GENERAL DESCRIPTION 
 
 SIR JOHN SOANE'S MUSEUM, 
 
 BRIEF NOTICES OF SOME OF THE MORE INTERESTING 
 WORKS OF ART THEREIN. 
 
 LONDON : 
 
 PRINTED BY SHAW AND SONS, FETTER LANE. 
 
 Trice 
 
 SOLD AT THE MUSEUM ONLY. 
 
GENERAL DESCRIPTION 
 
 OF 
 
 SIR JOHN SOANE'S MUSEUM, 
 
 BRIEF NOTICES OF SOME OF THE MORE INTERESTING 
 WORKS OF ART THEREIN. 
 
 LONDON : 
 
 PRINTED BY SHAW AND SONS, FETTER LANE. 
 
 Price One Shilling. 
 
 SOLD AT THE MUSEUM ONLY. 
 
[entered at stationers' hall.] 
 
TO THE GENERAL DIVISIONS. 
 
 INDEX 
 
 PAGE. 
 
 ENTRANCE FRONT - - - - - - 11 
 
 ENTRANCE HALL AND RECESS - 12 
 
 DINING ROOM AND LIBRARY - - - 13 
 
 LITTLE STUDY - - - - 19 
 
 DRESSING ROOM AND RECESS - 20 
 
 CORRIDOR, adjoining the Picture Room - - 21 
 
 STUDENTS' ROOM 23 
 
 PICTURE ROOM 23 
 
 MONK'S PARLOIR, &c. 28 
 
 Lower Part of the Museum. 
 
 CORRIDOR, ANTE-ROOM, CATACOMBS - 29 
 
 SEPULCHRAL CHAMBER - 31 
 
 CRYPT - 34 
 
 Ground Floor of the Museum. 
 
 UNDER THE STUDENTS' ROOM - - 36 
 
 GALLERY UNDER THE DOME - 37 
 
 RECESS, West End 39 
 
 LOBBY TO BREAKFAST ROOM - 39 
 
 BREAKFAST ROOM 41 
 
 THE STAIRCASE, &c. 44 
 
 SHAKSPEARE RECESS 44 
 
 SOUTH DRAWING ROOM .... 46 
 
 NORTH DRAWING ROOM - 50 
 
 STAIRCASE 53 
 
 TIVOLI RECESS 53 
 
 LOBBY TO MORNING ROOM - 55 
 
 MORNING ROOM 56 
 
 MODEL ROOM AND RECESS - 58 
 
83§^ The Servants are strictly charged not to 
 accept any Money from Visitors. 
 
SIR JOHN SOANE'S MUSEUM. 
 
 In the year 1833, Sir John Soane obtained an 
 Act of Parliament (3rd Will. IV. chap. 4), intitled 
 "An Act for settling and preserving Sir John 
 Soane's Museum, Library, and Works of Art, in 
 Lincoln's Inn Fields, in the county of Middlesex, 
 for the benefit of the public, and for establishing 
 a sufficient endowment for the due maintenance of 
 the same." 
 
 On the decease of Sir John Soane, on the 20th 
 January, 1837, the Act came into operation; the 
 Trustees named therein entered on their trust, and 
 immediately took the necessary steps for carrying 
 into effect the enactments thereof to the fullest 
 extent of which the funds placed at their disposal 
 by the Founder would admit. 
 
 The first section of the Act, which prescribes 
 the Rules of the Institution as respects its public 
 exhibition, enacts, that " the said Trustees and their 
 successors shall and will, from time to time, and at 
 
 B 
 
6 
 
 all times thereafter as occasion shall require, inspect 
 and exercise a due control over the said Museum, 
 Library, Books, Prints, Manuscripts, Drawings, 
 Maps, Models, Plans, and Works of Art, and the 
 House and Offices in which the same are deposited, 
 and provide for the due preservation of the same, 
 in the said House, being No. 13, in Lincoln's Inn 
 Fields aforesaid, so that free access shall be given 
 at least on two days in every week throughout 
 the months of April, May, and June, and at such 
 other times in the same or in any other months as 
 the said Trustees shall direct, to Amateurs and 
 Students in Painting, Sculpture, and Architecture, 
 and to such other Persons as shall apply for and 
 obtain admission thereto, at such hours and in 
 such manner, and under such regulations for 
 consulting and inspecting and benefiting by 
 the said collection, as the said Sir John Soane 
 shall have established previous to his decease, 
 or as the said Trustees shall establish relating 
 thereto." 
 
 The Trustees have consequently, since they 
 entered on their trust, kept the Museum open to 
 general visitors on Thursdays and Fridays during 
 the months of April, May, and June in each year, 
 and likewise on Tuesdays from the first in February 
 
7 
 
 to the last in August, for the accommodation of 
 foreigners, persons making but a short stay in 
 London, artists, and those who, from particular 
 circumstances, may be prevented from visiting the 
 Museum in the months first specified, and to whom 
 it may be considered proper that such favour 
 should be conceded. 
 
 MODE OF ADMISSION, &c. 
 
 Persons desirous of obtaining admission to the 
 Museum can apply either to a Trustee, by letter to 
 the Curator, or personally at the Museum, a day 
 or two before they desire to visit it ; in the latter 
 case, the applicant is expected to leave a card, 
 containing the name and address of the party 
 desiring admission, and the number of persons 
 proposed to be introduced; or the same can be 
 entered in a Book kept for the purpose in the 
 Hall, when, unless there appears to the Curator 
 any satisfactory reason to the contrary, a Card of 
 Admission for the next open day is forwarded by 
 post to the given address. 
 
 Access to the Books, Drawings, MSS. or per- 
 mission to copy Pictures or other Works of Art, is 
 
 b2 
 
to be obtained by special application to the Trustees 
 or the Curator. 
 
 The Trustees are, — 
 
 JOHN TIDD PRATT, Esq. 5, Bolton Street, Piccadilly. 
 SIR CHAS. BARRY, R.A., No. 1, Old Palace Yard. 
 GEO. JONES, R.A., 8, Park Square West, Regent's Park. 
 PHILIP HARD WICK, R.A., 21, Cavendish Square. 
 
 The additional Trustees chosen by different 
 Societies are, — 
 
 SIR PHILIP DE MALPAS GREY EGERTON, Bart. M.P. 
 by the Royal Society. 
 
 The Right Hon. the Earl of ABERDEEN, by the Society of 
 Antiquaries. 
 
 SIR CHARLES LOCK EASTLAKE, P.R.A., by the Royal 
 Academy. 
 
 His Royal Highness PRINCE ALBERT, by the Society of 
 Arts, &c. 
 
 WILLIAM THOMPSON, Esq., Alderman, M.P., by the 
 Lord Mayor and Aldermen of London. 
 
 Curator. 
 
 GEORGE BAILEY, Esq., at the Museum. 
 
 It being impracticable, from the great extent and 
 variety of this Collection, to condense a Catalogue 
 Raisonnee thereof, or even the most concise In- 
 ventory of the different Works of Art therein, into 
 the compass of a moderate sized volume, it has 
 been considered expedient, instead of attempting 
 
9 
 
 such a course, to provide a general description of 
 the place, calculated to inform the stranger and 
 casual visitor of the entire arrangement, and to 
 point out the more prominent and striking objects 
 therein ; leaving those which would be generally 
 considered as less interesting to be studied accord- 
 ing to the taste or leisure of the individual, whether 
 amateur or professional artist, either from his own 
 resources, or with the assistance of the detailed 
 Catalogue, prepared for the purpose and placed on 
 the table in the Library for reference, as may be 
 preferred. 
 
 The small work now produced is little more than 
 an abridgment of that printed by Sir John Soane, 
 in the year 1835, under the title of " Description 
 of the House and Museum on the North side of 
 Lincoln's Inn Fields, the Residence of Sir John 
 Soane, &c, with Graphic Illustrations and Inci- 
 dental Details." 
 
 Of that work only 150 copies were printed, and 
 presented by Sir John Soane to some illustrious 
 personages in this and in foreign countries, to 
 public Literary and Scientific Institutions, and to 
 private friends. 
 
 The peculiar designations given by Sir John 
 Soane in that work to the several rooms and to 
 
10 
 
 various portions of the building are, for obvious 
 reasons, retained in this, as are likewise the 
 positions of the several Works of Art in the 
 Museum, so far as has been found compatible with 
 the arrangements necessary for the accommodation 
 of the greatly increased number of visitors, now 
 that it partakes of the character of a Public Insti- 
 tution, and has ceased to be simply the private 
 residence of an individual artist. 
 
 G, Bailey. 
 
SIR JOHN SOANE'S MUSEUM. 
 
 FICTILE VASES IN THE COLLECTION. 
 
 THE ENTRANCE FRONT. 
 
 In the front of the house is a small court, en- 
 closed with iron railing. 
 
 The Gothic Corbels attached to the piers of the 
 front, between the windows of the ground and of 
 the first floor, are fragments from ancient buildings, 
 erected, probably, about the close of the twelfth 
 century. 
 
