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  • image SM Volume 42/33

Reference number

SM Volume 42/33




Elevation showing a shouldered frame with cornice and floral drops to be executed in Sienna marble


bar scale 1/12 in to 1 in (approximately)


in the Cloysters of the W: Abbey to the Memy of Jeremia[h] Lewis / Gentleman and labelled Siana

Medium and dimensions

Pen on thin laid paper (190 x 182)


Sir Henry Cheere, Bt (1703-81) or his workshop


scrolly ? W encircled


The wall tablet (presently removed for restoration) was placed in the west walk, fifth bay from the south, of the Cloister of Westminster Abbey. As executed, the inscription reads ' Near this Place / lie the Remains / of Jeremiah Lewis Gent. / Who departed this Life / May the 11th. 1761 / In the 61st. Year of his Age.' The records show that on 29 March 1766, Henry Cheere paid £5.5s.0d for leave to erect the monument (Funeral Fees book), although on 9 June 1765 the Fine had been set at 10 Guineas. It was customary for the sculptor to pay the permission fee. (Information from Miss C.Reynolds, Assistant Keeper of Muniments, Westminster Abbey Library & Muniment Room, 17 July 2007.)As executed, the top of the tablet (where it is shown blank on the drawing) is semicircular. A white and veined yellow marble was used. According to R.Gunnis (Dictionary of British sculptors 1660-1851, rev.ed., n.d.) Sir Henry Cheere, Bart. (1703-81) had a yard near to St Margaret's, Westminster. 'He retired from business in 1770, and on 26 and 27 March of the same year a sale of the contents of his yard was held.' The hand, medium and support are the same as for 42/14 and 42/24 (q.v.) and those drawings have been attributed to Henry Cheere or his workshop.



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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