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You are here: CollectionsOnline  /  [11] Design for a sepulchral chapel, Tyringham Hall, 1800
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image SM 13/5/6

Reference number

SM 13/5/6

Purpose

[11] Design for a sepulchral chapel, Tyringham Hall, 1800

Aspect

Western elevation of a sepulchral chapel within a landscape and staffed by visitors. Steps lead to a four-fluted-Doric-columned-porch supporting a triangular pediment. Between the central intercolumniation is a panelled door with a console-hood moulding. On the side of the steps are statues on bases decorated with processing figures. The exterior wall is rounded with the porch arrangements and statuary repeated on the left and right. Above is a hipped roof with strigilated sarcophagi on bases with inscription tablets. Behind, the base of the tower has cinerary urns around it, and the single-tier tower has arch-topped latticed windows with engaged Ionic columns between. Above is a stepped dome, with a roundel on the drum with a portrait in left profile, and the dome surmounted by kneeling figures clasping hands with a large cinerary urn between them

Scale

to a scale

Inscribed

· No.2 · / · DESIGN · FOR · A · SEPVLCHRAL · CHVRCH ·

Signed and dated

  • 24 December 1800
    Decr. 24th: 1800

Medium and dimensions

Pen, wash, washes of blue, Cerulean blue, green, olive green, orange, red, stone and yellow within a triple ruled border on wove paper (665 x 1015)

Hand

Probably Gandy, Joseph Michael (1771--1843), draughtsman
Probably Benedictus Antonio van Assen (1767 - 1817, fl. c.1788), draughtsman
The figures seem to reflect the style of van Assen, and it was known from other copies held in the Victoria and Albert Museum (No. 2824) that he composed the figures for perspectives of Tyringham Hall

Notes

This elevation of the west front follows from the earlier version (SM 47/3/30) and is perhaps a companion piece to SM 13/5/7. Here, however it is daylight, allowing light to bathe the front of the church. The landscape is filled in to give a sense of an insulated park setting. The viewer is a visitor walking up the path and already others are there discussing and some pointing to the monument, including a more reluctant child to the right. In essence the design is similar to SM 47/3/30. There are notable differences. Structurally, the pediments have been removed. Ornamentally, the inscription tablets on the sarcophagi are now filled in, although illegible, the ourobouros is replaced with a strigilated pattern and a roundel with a portrait (William Praed?), although the ourobouros does return for SM P269. The top of the dome here has a far larger urn. The windows in the exterior wall have been replaced with niches, two per side, with standing female figurative statues; one niche has a mother and two children, and another figure holds a cross. They are all dressed in a classical style. There is one male statue on the pedestal to the right of the main entrance. The figures on the pedestals, some seated with their heads bowed and hand supporting their head, represent mourners.

Literature

Du Prey, 1985, 58, no. 125

Level

Drawing

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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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