12 ENTRANCE HALL AND RECESS. 
 
 The Canephorae, in terra-cotta, on each side of 
 the gallery on the second floor, are copied from 
 the Caryatides in the front of the Temple of 
 Pandrosus, at Athens. 
 
 A flight of stone steps leads from the front court 
 into the 
 
 s 
 
 ENTRANCE HALL AND RECESS. 
 
 The ceiling of the Hall is connected with the 
 walls by a small cove, and is enriched with rosettes 
 in plaster, after the antique. 
 
 The walls are coloured to imitate porphyry, and 
 decorated with casts in plaster after the antique, 
 medallion reliefs, and other sculptures. 
 
 On the west side are three Reliefs: — 
 
 Nymphs decorating a Terminus. (4.) 
 
 A Sacrifice to Bacchus. (5.) 
 
 Nymphs binding Cupid. (6.) 
 
 A marble bust of the late Sir Thomas 
 Lawrence, P.R.A., by R. W. Sievier, Esq. (7.) 
 
 Torso of a female figure (supposed to be 
 Leda, or Psyche,) cast from the antique now at 
 Naples. (8.) 
 
 On the east side are likewise three Reliefs : — 
 
 Cupid asleep, awakened by Nymphs. (13 ) 
 A Vintage. (14.) 
 Cupid bound. (15.) 
 
 The ceiling of the Recess is formed by a portion 
 of a dome charged on four points, with a large 
 
DINING ROOM AND LIBRARY. 
 
 13 
 
 flower in the centre, similar to the original in the 
 soffite of the portico of the temple of Mars the 
 Avenger, at Rome. 
 
 On the walls are two medallion Reliefs : — 
 
 A Sacrifice to Venus. (18.) 
 
 iEneas carrying his father, Anchises, out of 
 Troy. (24.) 
 
 The door, in which are some fine specimens of 
 ancient painted glass, leads into the Staircase, 
 and from thence you enter 
 
 THE DINING ROOM AND LIBRARY, 
 
 which may be considered as one room, 40 feet 
 long and 21 feet broad, being separated only by 
 two projecting piers formed into book-cases, from 
 which springs a canopy composed of three seg- 
 mental arches. 
 
 The ceiling of the Library and Dining Room is 
 formed in compartments, and is enriched with 
 Pictures by the late Henry Howard, R.A. 
 
 In the central compartment {south), surrounded 
 by Paintings of architectural decorations, is repre- 
 sented 
 
 Phoebus in his Car, preceded by Aurora and 
 the Morning Star, led on by the Hours — 
 
 " jocund to run 
 
 His longitude through Heaven's high road;" 
 
 the Zephyrs are sporting in his train. 
 
 The central compartment {north) represents 
 Pandora, whom the assembled Gods " endowed 
 
14 
 
 DINING ROOM AND LIBRARY. 
 
 with all their gifts." Formed by Vulcan, who is 
 contemplating his work, she is dressed by the 
 Graces, and presented by Minerva with a veil and 
 cestus. Near her stands Pitho (the Goddess of 
 Persuasion) : on the left are Phoebus, Diana, 
 Mars, Venus, and Cupid ; on the right, Juno, 
 Cybele, and Bacchus. In the midst, Jupiter, 
 attended by Victory and Nemesis, holds the fatal 
 Vase, fraught with so much mischief to mankind. 
 Iris is hovering in the sky, admiring, and Mercury, 
 putting on his talaria, prepares to conduct the 
 beautiful snare " to th' unwiser son of Japhet." 
 
 In the oblong compartment nearest the door 
 are represented the Horse, or Seasons (anciently 
 supposed to be only three), diffusing their various 
 productions, and in the corresponding opposite 
 compartment, Night is advancing, with the 
 Pleiades in her train. 
 
 The picture in the semi-circular compartment 
 nearest the door, represents Epimetheus receiving 
 Pandora; and that nearest the chimney, The 
 Opening of the Vase, whence, according to the 
 poet, issued all the ills of human life. 
 
 The walls are painted of a deep vermilion 
 colour, the Mouldings, the Soffites of the Arches, 
 and the Ornaments, in imitation of bronze ; the 
 general effect is heightened by the introduction of 
 numerous mirrors. 
 
 On the lame Stand at the north end of the room 
 is a Model, in cork, of part of the ancient city 
 of Pompeii, showing the excavations round the 
 
DINING ROOM AND LIBRARY. 
 
 15 
 
 Temple of Isis, the two Theatres, and the place 
 usually known as the Soldier's Quarters, &c, as 
 they appeared in the year 1820. 
 
 Above, are arranged twenty highly finished 
 Models in plaster of Paris, of ancient Greek and 
 Roman Buildings restored, by the late M. Fouquet, 
 of Paris, viz. : — 
 
 The Parthenon, the Propylea, the Tower of 
 Andronichus Cyrrhestes (or Tower of the 
 Winds) ; the triple Temple of Erechtheus, 
 Minerva Polias, and Pandrosus at Athens ; 
 the Temple formerly on the banks of the River 
 Ilissus, and the Arch of Theseus (or Hadrian) 
 at Athens. The Pantheon, the Temple of 
 Antoninus and Faustina, and the Temple of 
 Fortuna Virilis, at Rome. The Circular Pe- 
 ripteral Temple at Tivoli. The Temple of 
 Augustus at Pola. The Great Temple at 
 Paestum. The Portico (or Exchange) at 
 Palmyra ; three Sepulchral Monuments at 
 Palmyra ; the Temple of Venus at Balbec. 
 A Sepulchral Monument at Mylasa. A 
 Design for the restoration of the Mausoleum 
 of Mausolus, and a Model of a Building 
 designed to be erected at St. Cloud, in imitation 
 of the ancient structure at Athens, known as 
 the Choragic Monument of Lysicrates. 
 
 Beneath (in the Pedestal of the Stand), are 
 drawers containing a collection of Prints, and of 
 Architectural Drawings ; amongst which are De- 
 signs for a new Parliament House by William 
 Kent, made about 1740; the original Designs, by 
 
16 
 
 DINING ROOM AND LIBRARY. 
 
 Sir William Chambers, for Somerset Place, and 
 various drawings of those buildings as executed 
 under his superintendence ; and on either side are 
 arranged a variety of antique fictile Vases, Ala- 
 baster Urns, and antique Bronzes. 
 
 On the east side, over the chimney-piece, is a 
 Portrait of Sir John Soane, painted by Sir Thomas 
 Lawrence, P.R.A., in 1829; almost the last picture 
 painted by that distinguished artist. Beneath, on 
 the chimney-piece, is a highly finished Model in 
 plaster of the Board of Trade and Privy Council 
 Offices &c, at Whitehall, being a Design for com- 
 pleting the buildings north and south of Downing 
 Street, made by Sir John Soane in the year 1826. 
 
 Upon the pedestal part of the bookcase in the 
 east pier, between these rooms, is a beautiful 
 Greek painted Vase, of extraordinary design and 
 in fine preservation, which was formerly in the 
 collection of Sir Henry Englefield, Bart.; and near 
 it, to the left, a Bronze Jug, found amongst some 
 ancient ruins in Rome. On the other side of the 
 vase is a Chopine, bearing the date of 1593, dis- 
 covered in digging for the foundations of a house 
 in Bath Street, Bath. 
 
 On the east side of the Library, over the chim- 
 ney-piece, upon the cornice of the bookcases 
 springs a large flat Arch, forming a Recess ; and, 
 to connect the symmetry, there are two semi- 
 circular Arches. Upon the shelf forming the cover 
 of the bookcases, as likewise on the opposite side 
 of the room, are a variety of Greek and Etruscan 
 Vases, of different forms and decorations, likewise 
 
DINING ROOM AND LIBRARY. 
 
 17 
 
 some Specimens of Wedgwood's imitation of 
 Etruscan Pottery ; the walls behind these Vases 
 are covered w T ith looking-glass. 
 
 On the chimney-piece are some Antique 
 Bronzes, and a highly-finished Model of the 
 Corinthian order, after that of the three Columns 
 in the Campo Vaccino at Rome, usually called 
 the remains of the Temple of Jupiter Stator. 
 
 Upon a pedestal table at the south end of the 
 room is a Greek painted fictile Vase, two feet 
 eight inches high, formerly in the Collection of 
 Lord Cawdor. 
 
 Between the piers at this end of the room, are 
 two deep Recesses, filled with bookcases, sur- 
 mounted by Busts of Homer (64), Shakspeare (62), 
 Ben Johnson (63) ,Camden (6 1 ), and Inigo J ones ( 1 ), 
 terminated with two windows, the internal surface 
 of the shutters to which are faced with looking- 
 glass ; the bookcases forming portions of the south 
 end of the room, are connected together by semi- 
 circular Arches. 
 
 The west side of the room corresponds in its 
 architectural decorations with the east side. 
 
