[18] Stage IV: entrance gateway to the vault, enclosing walls and balustrade, 28 February 1816, 2 March 1816

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Monuments and mausolea
  - London: St Giles in the Fields burial ground (now St Pancras Gardens), Camden: Soane monument [the 'Soane Tomb'], 1816, 1828 (47)

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Reference number

SM 63/7/23

Purpose

[18] Stage IV: entrance gateway to the vault, enclosing walls and balustrade, 28 February 1816, 2 March 1816

Aspect

Perspectives from different viewpoints of the same design for the canopy and aedicule with its enclosure and square-headed entrance with heavy lintel crowned by an acroterion.

Scale

to a scale

Medium and dimensions

Pencil, blue and warm sepia washes, some watercolour technique on laid paper (373 x 535 average)

Watermark

fleur-de-lis within crowned cartouche and PS below

Notes

The office Day Book entry for 28 February 1816 has Basevi, Tyrrell and Parke 'Drawing view/designs for a Monument'. The entry for Saturday 2 March has Basevi 'Finishing drawing of Monument and making two slight sketches for another drawing' while Parke was 'Drawing various designs for a Monument'.

Stage IV of the design for the Soane monument shows the monument raised on a plinth and with enclosing walls that were to become more elaborate in Stage V. An important element of Stage IV is the proposal for a gateway to the sunken area or pit in front of the vault, on the west side. Whether this was intended to have a stair or had a stair that has since been removed, is not known (see SM 63/7/19, SM 63/7/17, SM 63/7/16, SM 63/7/18). In execution, the gateway was omitted.

Level

Drawing

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

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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