[2] 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 19/42

Purpose

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

Aspect

Elevation of a wall-mounted rectangular inscription panel, within a frame, ornamented with fluting, and a central lion mask along the bottom, with an apron of festoons and anthemia, and ornamented with rosettes enclosed within figure-of-eight ribbons to either side, flanked by volutes and terms in profile supporting drops of calyx, and with a frieze of fluting alternating with ox skulls, flanked by enclosed rosettes, and surmounted by anthemia, and a central attic compartment, ornamented with an enclosed rosettes flanked by festoons, and surmounted by a flaming urn, supporting arabesques, and ornamented with festoons, gadrooning, guilloche, and ram masks

Scale

bar scale of 2 1/4 inches to 1 foot

Signed and dated

1769
datable to 1769

Medium and dimensions

Pen, pencil and wash on laid paper (371 x 450)

Hand

Different Adam office hands, possibly William Hamilton or Joseph Bonomi

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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