 On the pedestal part of the bookcase^ in the pier, 
 is a Model of a Monument erected over a family 
 tomb in the burial ground of St. Giles-in-the- 
 Fields, at St. Pancras, in the year 1815, to the 
 memory of Elizabeth, the wife of Sir John Soane. 
 The tomb now contains likewise the remains of 
 Sir John Soane, and those of his eldest son, Mr. 
 John Soane: on each side of this Model are 
 
18 
 
 DINING ROOM AND LIBRARY. 
 
 several small Busts in Bronze, and two small 
 Vases in Bronze of peculiar design. 
 
 To the right of the entrance door, is a Picture 
 by Sir Joshua Reynolds, P.R.A., called "The 
 Snake in the Grass, or Love unloosing the Zone 
 of Beauty," formerly the property of the Mar- 
 chioness of Thomond, to whom it was bequeathed 
 by Sir Joshua, and at the sale of whose effects in 
 the year 1821 it was purchased by Sir John Soane 
 for 510 guineas. 
 
 The small pedestal Library Table of Walnut 
 Tree beneath, and on which is a marble slab, in- 
 laid with a variety of specimens of rare marbles 
 and precious stones, formerly belonged to Sir 
 Robert Walpole. 
 
 The window at the north end of this room is 
 enriched with several subjects of sacred history in 
 ancient Painted Glass, the splayed jambs of the 
 window being filled in with looking-glass, to add 
 to the effect. 
 
 Under this window is a low pedestal bookcase, 
 on which are two large China Jars, some antique 
 Paterae, and likewise an Astronomical Clock, by 
 Raingo, of Paris, formerly the property of His 
 Royal Highness the late Duke of York. 
 
 In the recesses over the bookcases are several 
 Busts after the antique: — 
 
 One, from the original marble in the British 
 Museum, supposed to be Dione. (82.) Flora. (89.) 
 Sappho. (93.) Faustina. (94.) Plautilla. (106.) 
 Geta. (107). 
 
THE LITTLE STUDY. 
 
 19 
 
 The eight Chairs of singular design, and richly 
 inlaid with mother-of-pearl, bear the arms of Sir 
 Gregory Page, Bart, (the son and heir of Sir 
 Gregory Page of Greenwich, created a baronet in 
 1714), with those of his wife. 
 
 The door at the north-east angle of this room 
 leads into 
 
 THE LITTLE STUDY, 
 
 which contains a considerable Collection of Marble 
 Fragments of Greek and Roman Sculpture, of 
 antique Bronzes, and some curious natural pro- 
 ductions. 
 
 Over the door leading from the Library is a 
 cast in plaster (20) of The Apotheosis of Homer, 
 from the original marble, the work of Archelaus 
 of Priene, formerly in the Colonna Palace at 
 Rome, but now in the British Museum. 
 
 Over the chimney-piece, which is decorated 
 with three pieces of ancient Sculpture (142, 143, 
 1 44), is a large Fragment of an antique Altar (111), 
 several Fragments of Marble Cornices, Bases of 
 Columns, of Candelabra, &c; and in the recesses 
 on each side of the chimney are four ancient 
 Marble Cinerary Urns (139, 140, 146, 147). 
 
 On the west side are likewise many Fragments 
 of ancient Greek and Roman Sculpture, Paws 
 of Animals of fine execution, and some small 
 Models of Bas-reliefs in Wax; likewise a large 
 Fungus taken from the rocks, in the Island of 
 Sumatra (40) ; a beautiful Section of a Cornu- 
 ammonis (33); and some other natural productions. 
 
20 
 
 DRESSING ROOM AND RECESS. 
 
 DRESSING ROOM AND RECESS. 
 
 This room is lighted by two windows ; that on 
 the west side, affords a View of the Monument 
 Court ; that on the east, of the Monk's Yard, &c, 
 in which is a Collection of Gothic Fragments 
 arranged in a picturesque form, so as to resemble 
 the remains of a ruined cloister : these fragments 
 are portions of the ancient Palace at Westminster, 
 known of late as " the Old House of Lords/' and 
 " Prince's Chamber," which being in a very dilapi- 
 dated and ruinous condition, were taken down in 
 the year 1823, in order to form the New Royal 
 Gallery, erected in that year, (and destroyed in 
 the great fire 1834,) from the design, and under 
 the superintendence of Sir John Soane; likewise 
 some Models of Capitals of Columns, and other 
 portions of buildings erected from his Designs. 
 
 In the centre of the ceiling of this room is a 
 highly finished Model of the Domical Light in the 
 New Masonic Hall, erected in the year 1829, ad- 
 joining Freemason's Hall in Great Queen Street, 
 from the Design of Sir John Soane. 
 
 Over the door, south, are some fictile Vases, 
 antique Patera?, &c, and suspended from the 
 sides, and on the shelves over the bookcases, are 
 several interesting ancient Bronzes, viz : — 
 
 A metal Aspersoir ; the Tri-form Diana; an 
 ancient Bronze Lamp, with an early Christian 
 Monogram ; a pair of richly embossed metal 
 Stirrups, found on the banks of the Boyne, &c. 
 
CORRIDOR. 
 
 21 
 
 In this room there are likewise two Drawings of 
 Banditti by Mortimer. (20—23.) 
 
 Two Engravings by Hogarth- — 
 
 The Laughing Audience. (21.) 
 
 The Chorus, or the Rehearsal of the Oratorio 
 of Judith. (24.) 
 
 A small Drawing by Canaletti. (18.) 
 
 Also, a Collection of Casts in sulphur, from 
 Gems, the works of Nathaniel Marchant, R.A. 
 (10—13.) 
 
 The Recess is lighted by a Bell Light, under 
 which is a small antique Marble Capital, a small 
 antique Head in marble, and some Fragments of 
 Foliage of ancient Sculpture. 
 
 From this Recess, you pass through a portion 
 of the Museum into the 
 
 CORRIDOR, 
 
 adjoining the Picture Room, which is lighted from 
 above, so as to exhibit the numerous Architec- 
 tural Ornaments, Marble Fragments, and plaster 
 casts of Cornices, Bas-reliefs, &c. attached to the 
 Walls, in the most effective manner, amongst 
 which the following will probably be generally 
 considered as deserving particular observation: — 
 
 Model in terra-cotta of a Bas-relief, in the 
 Arch of Constantine at Rome — Morning, or the 
 East. (16.) 
 
 The original is about eight feet diameter. 
 C 
 
22 
 
 CORRIDOR. 
 
 Casts in plaster of portions of an ancient 
 Biga. (17—33.) 
 
 Cast in plaster — One half of the Capital of 
 one of the external Columns of the Portico of 
 the Temple of Erechtheus at Athens. (18.) 
 
 Ditto of one of the Antaeof the sameTemple.(19) 
 
 Ditto of the Patera from the frieze of the 
 Temple of Jupiter Tonans at Rome. (20.) 
 
 Fragments of antiq ue Pilaster Capitals. (22, 23.) 
 
 Fragment of part of a Marble Seat of Greek 
 Sculpture. (24.) 
 
 Model in terra-cotta of a Bas-relief, from 
 the antique in the Arch of Constantine at 
 Rome — Evening, or the West (32), companion 
 to (16). 
 
 Marble Fragment of ancient Sculpture, pro- 
 bably part of a Fountain. (35.) 
 
 Cast in plaster of part of an antique Bas- 
 relief, representing the Temple of Apollo at 
 Delphos, with a Sacrifice. (37.) 
 
 Model of a Sleeping Girl, by Thomas Banks, 
 R.A., being the original study (1793) of the 
 monument to Miss Boothby, the daughter of 
 Sir Brooke Boothby, in the church at Ashbourne, 
 in Derbyshire. (44). 
 
 Cast in plaster of part of the Cornice of the 
 three Columns in the Catnpo Vaccino at Rome, 
 generally known as the remains of the Temple 
 of Jupiter Stator. (45.) 
 
 Also of part of the Capital. (47.) 
 
STUDENTS* ROOM. — PICTURE ROOM. 23 
 
 Casts in plaster from the Bosses of the 
 large Window in the south front of Westminster 
 Hall. (68—94.) 
 
 The grotesque heads and foliage, &c, are 
 casts from ornaments in the interior of West- 
 minster Hall. (25, 26, 27, 28, 48, 49, 52, 60, 79, 
 80, 81, 82.) 
 
 Cast in plaster, — one quarter of one of the 
 Capitals of the Circular Peripteral Temple at 
 Tivoli. (75.) 
 
 Cast from part of the frieze of the same 
 Temple. (88.) 
 
 A fragment of an Egyptian Capital. (76.) 
 
 STUDENTS' ROOM. 
 
 The Staircase at the north end of the Corridor 
 leads into the Students' Room, the ceiling and 
 walls of which are covered with Plaster Casts 
 from Antique Ornaments, fragments of Ancient 
 Sculpture, &c. 
 
 There is likewise a large Collection of Models 
 in Wood of various Modern Buildings, chiefly 
 erected from the Designs and under the superin- 
 tendence of Sir John Soane. 
 
