[23] Preliminary design for a monument for the chapel, c1778, executed with alterations

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Robert and James Adam office drawings
- Country houses
  - Alnwick Castle, Northumberland: designs for interior decoration and buildings in the park for the 1st Duke of Northumberland, 1769-83 (36)
    - Preliminary design for a monument for the chapel, c1778, executed with alterations (1)

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Reference number

SM Adam volume 10/92

Purpose

[23] Preliminary design for a monument for the chapel, c1778, executed with alterations

Aspect

Rough elevation of a tripartite monument, with a central portrait medallion, encircled by a frame of enclosed rosettes, and set against a ground of paterae enclosed within quatrefoils; and this central compartment is flanked by fluted compartments with containing central vesica-shaped figurative medallions. Each compartment is surmounted by a pediment, ornamented with enclosed rosettes, and a with central enclosed urn; and the outer pediments are surmounted by finials, and the central pediment is surmounted by a sculpted lion on a fluted socle

Scale

not to scale

Inscribed

D of North Chapel at Alnwick (in pencil)

Signed and dated

1778
datable to c1778

Medium and dimensions

Pencil and wash on laid paper (251 x 174)

Hand

Robert Adam

Literature

Bolton, 1922, Volume II, Index p. 1
Aymonino, 2010, p. 290
For a full list of literature references see scheme notes.

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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