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  • image SM 54/6/8

Reference number

SM 54/6/8


[7] Finished drawing for the north and south fronts, St Peter's, Walworth, London, c. September 1822


Elevation of the north and south fronts. There is a stone lower course at the bottom on which the rest of the building sits. There are nine arched and transomed windows set within relieving arches. The second and eighth windows are set within recessed portions of the wall. Above is ornamented with fret. Two pinecone caps are placed on each end of the first and last bays. The tower consists of a square base with anthemion caps at each corner. The rectangular section has a clock face beneath a shuttered louvre, and the architrave is supported by fluted Corinthian pilasters. Above is a stone balustrade with pine cone caps at each end. Above is a cylindrical section with a square headed lancet window, and the round architrave is supported by engaged Corinthian columns. A small dome surmounted by a weather vane is at the apex. The pitched roof is shown in blue to denote slating, and runs from the second to the eighth bay


scale of 12/5 inches to 10 feet


No.4 / John Soane Arch / The North & South / front of Newington Church

Signed and dated

  • c. September 1822
    datable to September 1822: the date is not given, but it is part of a set with SM 54/6/9 and SM 54/6/10, which are both dated to September 1822. Consequently, this drawing should be dated to around this time

Medium and dimensions

Pencil, pen, coloured washes of stone, blue and grey, pricked for transfer on sextuplet ruled wove paper (584 x 462)


Probably Bailey, George (1792--1860), draughtsman
The Soane Office Day Books throughout September 1822 has Bailey and others working on designs for the church. The -N and writing of 'Church' conform to Bailey's hand
SOANE, Sir John (1754--1837), architect


This side elevation shows the form of the roof, which would be a high-pitched hip roof aligned centrally with the centre of the nave, which as Carr points out, sees the nave rising above the level of the galleries and chancel at this point, as well as contributing visually to the views of the church from a distant, and removing the need for a clerestory level. The frieze of fret seen on the frontal elevations (SM 54/6/4; SM 54/6/7) would run continuously along the side, and consequently all the way around the church.


Carr 1976, vol. III p. 877 fig. 241
John 2003, pp. 52, 57 fig. 45



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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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