 The drawers contain a Collection of Architec- 
 tural Drawings of various descriptions. 
 
 Returning to the Corridor, you enter 
 
 THE PICTURE ROOM, 
 
 lighted from the top, the Ceiling of which is most 
 elaborately enriched with Plaster Ornaments, in 
 compartments, forming Arched Canopies. 
 
 c2 
 
24 
 
 PICTURE ROOM. 
 
 On the north and west sides of this room are 
 Cabinets, and on the south are Movable Planes, 
 with sufficient space between for Pictures. By 
 this arrangement, the small space of 13 feet 8 
 inches in length, 12 feet 4 inches in breadth, and 
 
 19 feet 6 inches in height, which are the actual 
 dimensions of this Room, is rendered capable of 
 containing as many Pictures as an ordinary 
 Gallery of the same height, 45 feet long and 
 
 20 feet broad. 
 
 The pedestal Cases in this Room contain Books 
 relating chiefly to the Fine Arts. 
 
 The following are some of the most interesting 
 Pictures, Drawings, &c. in this room : — 
 
 In the Cabinet, north side, are 
 Four Prints, by Piranesi, viz. — 
 
 View of the Triumphal Arch of Septimius 
 Severus at Rome. (31.) 
 
 View of the Pantheon at Rome. (32.) 
 
 View of the remains of the Monument 
 of Cecilia Metella at Rome. (33.) 
 
 View of the Triumphal Arch of Constantine 
 at Rome. (34.) 
 
 Study of a Head from one of the Cartoons, 
 by Raffaele d'Urbino. (35.) 
 
 Pope Leo the Tenth ordered Raffaele d'Urbino to 
 paint twelve cartoons, in order to have twelve pieces 
 of tapestry worked after them, which were accord- 
 ingly finished in Flanders. Seven of the Cartoons 
 were brought to England, and the other five re- 
 mained in the family of the weaver for several gene- 
 rations. The few Heads that could be saved out of 
 thern were brought to England about the year 1720, 
 and sold to Mr. Jonathan Richardson, sen. 
 
PICTURE ROOM. 
 
 25 
 
 Copy of two Heads from one of the Cartoons 
 of Raffaele d'Urbino, made by John Flaxman, 
 Sculptor. (36.) 
 
 Painting, by the late John Jackson, R.A. — * 
 Portrait of a Lady. (37.) 
 
 Painting, by Sir A. W. Callcott, R.A.— The 
 Passage Point, an Italian composition. (38.) 
 
 Painting, by Henry Howard, R.A. — Comus 
 listening to the Incantations of Circe. (48.) 
 
 " I have oft heard 
 
 My Mother Circe, with the Sirens three, 
 
 Amidst the flowry-kirtled Naiades, 
 
 Culling their potent herbs and baleful drugs ; 
 
 Who, as they sung, would take the prison'd soul, 
 
 And lap it in Elysium : Scylla wept, 
 
 And chid her barking waves into attention, 
 
 And fell Charybdis murmur'd soft applause." 
 
 Painting on Copper — The Virgin, Saints, &c. 
 
 Drawing by the late Joseph Gandy, A. R.A. — 
 An idea for the Restoration of the ancient 
 Temples at Eleusis. (49.) 
 
 Painting, by Francis Danby, A. R.A. — Moon- 
 light Scene from the Merchant of Venice- 
 Lorenzo and Jessica. (50.) 
 
 " How sweet the moonlight sleeps upon this bank ! 
 Here will we sit, and let the sounds of music 
 Creep in our ears." 
 
 Painting, by Zucherelli — A Landscape with 
 figures. (141.) 
 
 On the doors of the Cabinet on the north side, 
 and the corresponding Planes on the south side 
 are — 
 
 Two Drawings in body colours, by W. Hodges, 
 R.A. — Views in India. (52, 55.) 
 
26 PICTURE ROOM. 
 
 Four Paintings, by W. Hogarth — " An 
 Election," viz. — 
 
 The Entertainment. (53.) 
 
 The Canvassing for Votes. (56.) 
 
 The Polling. (73.) 
 
 The Chairing of the Members. (78.) 
 
 These pictures were painted between the years 
 1753 and 1758, and purchased of Hogarth by 
 David Garrick, under rather peculiar circumstances, 
 for 200/. They were purchased by Sir John Soane, 
 at the sale of Mrs. Garrick's effects in 1823, for 
 1650 guineas. 
 
 At the east end of the room are three Paintings, 
 bv Canaletti, viz. : — • 
 
 A View in Venice, with the Rialto. (61.) 
 
 A View of the Piazza San Marco inVenice (63.) 
 
 A View on the Great Canal at Venice. (66.) 
 
 This picture, which is considered by many as the 
 chef-d'oeuvre of Canaletti, was formerly in the 
 collection of Alderman Beckford, at Fon thill. 
 
 There are likewise in this Room fifteen original 
 Drawings in Indian ink, by Piranesi — 
 
 Views of the Temples atPaestum. (51, 54, 69, 
 70, 71,72,74, 75, 76,77, 125, 133, 139, 140, 146.) 
 
 Eleven Drawings in body colours of Archi- 
 tectural Ruins, by Clerisseau. (64, 65, 67, 68, 
 102, 103, 104, 128, 138, 209, 210.) 
 
 On the Movable Planes on the south side, and 
 in the Recess behind, are a variety of Architec- 
 tural Drawings, from the Designs of Sir John 
 Soane, and of Buildings erected under his super- 
 
PICTURE ROOM. 
 
 27 
 
 intendence; and on the sides of the Recess there 
 are likewise — 
 
 A Painting, by the late Sir F. Bourgeois, R.A. 
 — A Scene in Coriolanus, with a Portrait of the 
 late John Kemble as Coriolanus. (99.) 
 
 A Painting, by Watteau— "Les Noces." (111.) 
 Portrait of Sir John Soane, painted in the 
 year 1779, at Rome, by Hunneman. 
 
 In the Recess is a Statue of a Nymph, by Sir 
 R. Westmacott, R.A., from the original marble in 
 the possession of the Earl of Carlisle ; behind it, a 
 Model of the Board of Trade and Council Offices 
 at Whitehall, as erected under the superintendence 
 of Sir J. Soane in the years 1824-7 ; and in front, 
 is a Model of the south front of the Bank of 
 England, as rebuilt from his Designs in the years 
 1823-5. 
 
 On the west side of the room are — 
 
 A Portrait of Sir F. Bourgeois, R.A. (144.) 
 A Painting, by Mrs. (since, the Baroness) 
 
 Cosway — A Persian Lady worshipping the rising 
 
 Sun. (145.) 
 
 A Sketch in oil, by Sir James Thornhill (126), 
 of his original design for the Ceiling of the 
 Great Hall at Greenwich Hospital. 
 
 A Painting, by W. Hamilton, R.A.— The 
 Landing of King Richard the Second at 
 Ravensburg. (147.) 
 
 A Painting, by H. Fuseli, R.A.— The Italian 
 Count. (143.) 
 
 A Painting, by E. Bird, R.A.— The Cheat 
 detected. (149.) 
 
28 monk's parloir, oratory, &c. 
 
 A Portrait of Sir John Soane, in Masonic 
 Costume, by the late John Jackson, R.A. (142.) 
 And 
 
 Portrait of Mrs. Soane, by the same artist 
 (148) left unfinished, in consequence of his 
 decease, in 1831, when he was engaged on this 
 picture. 
 
 In the Cabinet on the left of the door is a 
 Painting, by Samuel Scott — " View on the River 
 Thames near the Tower of London ; " some 
 Architectural Drawings by Zucchi and others; 
 and in the Cabinet on the right side are several 
 Architectural Drawings by Piranesi and Bibiena. 
 
 Leaving the Picture Room and repassing the 
 Corridor, the small Staircase to the right hand 
 leads to the lower part of the Museum and the 
 apartment designated 
 
 THE MONK'S PARLOIR, ORATORY, &c. 
 
 The ceiling and walls of this room are covered 
 with numerous Fragments and Casts in plaster of 
 different parts of Ecclesiastical and other Struc- 
 tures of the Middle Ages, a variety of carvings in 
 Wood and Ivory, sundry Engraved Brasses, &c. 
 
 The large window, doors, &c, are filled in with 
 specimens of ancient Painted Glass, the greater 
 number being scriptural subjects. 
 
 From the window of this room a view is ob- 
 tained of the Gothic Fragments, noticed at p. 20, 
 which are arranged to resemble the remains of a 
 ruined cloister. 
 
CORRIDOR, ANTE-ROOM, CATACOMBS, &C. 29 
 
 The Glazed Cases on the east side contain a 
 collection of Vases found in ancient Tombs in the 
 interior of Peru, and some other antiquities. The 
 Cabinet on the south side, and the Drawers on the 
 west side, are filled with Architectural Drawings. 
 
