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  • image SM 54/6/3

Reference number

SM 54/6/3


[1] Survey drawing, St Peter's, Walworth, London, 1822


Plan of the site for the church which shows a large walled enclosure, punctuated by an entrance on four sides, with a rectangular block within. In front of the main entrance is a narrower strip of land leading onto a long path leading to the main road at the bottom


bar scale of 2/5 inch to 10 feet


Plan of the site of St .Peter’s Church. Walworth. / Turnpike Road from London to Camberwell. / The level from pavement marked A falls to B ground enclosed 2 feet / Trafalgar Street / 384 feet from the angles / 358.3 feet to the angles / from B to C level detailed measurements are given

Signed and dated

  • 1822

Medium and dimensions

Pencil, pen and wash, pricked for transfer on laid paper (644 x 514)


Possibly Mocatta, David Alfred (1806--1882), draughtsman
Office Day Book entry for 3 September 1822, has Mocatta drawing plans for the church


The site chosen was part of Walworth Fields. It is bound on the left by Trafalgar Road, to the right by a road leading to Portland Street, and on the east side by Walworth Road. The detailed measurements show Soane has tried to centre his church in line with the road leading to the major Walworth Road. This was probably to give the church a more imposing view from the main road. Side and back entrances into the grounds are also visible, allowing multiple access points. John speculated these access points may have been conceived by Soane as allowing access for carriages to bring coffins in to bring to a side entrance to the crypt. Either way, as John suggests Soane seems to be thinking about turning a private field off a main road into a large square.


John, 2003, pp. 36, 37, 38, fig. 24



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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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