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  • image SM 54/6/17

Reference number

SM 54/6/17


[26] Design for the rear (east) front, St Peter's, Walworth, London, January 1823


Elevation of the five-bay east front of the church. The end bays are projecting and contain two-storey arched lancet windows within relieving arches and above there is a frieze of fret. The central three bays are recessed and approached by five external steps giving access to the central arched door, flanked by two balustraded arched windows. Shading implies that the upper register is recessed further with three arched windows. Above the roofline there is a wide base with pinecone caps at each corner. Above is a rectangular tower, supported by Corinthian pilasters, and with a shuttered louvre beneath a clock face, and above is a tablet of fret. Above is a cylindrical portion of the tower supported by engaged Corinthian columns, and has a lancet window. This is surmounted by a faceted dome with caps around the bottom, and topped by weather vane. Red pen is used for centring lines


pricked bar scale of 1/5 inch to 1 foot


Newington Church. / No. 7 / (Copy June 1823) / Elevation of the East Front and some measurements are given

Signed and dated

  • January 1823
    Lincolns Inn Fields / Jany .- 1823.

Medium and dimensions

Pen, red pen, wash and yellow wash, pricked for transfer on wove paper (742 x 523)


Soane Office, draughtsman


This drawing is the only one in the collection which shows the rear elevation of the church. Sections looking towards the altar indicate the three windows in the back wall (SM 54/6/18-19), and plans indicate the rear stairs and colonnade (SM 54/6/13).



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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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