 In the small recess at the north-east angle, 
 designated the Oratory, is a fine specimen of 
 ancient Flemish Carving in Wood, representing 
 the Crucifixion. 
 
 Lower Part of the Museum. 
 
 CORRIDOR, ANTE-ROOM ; CATACOMBS, &c. 
 
 From the Monk's Parloir you pass into the 
 Corridor, in which are a variety of Busts, Statues, 
 and Architectural Fragments, amongst which may 
 be noticed — 
 
 A Bust of General Paoli. (127.) 
 A Mask of Mary, Queen of Scots. (122.) 
 A Bust of Napoleon the First. (589.) 
 Two antique marble Capitals from the Villa 
 Adriana. (137, 138.) 
 
 A medallion Relief in plaster, from one in 
 the Lothbury Court of the Bank of England, 
 executed by Thos. Banks, R.A. in the year 1801, 
 after the antique in the Arch of Constantina 
 at Rome. (139.) 
 
 An ancient Roman Altar, in Marble. (515.) 
 
 A Bas-relief, by John Flaxman, R.A., 
 representing Piety, part of a monument to 
 
30 CORRIDOR, ANTE-ROOMS, CATACOMBS, &C. 
 
 Mrs. Samuel Knight, in Milton Church, near 
 Cambridge. (217.) 
 
 A Model, in clay, of the Statue of Sir Joshua 
 Reynolds, P.R.A., in St. Paul's Cathedral, by 
 J. Flaxman, R.A. 
 
 In the Ante-Room is a fine Cast of the cele- 
 brated Statue of the Venus de Medicis. 
 
 On the table, inlaid with a variety of speci- 
 mens of Marbles, are — 
 
 A Bust of the late J. P. Kemble, modelled 
 by J. Gibson. (303.) 
 
 Two antique marble Heads. (302, 304.) 
 Two antique Heads in plaster — The Sons of 
 Laocoon. (305, 307.) 
 
 A Bust in plaster, — the Baron Cuvier, by 
 P. Merhews, presented by Madame Cuvier to 
 the late Sir Thomas Lawrence. (306.) 
 
 Against the east wall is a Bas-relief, represent- 
 ing the Graces gazing on a sleeping Cupid (265) ; 
 and various Architectural Ornaments in plaster. 
 
 The sash-door on the east side of this room 
 leads into the Monument Court, the walls of 
 which are enriched with various fragments of 
 ancient buildings and pieces of sculpture. In the 
 centre is an " Architectural Pasticcio," about thirty 
 feet high, composed of a marble pedestal, — a marble 
 capital of Hindu architecture, — a capital in stone of 
 the same dimensions and design as those in the 
 temple at Tivoli, — and another capital of Norman 
 
THE SEPULCHRAL CHAMBER. 
 
 31 
 
 design ; these are surmounted by architectural 
 groups of varied forms, composed of fragments 
 from different works, chiefly in cast iron, placed 
 on each other; the whole terminated with a pine- 
 apple. 
 
 On the south side of the Ante-Room are — 
 
 A Bas-relief, by T. Banks, R.A.— The Angel 
 opening the door of St. Peter's prison. (278.) 
 
 A Cast in Plaster, alto-relievo, — " Endymion." 
 (279.) 
 
 A medallion Portrait of Handel. (280.) 
 
 On the west side are a variety of Casts in plaster 
 of Architectural Ornaments ; and on the north 
 side, a Cast in plaster, alto-relievo, — "Perseus and 
 Andromeda." (323.) 
 
 In the Catacombs, at the north-west angle, is 
 a collection of ancient marble Cinerary Urns and 
 Vases, &c. 
 
 Two antique marble Windows, turning on 
 pivots, and sculptured on each side. (413, 415.) 
 
 A Model in clay of Hercules holding 
 Cerberus, by Henry Webber. (405.) 
 
 Antique Bas-relief in terra-cotta, found in the 
 ruins of Hadrian's villa near Rome. (428.) 
 
 THE SEPULCHRAL CHAMBER 
 
 is the next object of attention, in the centre of 
 which, raised a few inches above the level of 
 the pavement, is the splendid ancient Egyptian 
 
32 
 
 THE SEPULCHRAL CHAMBER. 
 
 Sarcophagus discovered by Belzoni, 19th of 
 October, 1817, in a Royal tomb in the valley of 
 Beban el Malook, near Gournou, Thebes. 
 
 Beneath the Sarcophagus are 18 fragments of 
 the cover. 
 
 It is thus described by Belzoni : — 
 
 " What we found in the centre of the saloon merits 
 the most particular attention, not having its equal in 
 the world, and being such as we had no idea could 
 exist. It is a Sarcophagus of the finest Oriental ala- 
 baster, and is transparent when a light is placed in 
 the inside of it. It is minutely sculptured, within and 
 without, with several hundred figures, which do not 
 exceed two inches in height, and represent, as I sup- 
 pose, the whole of the funeral procession and cere- 
 monies relating to the deceased, united with several 
 emblems, &c. I cannot give an adequate idea of this 
 beautiful and invaluable piece of antiquity, and can 
 only say, that nothing has been brought into Europe 
 from Egypt that can be compared with it. The 
 cover was not there ; it had been taken out and 
 broken into several pieces, which we found in digging 
 before the first entrance."— Narrative of the Opera- 
 tions and recent Discoveries in Egypt and Nubia, 
 p. 236. 
 
 The Sarcophagus is formed out of an astonish- 
 ingly large mass of the variety of calcareous Stone 
 to which the name of Arragonite has been given. 
 
 The external dimensions are as follow : — 
 
 Length at the top, 9 feet 4 inches ; breadth, 
 in the widest part, 3 feet 8 inches ; depth at the 
 head, 2 feet 8 inches; depth at the foot, 2 feet 
 3 inches. 
 
 The sides are about 2^ inches thick at the top, 
 increasing a little in thickness towards the bottom, 
 which is about 3^ inches thick. 
 
THE SEPULCHRAL CHAMBER. 
 
 33 
 
 It was purchased by Sir John Soane of Mr. 
 Salt, in the year 1824, for the sum of £2,000. 
 
 The exact period in which this splendid Monument 
 of remote antiquity was produced, and even the use to 
 which it was originally applied, appears still to be in- 
 volved in some uncertainty. 
 
 When it was first discovered by Belzoni, it was con- 
 sidered by Dr. Young to be the Tomb of Psammis. 
 
 The Hieroglyphics in the Cartouche, which are 
 supposed to express the name of the Sovereign in 
 whose reign it was formed, and whose body it ori- 
 ginally contained, indicate that of Osirei-meneph- 
 tha, or Oi-menephtha, according to the force 
 which may be given to the first character in his name, 
 who reigned about 1350 years B.C., or, according to 
 Rossellini and others, 1580 years B.C., and was the 
 father of Rameses 2nd, whose conquests are repre- 
 sented on the great Temple of Ammon at Thebes. 
 
 Sir Gardner Wilkinson has however expressed an 
 opinion that it was not the Sarcophagus, but a 
 Cenotaph to that monarch.* 
 
 Behind the arch, on the north side, is a recess, 
 the walls of which are decorated with Casts of 
 Architectural Ornaments from the Antique, and 
 numerous fragments of Sculpture ; and in which 
 is the outer wooden case of a Mummy, of singular 
 form and workmanship, formerly in the gallery of 
 the Duke of Richmond, at Whitehall (516.) A 
 Cast from the candelabrum in the Villa Borghese 
 (500), and a Canopus Vase. (499). 
 
 In the recess on the west side is a colossal 
 bronze Head of 'Jupiter* (437); a Cast from a 
 colossal Head of Egyptian Sculpture, in the 
 possession of Samuel Rogers, Esq. (443); and, 
 beneath it, a Bust in marble of Heydigger (444), 
 Master of the Revels to King George the Second ; 
 likewise a large antique Vase of terra-cotta (451), 
 and another of Oriental alabaster. (450.) 
 
 * See Topography of Thebes, p. 108. 
 
34 
 
 CRYPT. 
 
 On the south and east sides of the Chamber are 
 a variety of fragments of antique Sculpture, and of 
 Architectural Ornaments. 
 
 The doorway on the east side leads into the 
 CRYPT, 
 
 in which are several Models, in cork, of Ancient 
 Tombs and Sepulchral Chambers, discovered at 
 Capua, and in different parts of Sicily ; the walls 
 of some are decorated with paintings and sculp- 
 ture ; in the centre of the chamber lies the remains 
 of the deceased, surrounded with vases and other 
 funereal accompaniments. 
 
 ANCIENT TOMB. 
 
 On the north side, is a Patina, discovered in the 
 year 1827, in a Cavern situate in the Caiiadas del 
 Chasma, at the Peak of Teneriffe, and in which 
 were likewise found 13 Mummies of the Guanches, 
 
CRYPT. 
 
 35 
 
 aborigines of the Island ; this vessel is supposed 
 to be at least 500 years old ; there is likewise a small 
 Model, by T. Banks, R.A.— "The Dying Patriot." 
 
