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[45] Presentation drawing for alternative design of Mausoleum
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Reference number
SM 65/4/36
Purpose
[45] Presentation drawing for alternative design of Mausoleum
Aspect
Perspective of the east front with Mausoleum
Inscribed
Dulwich College
Signed and dated
- August 1811
Medium and dimensions
Pen, coloured washes, watercolour technique, shaded, within a seven-ruled pen and sepia and black wash border on wove paper (358 x 523)
Hand
Pupil (George Bailey, George Allen Underwood and George Basevi recorded drawing views of Dulwich in the Day Book entry for 8 April 1811)
Watermark
J Whatman 1808
Notes
The drawings show a different design for the decoration of the Mausoleum. The false doors are now capped by a segmental sarcophagus lid-like ornament, and the lantern is crowned with an acroterion in the form of a segmental pediment enclosing a wreathed eagle and with an antefix on either side. Here the Mausoleum is reduced in height and is no taller than the Gallery roof-line behind, appearing more closely related to the building.
In 'First principles and ancient errors: Soane at Dulwich', Journal of the Society of Architectural Historians of Great Britain, volume 37, 1994, p.108, Andrew Ballantyne writes that the false doors can be seen as 'a re-working of the solid stone 'spirit' doors which are to be found in ancient Egyptian mastabas [burial tombs], through which could pass the spirits of the dead, but not living people, still possessed of their bodies'. The symbolic associations of the false doors demonstrates Soane's fascination with the funerary architecture of antiquity and thus contributes to the sepulchral character of the building.
In 'First principles and ancient errors: Soane at Dulwich', Journal of the Society of Architectural Historians of Great Britain, volume 37, 1994, p.108, Andrew Ballantyne writes that the false doors can be seen as 'a re-working of the solid stone 'spirit' doors which are to be found in ancient Egyptian mastabas [burial tombs], through which could pass the spirits of the dead, but not living people, still possessed of their bodies'. The symbolic associations of the false doors demonstrates Soane's fascination with the funerary architecture of antiquity and thus contributes to the sepulchral character of the building.
Literature
M. Richardson & M. Stevens (ed.), John Soane architect: master of space and light, Royal Academy of Arts, 1999, pp. 176
F. Nevola, Soane's favourite subject: the story of Dulwich Picture Gallery, 2000, pp. 57 & 184
F. Nevola, Soane's favourite subject: the story of Dulwich Picture Gallery, 2000, pp. 57 & 184
Level
Drawing
Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation
If you have any further information about this object, please contact us: drawings@soane.org.uk