[1] Design for a funerary monument, 1769, Adam volume 19/43 executed with minor alterations

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Robert and James Adam office drawings
- Monuments and mausolea
  - Romsey Abbey, Hampshire: Monument to Frances, Viscountess Palmerston, commissioned by Henry Temple, 2nd Viscount Palmerston, 1769, executed (3)
    - Alternative designs for a funerary monument, 1769, drawing 3 executed with minor alterations (3)

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Reference number

SM Adam volume 19/41

Purpose

[1] Design for a funerary monument, 1769, Adam volume 19/43 executed with minor alterations

Aspect

Elevation of a wall-mounted funerary monument, with a central circular inscription panel, enclosed within a fluted frame, and with rinceaux and anthemia in each corner, and the whole set within a square frame of acanthus leaves, flanked by terms in profile, ornamented with drops of calyx, and enclosed rosettes, with an apron of ox skulls, festoons, rosettes, and a central coat of arms, and surmounted by a frieze of triglyphs alternating with lozenge-shaped portrait medallions, and this is surmounted by volutes, ornamented with rosettes and anthemia, supporting winged putto, and flanking an urn

Scale

to a scale

Signed and dated

1769
datable to 1769

Medium and dimensions

Pen, pencil and wash on laid paper (286 x 399)

Hand

Different Adam office hands, possibly William Hamilton or Joseph Bonomi

Watermark

LVG surmounted by fleur de lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 56
King, 2001, Volume II, p. 267
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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