 Affixed to the wall is a Marble Tablet, on 
 which is the following Inscription: 
 
 TO THE MEMORY OF A BELOVED WIFE, 
 WHO DEPARTED THIS LIFE 
 ON THE TWENTY- SECOND DAY OF NOVEMBER, 
 1815. 
 
 Epitaph, by a Friend. 
 
 I did not know thee in that happier hour, 
 When smiling youth upon the lap of life 
 Sprinkles her gayest flowers : it was not mine 
 To catch the early sparkles of thine eyes, 
 Or list the playful wit of youthful hours, — 
 Dew-drops that gem the rosy bands of hope, 
 And love, and joy, with graces all their own. 
 Yet, oh ! how much remained to tell the past, — 
 How rich an harvest shew'd what spring had been ! 
 Lamented friend! thou hadst indeed a heart 
 Illumed with virtues, whose transcendent blaze, 
 Like the bright comet, seldom seen, nor long, 
 But once beheld, can be forgot no more. 
 
 There is one, 
 
 Whose stricken heart, whose downward-blending eye, 
 
 Best tell thy goodness, best proclaim his loss; 
 
 For he hath elimb'd the steeps of life with thee, 
 
 Repos'd in myrtle bowers, gained fortune's smile, 
 
 Inhaled the noblest breath of fame, and felt 
 
 That all were sweet, — for all were shared with thee. 
 
 Eternal Father ! Thou, whence all proceeds 
 
 Of woe or joy that marks this mingled state 
 
 Of transient being, look in mercy down, 
 
 To soothe and heal th is lacerated heart ; 
 
 And through the weary lapse of ling'ring time 
 
 Support him, till that welcome hour arrive 
 
 Which grants re-union in a better world! 
 
 And another, beneath — 
 
 TO THE MEMORY OF JOHN SOANE, JUN., 
 WHO DEPARTED THIS LIFE, IN HIS THIRTY-SEVENTH YEAR, 
 ON THE TWENTY- FIRST OF OCTOBER, 
 1823. 
 
 On the south side is a Model, by J. Flaxman, 
 R.A., of a Colossal Statue of Britannia, 230 feet 
 high, submitted by him, in the year 1799, to 
 the Committee for raising the Naval Pillar or 
 Monument, under the patronage of his H.R.H. 
 the Duke of Clarence. The site proposed by the 
 artist was the summit of Greenwich Hill. 
 
36 GROUND FLOOR.— UNDER STUDENTS' ROOM. 
 
 Ascending the Stairs, you return to the 
 
 GROUND FLOOR OF THE MUSEUM. 
 
 Under the Students' Room. 
 
 Amongst the numerous marble fragments of 
 Architectural Ornaments, Sculpture, Busts, Plaster 
 Casts, and Models, in this part of the Museum, 
 the following may be noticed as among the more 
 generally interesting — (the whole of the subjects 
 being, however, numbered, and a manuscript 
 catalogue thereof placed on the table in the 
 Library, any one desirous of further information 
 relative to any part of the Collection can obtain it 
 by reference thereto) : — 
 
 A Cast in plaster of a Colossal Head of 
 
 Minerva — alto-relievo. (102.) 
 
 A Cast in plaster of a Bust of the late John 
 
 Philip Kemble— John Flaxman, R.A. (1143.) 
 
 South side : — 
 
 A Cast in plaster of a Head (supposed Diana), 
 found amongst the remains of an ancient 
 temple at Bath. (1152.) 
 
 A Model in clay of the Monument erected to 
 Lord Mansfield in Westminster Abbey, 1796— 
 John Flaxman, R.A. (1 163.) 
 
 Several ancient Greek terra-cottas, and 
 marble Fragments of ancient Greek Sculpture. 
 (1161, 1162, 1164.) 
 
 Model of a Statue of the Right Hon. William 
 Pitt, in the Town Hall at Glasgow, by John 
 Flaxman, R.A. (1087.) 
 
GROUND FLOOR. — GALLERY UNDER DOME. 37 
 
 Small marble Statue of Venus. (566.) 
 Antique marble Statue of Esculapius. (603.) 
 
 North side : — 
 
 Antique marble Mask, or " Bocca della 
 Verita." (1125.) 
 
 Marble Pilaster Capital, of Greek Sculpture. 
 (1131.) 
 
 Cast in plaster of the Hercules Hesperides, 
 from the bronze Statue now in the British 
 Museum. (1144.) 
 
 Antique marble Statue of the Ephesian Diana, 
 or Dea Multimamma, with appropriate emblems, 
 the extremities of black marble. (613.) 
 
 A Group — The Dying Spartacus, by J. Gott. 
 (1140.) 
 
 Gallery under Dome. 
 
 The front of the continued pedestal round the 
 aperture is decorated with a variety of marble 
 Fragments, and Casts of Architectural Ornaments 
 from ancient buildings. 
 
 On the north side is a Cast from a portion of a 
 large antique frieze, in the Medici Gardens at 
 Rome, and beneath it, a frieze of cinque-cento- 
 work. 
 
 On the south side, a Cast from one of the 
 large festoons of fruit and flowers, between the 
 pilasters under the portico of the Pantheon at 
 Rome. 
 
 D 
 
38 GROUND FLOOR. GALLERY UNDER DOME. 
 
 On the west side, a marble Fragment of an 
 antique Sarcophagus, representing the Rape of 
 Proserpine. 
 
 On the pedestal are arranged a variety of 
 ancient marble Busts, and funereal and baccha- 
 nalian Vases. 
 
 In the centre, on the east side, raised on an 
 ornamental pedestal, is a marble Bust of the 
 Founder of this Museum ; at the back of which 
 is the following inscription : — 
 
 JOHN SOANE, Esq. R.A. 
 
 Presented as a token of respect, by 
 Francis Chantrey, Sculptor, 1830. 
 
 fvach side of the pedestal is a small Statue : — 
 
 On the right, Michael Angelo Buonarotti. 
 
 On the left, Raffaele d'Urbino. 
 
 These two small statues are cast from the original 
 models, by John Flaxman, R.A., in the possession of 
 Samuel Rogers, Esq. 
 
 Above, is a Cast in plaster of the Bust of the 
 
 late Sir Thomas Lawrence, P.R.A., from the 
 
 Marble in the Entrance Hall, the work of B,. W. 
 Siever, Esq. 
 
 On the piers and spandrels of the arches which 
 support the Dome, are a variety of Fragments of 
 ancient Sculpture in marble, of Architectural Orna- 
 ments in marble, and terra-cotta, and Casts in 
 plaster of ancient Candelabra. 
 
 The four Heads on the projecting tablets on the 
 crowns of the arches, are Casts in plaster, from 
 Antique Statues. 
 
LOBBY TO BREAKFAST ROOM. 
 
 39 
 
 The walls are likewise covered with Fragments 
 of marble and Casts from ancient friezes, bas- 
 reliefs, &c. 
 
 In the Recess on the west side stands a Cast in 
 plaster of the Apollo Belvidere. (875.) 
 
 This cast was taken from the original statue, by- 
 Richard, Earl of Burlington, about the year 1718, 
 and placed by him in his celebrated villa at Chiswick. 
 
 On the wall behind, are four plaster Models of 
 designs by John Flaxman, R.A. : — 
 
 A Bas-relief, Adam and Eve in Paradise. (959.) 
 A Group representing Charity. (961.) 
 A Bas-relief, Satan flying from the angels 
 Gabriel and Ithuriel. (965.) 
 
 A Figure representing Faith. (967.) 
 
 Over the bookcases, are Casts in plaster of — 
 
 Portions of a capital, from the Temple of 
 Vesta on the Tiber. (956, 958.) 
 
 Part of the frieze of the circular Temple at 
 Tivoli. (963.) 
 
 Part of the capital of the Three Columns in 
 the Campo Vaccino. (964.) 
 
 Part of the capital, from the Temple at Tivoli. 
 (1027.) 
 
 From the south-west angle of the Museum, you 
 enter the 
 
 LOBBY TO THE BREAKFAST ROOM. 
 
 At the east and west ends^ are two Casts from 
 Medallion reliefs, executed by Thomas Banks, 
 R.A., in the year 1801, in the Lothbury Court of 
 d 2 
 
40 
 
 LOBBY TO BREAKFAST ROOM. 
 
 the Bank of England, after those in the Arch of 
 Constantine at Rome, representing " Morning " (1) 
 and " Evening." (90.) 
 
 Under the Medallion at the west end — 
 
 A Cast from the antique Bas-relief in the 
 
 British Museum — The Apotheosis of Homer. (91.) 
 A Cast from an unfinished work of Michael 
 
 Angelo Buonarotti — The Holy Family. (92.) 
 
 The original Marble is now in the Royal Academy, 
 having been bequeathed to that Institution by the 
 late Sir George Beaumont. 
 
 A large Model in terra-cotta, of the Hercules 
 Farnese. (85.) 
 
