[1] Preliminary and finished drawings for a memorial, 1779, as executed

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Robert and James Adam office drawings
- Monuments and mausolea
  - Queensberry Square, Dumfries: preliminary and finished designs for a memorial commemorating Charles Douglas, 3rd Duke of Queensberry, 1779, as executed (1)

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Reference number

SM Adam volume 44/81

Purpose

[1] Preliminary and finished drawings for a memorial, 1779, as executed

Aspect

Recto: Left: Plan of a column showing a square pedestal and circular column Centre: Principal elevation of a memorial comprising a pedestal adorned with a panel containing a figure leaning over a large urn, and ram heads at each corner, supporting a tall Doric column with a stiff leaf capital and an urn finial above Right: Elevation of the three remaining sides of the pedestal with marble panels left blank for inscriptions and ram heads at each corner Verso: Preliminary drawing of the elevation of a memorial as drawn in the recto

Scale

bar scale of 1 inch to 1 foot

Inscribed

Dorick Column to the Memory of Charles Duke of Queensberry & Dover, upon one side of the Pedestal is proposed a / Basrelief representing Scotland weeping over his Graces Ashes in an Antique Urn / Plan of the Column Pedestal & Step upon which / it is to stand / Three sides of the Pedestal may be / executed like this with Marble Pannells / for Inscriptions with some pencil annotations / (verso) [ _ __ ] of Queensbury Column / (in a different hand) Number 22 with some pencil annotations

Signed and dated

10/04/1779
Adelphi / 10^th April 1779

Medium and dimensions

Pen and pencil on laid paper within a ruled border (636X487)

Hand

Probably
Robert Adam

Literature

Bolton, Volume II, Index, 1922, p10
King, Volume 1, 2001, p371
Further literary references in scheme notes

Level

Drawing

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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