[16] Design for an aedicule and sarcophagus composition, including the Hood heraldry, 1 February 1816

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Monuments and mausolea
  - Cricket St Thomas, Somerset: St Thomas's Church: monument to Admiral Hood, 1st Viscount Bridport for Lady Bridport, 1814-1816 (24)

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Reference number

SM 63/6/65

Purpose

[16] Design for an aedicule and sarcophagus composition, including the Hood heraldry, 1 February 1816

Aspect

Elevation, rough elevation and details

Scale

1 1/8 inches to 1 foot approximately

Inscribed

(pencil) Viscountess Bridport, (Soane) dimensions given, (Bailey) Sketch of a Monument to the Viscount Bridport

Signed and dated

1^st February 1816, (Bailey) Feb^y1816

Medium and dimensions

Pencil, pen and wash on laid paper (362 x 521)

Hand

Soane office, Soane and inscription by Bailey

Watermark

fleur-de-lis within crowned cartouche

Notes

The drawing is a design for a monument with an aedicule and sarcophagus arrangement; it is one of the first designs to include the Hood acheivement of arms, having three escallops and flanked by Neptune on the left and a sea-lion on the right (Debrett, p.101).

Erasure marks are on this drawing. A sarcophagus-shaped panel has been altered and reduced to a pedestal.

The date inscribed by George Bailey was added to the drawing well after it was completed, probably when Bailey served as Soane Museum curator, 1837-1860.

Literature

J. Debrett, Peerage of England and Ireland, 1840, p.101.

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

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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