[49] Design for the corner of the altarpiece at St John’s, Bethnal Green, London, 10 October 1827

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Churches and chapels
  - London: Church of St John on Bethnal Green, London 1824-28 (66)
    - Designs for the altarpiece, St John's, Bethnal Green, London, September-October 1827 [6]

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Reference number

SM 47/5/36

Purpose

[49] Design for the corner of the altarpiece at St John’s, Bethnal Green, London, 10 October 1827

Aspect

At the bottom is an elevation of the entablature of the top left side altarpiece for a church. The entablature consists of the cornice, and two fasciae. Above is a pediment and around the bottom and in the tympanum is decorated with an egg-and-dart motif. On the left corner of the pediment is a winged-putti mask in left profile. On the bottom right is a the top part of a panel witha perspective line, and above is a rough pencil sketch, possibly of part of altarpiece. Above is a section of the cornice for the central pediment showing the profile

Scale

full size

Inscribed

Bethnal Green Chapel N^o. 4 / Rob^t Streather / Entablature of Altarpiece (Full Size) / Section of Pediment Cornice at B. Full Size..

Signed and dated

10 October 1827
Lincolns Inn Fields. / 10^th Oct^r1827.

Medium and dimensions

Pencil, pen, coloured washes of pink, orange/red and stone, pricked for transfer, on wove paper (743 x 535)

Hand

Probably Stephen Burchell (1806 - c.1843), draughtsman
The Soane Office Day Book for 10 October records Burchell working on designs for the altarpiece at St John's, Bethnal Green

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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