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image Image 1 for SM (63) 65/4/48 (64) 65/4/44
image Image 2 for SM (63) 65/4/48 (64) 65/4/44
image Image 3 for SM (63) 65/4/48 (64) 65/4/44
  • image Image 1 for SM (63) 65/4/48 (64) 65/4/44
  • image Image 2 for SM (63) 65/4/48 (64) 65/4/44
  • image Image 3 for SM (63) 65/4/48 (64) 65/4/44

Reference number

SM (63) 65/4/48 (64) 65/4/44

Purpose

Preliminary alternative designs for the Mausoleum (2)

Aspect

63 Elevation and section of Mausoleum and (verso, pencil and pen) incomplete elevation of Mausoleum, with some dimensions given 64 Elevation of the lantern and (verso, pencil) design for Greek key decoration

Scale

(63) bar scale of ½ inch to 1 foot (64) bar scale of 1/15 inch to 1 foot

Inscribed

63 altered from 8'.9 to 8'.3, stone, brickwork, dimensions given 64 dimensions given

Signed and dated

(63) L. I. Fields / 29 April 1812 and added later 23rd May 1812 (64) datable to May 1812

Medium and dimensions

(63) Pen, pencil, sepia and rose pink washes, shaded, pricked for transfer on wove paper (685 x 482) (64) pen and sepia wash on laid paper (404 x 251)

Hand

(63) George Basevi (1794-1845, pupil 1810-1816) (Day Book entry for 29 April 1812) with pencil additions by Soane (verso) Soane (64) Soane office with pencil additions by Soane

Watermark

(64) fleur-de-lis within crowned cartouche and below, GJ

Notes

In drawing 63 the Mausoleum has sarcophagi on the three projecting porches and a single urn above in the centre of the lantern. However other urns have been added to the elevation in pencil. These additional urns have been included on drawing 64. The second elevation shows a different design for the lantern and a variation on the incised grooves of the pilasters.

Drawing 63 shows a window with three arched lights, whereas drawing 64 shows a rectangular lattice window. There is just one pencil addition to this drawing and that is to elongate the canopied dome of the lantern. The first drawing shows a section into the entrance of the Mausoleum through an unadorned arch.

Literature

(64) C. Davies, 'Masters of building: the first independent purpose-built picture gallery: Dulwich Picture Gallery', Architect's Journal, April 1984, p. 47; (63-64) F. Nevola, Soane's favourite subject: the story of Dulwich Picture Gallery, 2000, (63) pp. 77 & 187-188; (64) pp. 76 & 188

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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