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image SM (23) volume 65/89

Reference number

SM (23) volume 65/89


Presentation drawing showing three designs as in drawings 17 to 22, datable to after March 1816


23 Three elevations and two plans


bar scale of ½ inch to 1 foot, approximately


The Viscountess Bridport

Signed and dated

  • Linocolns Inn Fields

Medium and dimensions

Pen, grey and pink washes, on laid paper (465 x 285)


attributed to George Basevi (pupil, 1794-1845)


Phipps & Son 1808


Drawing 23 shows the designs copied in a reduced scale from drawings 17 to 22.

In a letter to Soane, Lady Bridport (Priv. Corr. XIII.H.26 dated 19 March 1816) mentions three designs for the monument, probably referring to the same three alternative designs as shown in drawings 17 to 22. Drawing 23 shows variant positions for the coat of arms as well as alternative pediments and sarcophagus forms. In her letter, dated 7 March 1816, Lady Bridport says that she likes 'No. 1 on the whole the best, but on account of the Arms, there are some objections'. She also proposes 'instead of the arms on the top as in No. 1, to place the Crest inscribed with the ribbon, with which I seal this letter, to which should be added the Viscount's coronet which you will perceive is not on the seal.' Her letter dated 19 March 1816 also concerns the heraldry, and has a rough drawing 'on the other side the manner in which I believe the Arms & Mottos should be plac'd.' (Priv. Corr. XIII.H. 27).



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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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