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  • image SM 54/6/16

Reference number

SM 54/6/16


[27] Design for the south front, St Peter's, Walworth, London, June 1823


Elevation of the nine-bay south front of the church. The basement level contains half-height windows, with transomed windows within relieving arches in the register above. The second and eighth bays are recessed. The first and ninth bays have a frieze of fret. Above there is a tower which consists of a square base with pinecone caps on pedestals at each corner, a rectangular portion with shuttered louvre beneath a clock face, and supported by Corinthian pilasters with pinecone caps at each end. Above is a cylindrical portion supported by engaged Corinthian columns, and with a lancet window between. Above is a small dome. The pitched roof runs from the second to the eight bays and abuts the tower. Some emendations are given in pencil to the first bay window


bar scale of 1/5 inch to 1 foot


Newington Church / (Copy June 1823) and some measurements are given

Signed and dated

  • June 1823
    Lincolns Inn Fields. / Copy June 1823.

Medium and dimensions

Pen, pencil, wash, and coloured washes of stone and blue, pricked for transfer on wove paper (735 x 533)


Soane Office, draughtsman




As with SM 54/6/15, this side elevation from 1823 can also be compared with its counterpart from the previous year (SM 54/6/7). The first and last bay windows are reduced in size, the fret is now limited to the first and last bays, the caps on the roofline above the first and last bays have been removed, and the roof is now low and flat, and abutting the tower. The deductions follow the 1822 scheme being over-budget, and these are part of an attempt by Soane to save £2,000.


John, 2003, pp. 52, 55 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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