[18] Design for an aedicule framing an urn over a sarcophagus, 6 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 63/6/57

Purpose

[18] Design for an aedicule framing an urn over a sarcophagus, 6 February 1816

Aspect

Elevation

Scale

bar scale of 1 1/8 inches to 1 foot

Inscribed

N^o2, N^o3 (cancelled), The Viscountess Bridport, (Bailey) Sketch of a design for a Monument to the Viscount Bridport

Signed and dated

Lincolns Inn Fields / 6^th February 1816

Medium and dimensions

Pen, grey and Payne's grey washes, pencil, on laid paper (367 x 518)

Hand

Henry Parke

Watermark

fleur-de-lis within crowned cartouche

Notes

This drawing and SM 63/6/57 are alternative designs , showing the same designs as in presentation drawings SM 63/6/67, SM 63/6/68 and SM 63/6/66. The designs have a similar composition, with a sarcophagus base supporting an Ionic aedicule, and each design has a palm ornament on the pediment. In religious contexts, and especially in Christian funerary ornament, the palm symbolizes victory over death, or eternal peace (P. Lewis and G. Darley, p.226). The Hood coat of arms is also included in all three designs, placed in different positions upon the face of the monument.

Literature

P. Lewis and G. Darley, Dictionary of ornament, 1986, p.226.

Level

Drawing

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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