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Reference number

SM (5) 63/7/3 (6) 63/7/25 (7) 63/7/6 (8) 63/7/4

Purpose

Stage II: tomb as in stage I but with addition of a terminal and wavy ornament to the dome, and revisions to piers, pedestal and plinth, 14-24 February 1816 (4)

Aspect

5 Elevation in which a strigilated drum-like terminal with a 'lid' crowned by a pineapple is introduced on top of the dome as is also an incised wavy line to the face of the segmental pediments. The pedestal has a more articulated form with a projecting panel in the centre. Added are: (pencil) detail of revision to pier base, a more worked out revision (pen) of that detail labelled A and a (pencil) detail of incised volute for proposed pier capital, Verso: incomplete (pen) full size, rough detail of an ouroboros (encircling serpent, symbol of eternity) around the drum-like terminal 6 Perspective of the design shown in drawing 5, with rough (pencil) plan of plot and (pencil) detail of pier with the revised base shown in the pen detail on drawing 5, and (pencil) small perspective of tomb in a wooded setting. Verso: incomplete plan and elevation of four-sided aedicule, an Ionic column labelled (pencil) Sink the plinth into the floor 7 Plan 8 Elevation, close to drawing 5 but with a higher plinth to the pedestal, and with sketch amendments such as foliate capitals to the piers, alterations to the base of the piers (simpler than those shown on drawing 5) and enlargement of tablet on the pedestal. Verso: pencil details of pilaster base and plinth corresponding with the amendments marked A on the recto

Scale

(5, 7, 8) bar scale of 1/7 inch to 1 foot

Inscribed

5 as above, (pencil) some calculations) and (verso) 1:1½ to the Centre 6 as above and (related to the Bank of England and suggesting a re-used drawing sheet) Great Pay Hall, Reduced office, 4 & 5 per cent office 7 (pencil) calculations 8 labelled A, B, C, D, 5.4½ off height the pilaster, (feint pencil) Can I make / This Tablet / from C to D that / or under the / Centre of the / Pilasters; or / is the work to[o] / far advanced

Signed and dated

5-8 Soane (5) L.I.F. / 14 Feby 1816 (6) L.I.F. 14 Feb 1816 (7) 18 (sic, a Sunday) Feb:1816 (8) 20 Feb: 1816 and Feby 24 - / dimensions / altered

Medium and dimensions

(5) Pen, warm sepia, sepia and pale blue washes, shaded, pencil, (verso) brown pen, pencil, on laid paper (535 x 370) (6) pen, yellow ochre, sepia and pale blue washes, shaded, pencil on laid paper (535 x 370) (7) pen, pink and light pink washes, pencil on thin wove paper (582 x 340) (8) pen, sepia and yellow ochre washes, pencil, shaded on laid paper (540 x 369)

Hand

5-8 Soane see Notes below

Watermark

(5) fleur-de-lis within crowned cartouche and PS below (6) Phipps & Son 1809 (7) 1810 (8) Phipps & Son 1809

Notes

The office Day Book for 14 February 1816 shows that Basevi, Tyrrell and Parke were 'Drawing designs for a Monument'; entries for 15, 16, 19 and 20 February have Basevi and Parke 'Drawing designs for a Monument'. However, these drawings are by Soane; the freehand additions, calculations and inscriptions are in his hand. On 19 February Soane's Note Book has '... About Eliza's Monument ...' and on the next day 'About Eliza's Mon[ument] '

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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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