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  • image Image 1 for SM 47/3/27
  • image Image 2 for SM 47/3/27
  • image Image 1 for SM 47/3/27
  • image Image 2 for SM 47/3/27

Reference number

SM 47/3/27


[3] Design for a sepulchral chapel, Tyringham Hall, 16 November, 1800


Plans, elevation and detail of a Sepulchral Chapel. The plan at the bottom shows a trefoil structure with a stepped entrance: round on the left, straight on the right and with a porch on two corners. On each straight side are two engaged columns. The interior shows a central hexagonal nave with side chapels each demarcated by a barrier. Part of the fluting effect for ceiling and ceiling boss are visible Above is an elevation similar to SM 47/3/25 only without the projections on the side, instead are statue bases. The screen wall is removed and three windows are visible. Urns are placed around the bottom of the tower


bar scale of 1 inch to 10 feet (plan); 1 inch to 10 feet (elevation)


No.2 / No. 3 / Entrance / Porch / Family Pew / 30 feet diamr / Communion / Table / a. a. / [_ _ _ ] [_ __ _ _ _ _] Pilars / Urn / Urn

Signed and dated

  • 16 November 1800
    Nov: 16: 1800

Medium and dimensions

Pen, pencil and wash on wove paper (515 x 335)


Probably SOANE, Sir John (1754--1837), architect
In the Soane Office Day Books It is recorded Soane spent 15 and most likely 16 November (a week end) on these designs.


A plan for an entrance with a four-columned porch. Above are two elevations for a panelled door. To the left is a design for an urn without handles. Above is a series of steps, and the others are unknown


Produced on the same day as SM 47/3/25, there are differences. Soane seems to be offering alternatives as the to the entrances, with No. 2 signifying a round-stepped entrance, whilst No. 3 is more elaborate, with straight steps followed by a porch to the family pews, A difficulty is seeing where there is access to the nave. The major difference to the elevation is the removal of sarcophagi and their substitution with urns, hence the addition of a detail of an urn and the plan to show their placement.



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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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