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  • image Image 1 for SM 54/6/14
  • image Image 2 for SM 54/6/14
  • image Image 1 for SM 54/6/14
  • image Image 2 for SM 54/6/14

Reference number

SM 54/6/14


[23] Design for the galleries, St Peter's, Walworth, London, c.1823


Plan of the galleries in the church, being five-by-nine bays. On the principal front the central three bays are recessed behind a screen four free-standing columns, flanked by single-bay towers containing staircases. Similarly, the rear front has the central three bays recessed, and flanked by single-bay towers. The north side of the nave shows the arrangement of pews on the gallery. On the west end we see the organ behind a balustrade and flanked by pews


scale of 1 2/5 inches to 10 feet


No4 / Newington Church / Plan Showing the Galleries / Copy / William Craib. Clerk of Works / Organ and some dimensions given

Signed and dated

  • c.1823
    datable to 1823

Medium and dimensions

Pencil, pen, red pen, pink and yellow washes, and pricked for transfer on wove paper (685 x 540)


Soane Office, draughtsman


Three faint pencil drawings, one of an arch, and two showing a door frame with architrave


Here, the gallery level is largely similar to the 1822 version (SM 54/4/6); but the most notable differences involve the arrangement and number of pews in both the gallery where the row of pews has been reduced in this version to four from five in SM 54/4/6 and the organ gallery sees a different seating arrangement, where the pews have also been reduced from nine rows to eight; the latter which may be caused by the enlargement and centring of the organ within the gallery itself. Otherwise, access is also enhanced via two internal staircases at each end of the colonnade which serves as small ante-rooms to the towers at each end.


John, 2003, p. 51, fig. 43



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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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