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image SM (4) 63/6/22

Reference number

SM (4) 63/6/22


Working drawing, September 1786


4 Plan of the monument; elevation of monument; profile; section; and full size details of mouldings, capital base & entablature


full size and bar scale of 1/10 inch to 1 foot


as above, Monument St Stephen's Coleman Street, The vase to / project from / face of tablet / 1/3 of its breadth / in front, C, C, A, B, veined marble, statuary, statuary, veined, veined, veined, veined, veined, dove, dove, statuary, statuary, veined marble, moldings of pannel / in tablet A / full size, observe the face of frieze / is to correspond with/ the lower diamtr of / column, face of frieze, B,

Signed and dated

  • Margaret Street Sepr 1786

Medium and dimensions

Pen and wash, pencil, on laid paper (656 x 580)


attributed to John Sanders (pupil 1784-90)


Drawing 4 shows the same design as drawing 3. The tab-ended tablet is between strigilated ends and framed by an egg and dart ovolo moulding with acanthus corners. The base measures 5 feet wide and the aedicule is 3 feet wide with Doric columns 3 feet 3 inches tall. The urn projects 1/3 of its breadth in front of the monument, approximately 4 1/3 inches.

Drawing 4 shows the distribution of varying types of marble: white statuary marble makes up the inscribed tablet, urn and the aedicule's entablature and pediment; the ends of the base, the Doric columns and parts of the entablature are veined marble; the backing slab is a grey 'Dove' marble.

Soane sent working drawings for the monument to 'Nelson' on 30 September 1786, presumably mason James Nelson, who Soane hired for various projects.



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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