[6] Finished drawing for the second scheme for the mausoleum, 1761, unexecuted

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Robert and James Adam office drawings
- Monuments and mausolea
  - Bowood Mausoleum, Calne, Wiltshire: mausoleum and monument to John Fitzmaurice, 1st Earl of Shelburne, commissioned by Mary Fitzmaurice, Countess of Shelburne, 1761, executed (23)
    - Preliminary design and finished drawings for the second scheme for the mausoleum, 1761, unexecuted (3)

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Reference number

SM Adam volume 39/84

Purpose

[6] Finished drawing for the second scheme for the mausoleum, 1761, unexecuted

Aspect

Plan of a three-bay T-shaped building containing catacombs, and with a central entrance flanked by niches and a portico of four columns on the front. Elevation of a one-storey, three-bay building with a small central dome, and with a door surmounted by a thermal window in the central bay, flanked by bays containing sculpture-filled niches, and the bays articulated by rusticated Doric columns, and ornamented with voussoirs and a Doric frieze

Scale

bar scale of 3 inches to 1 foot

Inscribed

Design of a Mausoleum proposed to be erected at / Bowood Park in Wiltshire by The Right / Honble The Countess of Shelburne D and some measurements given (verso) 1

Signed and dated

1761
Robt Adam Architect 1761

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (354 x 527)

Hand

Adam office hand, possibly Agostino Brunias, and inscriptions in the hand of Robert Adam

Watermark

VDL surmounted by fleur-de-lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 4
King, 2001, Volume II, p. 215
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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