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image Image 1 for SM (2) 63/6/49 (3) 63/6/50
image Image 2 for SM (2) 63/6/49 (3) 63/6/50
  • image Image 1 for SM (2) 63/6/49 (3) 63/6/50
  • image Image 2 for SM (2) 63/6/49 (3) 63/6/50

Reference number

SM (2) 63/6/49 (3) 63/6/50


Presentation drawings showing six alternative designs for a monumental tablet, 9 December 1814 (2)


2 Three elevations 3 Three elevations


(2-3) to a scale


2 The Right Honble Viscountess Bridport, (pencil) No 1, No 2, No 3 3 The Right Honble Viscountess Bridport, (pencil) No 4, No 5, No 6

Signed and dated

  • (2) Lincolns Inn Fields / December 9 1814 (3) Lincolns Inn Fields / December 9th 1814

Medium and dimensions

(2-3) Pencil, pen, burnt umber, sepia and Payne's grey washes, within brown quadruple ruled and wash border on wove paper (517 x 336, 520 x 337)


(2-3) George Basevi (1794-1845, pupil 1810-16)


(2) J Whatman 1811


The three designs in drawing 2 are copied from drawing 1. The three desigs in drawing 3 are copies of elevations of variant prelimnary designs for the freestanding monument to Samuel Bosanquet at Leyton, 1807 (q.v.), adapted as wall tablets. Design 'No. 4' corresponds to SM 63/6/38, reduced in length; 'No. 5' to SM 63/6/43, with the decoration slightly modifiied; and 'No. 6' to SM 63/6/46, a design which was also used for the DeLoutherbourg tomb at Chiswick in 1812.

In a letter from Lady Bridport dated 14 January 1815, she writes of having recently received drawings showing six alternative designs (Priv. Corr. XIII.H.24). Her letter refers to the same designs as in drawings 2 and 3, favouring the design on the right-hand side of drawing 3 but proposing a panel as in the design on the left-hand side of drawing 3. And yet, as her letter makes clear, she is not completely satisfied with any of the proposals:

'Dear Sir / I receiv'd the Drawings by W / Bawdon, & last week your letter. I / should have written to you sooner on the subject of them, but waited in hopes of / seeing a friend, whose opinion I wish'd. / You do not tell on which of the drawings / you would advise me to choose- No 6 / I think I prefer; only instead of the / ---- (illegible) the Palm branch of No 3.' Lady Bridport notifies Soane that the monument must be inserted in the wall and therefore some small alterations may be necesary. Referring to the designs, she writes: 'They are all rather plain, but [any] one / of them, when executed will, I hope, look well & / handsome, which is what I wish. / I had a drawing sent me (as I believe / I mention'd to Mr[s?] Soane) with many / Naval decorations, these have none - / I mainly notice this for your consideration / I do not find any scale - I think on / paper the pannel (which perhaps I do not / rightly call) of No 4 looks better than No 6....'



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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