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  • image SM 54/6/32

Reference number

SM 54/6/32


[42] Design for the bell frame within the tower, St Peter's, Walworth, London, 19 March 1824


Section of a square bell tower. Above the base, the tower is flanked by Corinthian pilasters. The interior is rectangular with an arched top. In front there is an arrangement of timbers forming a frame to support the bell. Above is a circular opening for the clock face and below the outline of a louvre window. There is a small faded pencil design towards the left edge of the paper


to a scale


Bell Frame for St.Peters Church Walworth

Signed and dated

  • March 19th 1824
    March 19th. 1824

Medium and dimensions

Pencil, pen, wash, coloured washes of pink and brown, pricked for transfer on wove paper (556 x 435)


Probably Bailey, George (1792--1860), draughtsman
The uppercase -B and -M and lower case h and long cross-bar to the lower case -t especially, match Bailey's hand in the Soane Office Day Books and other documentation




There are no designs for the actual bells at St. Peter's, Walworth. Soane Private Correspondence (SM X .C. 2. 20) from 11 September 1823, records estimates for weight of eight church bells which could be hung in a steeple, from the bell founder Thomas Mears, who was first a partner in Lester, Lack & Chapman, a bell foundry in Whitechapel which could trace its roots back to at least 1570 (when it belonged to Robert Mot) and then taking over the firm in 1767 and remained in the Mears family until 1865.



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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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