 A Cast in plaster of a very elaborately wrought 
 Salver. (20.) 
 
 ABust of Palladio. (43.) A Bust of Matidia.(77.) 
 And three Vases, after the antique. 
 
 On the south side — 
 
 A piece of ancient Mosaic, found in the 
 Emperor Hadrian's Villa, near Rome, repre- 
 senting a Genius in a Car, drawn by two Stags, 
 formerly in the Collection of Bishop North. (23.) 
 
 A large Bas-relief in bronze, representing the 
 Escape of Clcelia and her Companions. (37.) 
 
 Nine Casts in plaster of Architectural Orna- 
 ments, Foliage, &c, of cinque-cento work. (2, 
 3, 4, 5, 6, 7, 8, 32, 33.) 
 
 Likewise several Marble Heads of antique 
 Sculpture, Fragments of Architectural Orna- 
 ments, Pieces of Tessellated Pavement, small 
 Bas-reliefs in terra-cotta, &c. 
 
BREAKFAST ROOM. 
 
 41 
 
 From this Lobby you pass into the 
 
 BREAKFAST ROOM, 
 
 in the centre of which rises a Spherical Ceiling, 
 springing from four segmental arches, supported 
 by the same number of Pilasters ; the Spandrels 
 of the Dome and the Soffites of the Arches are 
 decorated with a number of small Mirrors. 
 
 In the centre of the Ceiling is an Octagonal 
 Lantern-Light, enriched with eight Scriptural 
 Subjects in Painted Glass, and at the north and 
 south ends of the room are Skylights, which 
 diffuse a strong light over the several Pictures 
 and Drawings on the Walls. 
 
 At the north end of the Room is a large 
 Drawing of the Monumental Tomb erected by 
 Sir John Soane, in the year 1815, to the memory 
 of Elizabeth his wife, in the burial-ground of the 
 parish of St. Giles-in-the-Fields, at St. Pancras ; 
 in the vault whereof, the remains of Mr. John 
 Soane, the eldest son of Sir John, who died at the 
 age of 37 years, were deposited on the 29th October, 
 1823; and those of Sir John Soane on the 30th 
 January, 1837. 
 
 On the Bookcase, beneath, stands a small Figure 
 of a Winged Victory, modelled by John Flaxman, 
 R.A., from the original at Rome, on each side of 
 which is a Coloured Engraving by Campanella, of 
 the decorations of the sides of an apartment in the 
 Villa of the Emperor Antoninus Pius, in the Villa 
 Negroni at Rome :— there are likewise in this 
 room six other Engravings of a similar description, 
 
42 
 
 BREAKFAST ROOM. 
 
 several Engraved Portraits of distinguished Per- 
 sonages, and two Prints of Landscapes by William 
 Wollett ; also a small Picture by James Ward, 
 R.A., a Portrait of a Dog, and another by Van 
 Assen of the same subject. 
 
 On the jambs of the centre window, east, are a 
 collection of 100 Casts in Sulphur, from Gems, 
 engraved by Edward Burch, R.A., a small 
 Medallion Head of Inigo Jones, carved in Ivory, 
 and a Drawing by R. Westall, R A., of a Scene 
 from Macbeth. 
 
 In the Cabinets right and left, are two ela- 
 borately finished Drawings of Ancient Ceilings : 
 that on the left, from the Emperor Hadrian's Villa 
 atTivoli; that on the right, from the Baths of Livia, 
 in the Imperial Palace at Rome; an Engraved 
 Portrait of David Garrick, published by Pine 
 in 1779, and a Lithographic Print of Giovanni 
 Belzoni, the discoverer of a variety of Egyptian 
 Antiquities. 
 
 In the centre, on the south side of the room, is 
 a Picture by the late Henry Howard, R.A. — The 
 Contention of Oberon and Titania for the Indian 
 boy. 
 
 Oberon. — " Give me that boy and I will go with thee. 
 Titania. — Not for thy kingdom. Fairies away ! 
 
 We shall chide downright if I longer stay." 
 
 Midsummer Night's Dream, — Scene 2. 
 
 On each side of this Picture, is a view of the 
 interior of one of the Principal Entrances to the 
 New House of Lords, designed by Sir John Soane 
 in 1794. Beneath it, is the original terra-cotta 
 Model of the Sculpture in the Chapel at Blenheim, 
 
BREAKFAST ROOM. 
 
 43 
 
 by Rysbrack, representing the Surrender of the 
 French General, Field Marshal Tallard, to the 
 Duke of Marlborough, after the battle of Blen- 
 heim. Likewise a richly mounted Pistol, said to 
 have been taken by Peter the Great from the Bey, 
 Commander of the Turkish Army at Azof, 1696, 
 and presented by Alexander L, Emperor of Russia, 
 to the Emperor Napoleon, at the Treaty of Tilsit 
 in 1807, who carried it with him to St. Helena, 
 from whence it was brought by a French Officer 
 to whom he made a present of it. 
 
 To the left is— 
 
 A Portrait of Napoleon Buonaparte in his 
 28th year, painted at Verona by a Venetian 
 artist named Goma, in the year 1797. 
 
 On the right — 
 
 A Miniature Portrait of the Emperor Napoleon, 
 painted at Elba, in 1814, by Isabey. 
 
 Under these Portraits are two Medallion Reliefs 
 in plaster — 
 
 A Madonna and Child, after Donatello ; and 
 another from an ancient Bronze found at 
 Dodona. 
 
 This subject is, by some Antiquaries, supposed to 
 be the Visit of Venus to Anchises, from Homer's 
 Hymn; others believe it to be the Apotheosis of 
 Paris and Helen. 
 
 Over the Chimney-piece on the west side, are 
 some Antique Bronzes ; three small Busts, in terra- 
 cotta, of John Flaxman, senior, W. Hayley, the 
 Poet, and Henry Howard, R.A.; and three Bas- 
 reliefs, by John Flaxman, R.A. 
 
44 
 
 THE STAIRCASE. 
 
 The Door at the south-west angle leads to 
 THE STAIRCASE, &c. 
 
 Over the Door leading into the Library, &c, 
 is a Bas-relief representing Autumn : and over the 
 Door leading into the Hall, another, Trajan going 
 to the Chase, modelled after that in the Arch of 
 Constantine at Rome. 
 
 In the Niche at the foot of the Stairs, is a small 
 Model (7), by John Flaxman, R,A., of the Arch- 
 angel Michael overcoming Satan, — from which he 
 executed a large group, in marble, for the Earl of 
 Egremont, at Petworth. 
 
 Ascending a few steps, and passing a large 
 Picture by Durno, painted in Rome, for the late 
 Alderman Boydell, "a Scene from the Merry 
 Wives of Windsor," Act iv. Scene 2, you arrive at 
 
 THE SHAKSPEARE RECESS, 
 
 in which is a Cast of the Bust of Shakspeare, from 
 the Monument in the Church at Stratford-upon- 
 Avon (18); beneath it, a Drawing of one of the 
 Bas-reliefs, by Flaxman, in the front of Covent 
 Garden Theatre, representing the Modern Drama. 
 On the west side are two Paintings, by Henry 
 Howard, R.A.; the larger one, designated the 
 " Vision of Shakspeare/' represents 
 
 The Bard resting on the lap of Fancy, con- 
 templating the "Visions of Glory," which she 
 invokes, while Lyrical Poetry, rising from the 
 Earth, invites him to ascend the brightest Heaven 
 of Invention. Tragedy and Comedy are calling 
 
THE SHAKSPEARK RECESS. 
 
 45 
 
 before him the shadowy forms of his principal 
 Dramatic Characters ; near him Titania, watched 
 by Oberon, is sleeping in her bower, and a train 
 of Fairies are sporting about him : on one side 
 the stars are shooting from their spheres "to 
 hear the Sea-maid's music," on the other side 
 is the Tempest, the Enchanted Isle, and its 
 Inhabitants ; above is Hecate riding on a Cloud ; 
 and Genii, the offspring of Fancy, are hovering 
 near her sweetest Child. 
 The smaller Picture is " Lear and Cordelia." 
 
 " Howl, howl, howl, howl, O ! ye are men of stones ; 
 Had I your tongues and eyes, I'd use them so 
 That Heaven's vault should crack. O ! she is gone for ever." 
 
 In the Window are ten specimens of Ancient 
 Painted Glass, among which are, the Annun- 
 ciation, — the Prodigal Son, — the Raising of Lazarus, 
 —St. Peter, St. Paul, &c. 
 
