standard. / Truss to support Timbers of Galleries. / Oak / Plate / Oak. / Oak. / Oak. / 42 York Landings. / 3” York Landings / Brick flat / paving / Portland Curb / Oak 3” rubbed shaving / Oak. / 6” York landing (not rubbed) / A / 6” rubbed York Landings / See parts at large. / Oak / Portland Stone. / See below: / Space for Organ / Ribs to be in 2 thicknesses of 11/2” deal. / Oak / Bond / Ribs to be in 2 thicknesses of 11/2” deal. / Brick Pier / q / s / s / r / p / s / s /n / o / q / n / p / r / s /s /q / I / b / a/ m / c /m/d / l / h / s / f / g /m /c / c / Bath Stone. / Brickwork / Portland Stone. / Bath Stone / Brickwork / York Coping. / Scantlings of the Timbers of the Centre Roof. / a Bressumer over from Standards 12” by 9” / b Raising plate, 9” by 7” / c Tie Beams, 12” by 6 / d Principals, averaging…61/2” by 6” / e Oak Kings 6” by 5”/ f Oak Queens} / exclusive of their / abutments_ / 6” by 41/2” / g Struts or Braces, 5” by 4” / h Purlines, 5” by 31/2” / I Poll plate, 6” by 4” / k Ridge Piece, 10” by 2” / l Rafters, 5” by 21/2 / m Binding Joists 6 & 5 alternately / in each Bay-.. 9” by 4” / Battening &c for slates / Iron &c for Roofs._} See Specification / Scantlings of Timbers of Roofs over / Galleries. / n Beams, 9” by 6” / o Oak Kings exclusive of their / abutments 6” by 6” / p. Principals, 5” by 41/2” / q. Bridgings under Raking / Bearers averagg. 7” by 31/2” / r. Raking Bearers. 61/2” by 3” / s.s Bridging Joists…6” by 21/2” / Ceiling Joists, 42 by 21/2 / Whole deal Gutter Boards 7 strong framed Bearers. and measurements given

Signed and dated

  • 26 June 1826
    26th. June 1826 . - / Lincolns Inn Fields

Medium and dimensions

Pencil, pen, wash, coloured washes of brown, Cerulean blue, blue, orange, pink and yellow, pricked for transfer, on wove paper (732 x 527)

Hand

Probably Mocatta, David Alfred (1806--1882), draughtsman
The Soane Office Day Book for 26 June 1826 records both Mocatta and Richardson as working on copying drawings for Bethnal Green Chapel
Probably Richardson, Charles James (1806--1871), draughtsman
The Soane Office Day Book for 26 June 1826 records both Mocatta and Richardson as working on copying drawings for Bethnal Green Chapel

Watermark

SMITH & ALLNUTT / 1823

Level

Drawing

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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