 Proceeding up the Stairs you pass the Mercury, 
 in Bronze (20), said to be an original work of 
 Giovanni de Bologna ; a small Model by E. H. 
 Baily, E.A. (19), representing "Adam, out- 
 stretched on the cold ground," as described by 
 Milton (Paradise Lost, book 10) ; and a Bust in 
 marble of the late Sir William Chambers, R.A. 
 (21), on the Pedestal of which is the following 
 Inscription : — 
 
 " I herewith transmit you the Bust of the late Sir 
 W. Chambers, so much prized by the Gentlemen of 
 this Department. Their very high esteem for him 
 induced them to obtain the skilful services of Mr. 
 Westmacott as the Sculptor, and he, sharing their 
 veneration for the deceased, exerted himself, as the 
 Bust abundantly testifies." — Extract from a Letter 
 received from J. W. Hiort, JEsq., of His Majesty 1 s 
 Office of Works, December 12, 1832. 
 
46 
 
 SOUTH DRAWING ROOM. 
 
 Over the Door, leading into the north Drawing 
 Room, is a Bust by George Garrard, A.R.A., of 
 Richard Brinsley Sheridan (22) ; and over that, 
 leading into the south Drawing Room, is a Cast 
 from a Relief by H. Webber (23), The Judgment 
 of Midas, to which composition the Gold Medal 
 of the Royal Academy was adjudged in the year 
 1776. 
 
 SOUTH DRAWING ROOM. 
 
 The Ceiling of this room is formed into domical 
 compartments and flat surfaces, enriched with & 
 variety of Architectural Ornaments: the Walls are 
 painted of a deep yellow, and the mouldings 
 coloured to imitate bronze. The doors are of solid 
 mahogany, inlaid with ebony ; the Bookcases are 
 likewise of mahogany. 
 
 The principal Works of Art in this room are as 
 follow : — 
 
 On the Screen in the centre is a series of 
 Eight Paintings, by W. Hogarth — The Rake's 
 Progress. 
 
 These eight pictures, painted about the year 1734, 
 were formerly in the collection of the late Alderman 
 Beckford ; they were purchased by Sir John Soane, 
 in the year 1802, for 570 guineas. 
 
 North side, over the entrance door : — 
 
 A Drawing, by Frank Howard — The Trial 
 of Queen Katharine ; Shakspeare's Henry VIII. 
 Act ii. Scene 4. (1.) 
 
 Six Drawings in body colours, by Clerisseau — 
 Architectural Compositions. (2, 15, 16, 17, 18, 19.) 
 
SOUTH DRAWING ROOM. 
 
 47 
 
 A Drawing in crayons, by Michael Angelo 
 Ricciolinus, from a fresco in the Vatican Palace, 
 painted by Raffaele d'Urbino, about the year 
 1508. Subject — Theology, or the Dispute on 
 the Sacrament. (3). 
 
 Two Drawings by R. Cosway, R.A. : — 
 Andromache and Astyanax. (4.) 
 Mars reposing in the lap of Venus. (20.) 
 
 Four glazed Cases, containing nineteen small 
 Paintings in body colours on silk, by Labelle, 
 consisting of Landscapes, Shipping, and sundry 
 Architectural Compositions. 
 
 At the east end are two Paintings by W. Owen, 
 R.A. :— 
 
 The Portrait of Sir John Soane, in the year 
 1803. (31.) 
 
 The Portraits of Mr. John Soane and Mr. 
 George Soane, sons of Sir John Soane, painted 
 in the year 1804. (30.) 
 
 On the south side — 
 
 A Drawing by Sir P. P. Rubens, of a Design 
 for an Emblematical Frame for the Royal Portrait 
 of King Charles I. (32.) 
 
 A Village Scene, by Isaac Van Ostade. (33.) 
 
 Three Drawings by the late Thomas Stothard, 
 R.A. (34, 35, 36.) 
 
 A Drawing, by Paolo Cagliari (Paolo Vero- 
 nese) from a Picture by Giacomo Robusti 
 (II Tintoretto) in the Church of St. Rocco at 
 Venice. (37.) 
 
 Three Drawings, by Corbould. (38, 39, 40.) 
 
48 
 
 SOUTH DRAWING ROOM. 
 
 A Drawing in body colours, by Clerisseau. (41 .) 
 
 A Drawing in crayons, by Michael Angelo 
 Ricciolinus, after a fresco in the Vatican, by 
 RafFaele d'Urbino, painted about the year 1514, 
 the subject — Attila, King of the Huns, stopped 
 in his advance to the attack of Rome by St. Leo, 
 aided by the miraculous interposition of St. Peter 
 and St. Paul. (42 ) 
 
 At the west end are — 
 
 Two Drawings, by Clerisseau — Architectural 
 Compositions. (43, 54.) 
 
 A Drawing, by J. P. Pannini, representing a 
 View of the Interior of the Paulina Chapel in the 
 Vatican Palace at Rome, and the exposing of the 
 Holy Sacrament, called the Quarant-hora. (44.) 
 
 Five engraved Portraits, viz. — 
 
 James Wyatt, Architect, R.A. (47.) 
 
 Samuel Thornton, Esq., one of the original 
 Trustees of this Museum. (48.) 
 
 George Nugent Grenville Temple, Marquis 
 Buckingham. (49.) 
 
 Samuel Bosanquet, Esq. (50.) 
 
 John Yenn, Architect, R.A. (51.) 
 
 Likewise an engraved Portrait of Sir John 
 Soane, by C. Turner, A. R.A. from the picture 
 by Sir Thomas Lawrence. (45.) 
 
 A Sketch in chalk by John Flaxman, R.A. a 
 Portrait of Mrs. Soane. (52.) 
 
 Two engraved Diplomas of the Royal 
 Academy, the one dated November, 1795, 
 
SOUTH DRAWING ROOM. 
 
 49 
 
 constituting John Soane, Esq. an Associate of 
 the Royal Academy (53) ; the other dated 
 8th April, 1802, constituting him a Royal 
 Academician. (46.) 
 
 On the Tables in the centre, and around the 
 Room, are Glass Cases containing a variety of 
 antique Bronzes, Medals, and other Works of Art, 
 viz. — 
 
 Case 101 contains part of the series of Medals 
 (73 in number) struck in France during the 
 Consulate and the reign of the Emperor 
 Napoleon the First. 
 
 Case 102 contains a further portion (67 in 
 number) of the Series of the Napoleon Medals. 
 
 These Medals were selected by the Baron Denon for 
 the Empress Josephine. 
 
 This Case contains, likewise, impressions in 
 gold, silver and bronze of the Medal struck by 
 the Architects of England in honour of Sir John 
 Soane, and presented to him on the 24th March, 
 1835, and some other silver and bronze Medals; 
 also a Device in Jewelry, representing King 
 Charles the First defending his royal rights, 
 and found among the royal baggage after the 
 battle of Naseby. 
 
 The richly carved and gilded Ivory Table and 
 the four Ivory Chairs in the centre of the room, 
 of Indian workmanship, are said to have been 
 formerly in Tippoo Saib's palace at Seringapatam. 
 
 On the Tables at the east end are Cases con- 
 taining a variety of antique Bronzes, &c. 
 
50 
 
 NORTH DRAWING ROOM. 
 
 In the Recesses over the Bookcases are several 
 Models of Statues by J. Flaxman, R.A., viz. — 
 
 First Sketch of a Statue of the Marquis of 
 Hastings. (125.) 
 
 Ditto of Sir Joshua Reynolds. (127.) 
 
 Ditto of J. P. Kemble, in the character of 
 Cato. (128.) 
 
 Ditto of the Right Hon. William Pitt. (129.) 
 
 Ditto of the Rt. Hon. Warren Hastings. (130.) 
 
 Over the Pillars, on the south side, are several 
 Ancient Busts, likewise 
 
 One of John Flaxman, R.A. (134.) 
 Another of Sir Christopher Wren. (136.) 
 Another of Inigo Jones. (138 ) 
 
 On the Piers between the Pillars are three 
 Medallions after the antique, and in the Recesses 
 are two Casts of antique Candelabra from the 
 Vatican Museum. 
 
 The folding doors form the communication 
 with 
 
 THE NORTH DRAWING ROOM. 
 
 The colour and the general style of decoration 
 of this room corresponds with that of the South 
 Drawing Room, excepting that the centre com- 
 partment of the Ceiling is constructed in the form 
 of a flat groin with a deep coffer and flower in the 
 centre^ and the end compartments plain. 
 
 On the north and south sides of the room are 
 Cabinets formed to contain Drawings similar to 
 those in the Picture Room. 
 
NORTH DRAWING ROOM. 
 
 61 
 
 In this room is a large collection of Architec- 
 tural Drawings, chiefly of buildings designed by 
 Sir John Soane, and several Paintings and Sketches 
 by Modern Masters, amongst which the following 
 are prominent ; — 
 
 A Painting by the late J. M. W. Turner, R.A. 
 
 (59.) Van Tromp's Barge entering the Texel 
 
 in 1645. 
 
 A Painting by Sir C. L. Eastlake, P.R.A. 
 The Cave of Despair, from Spenser's Faery 
 Queen, Book i. Canto 9, Stanza 35, &c. (75.) 
 
 Two Paintings by the late W. Daniel, R.A. — 
 Scenes in the East Indies. (76, 81.) 
 
 A Painting by George Jones, R.A. — The 
 Royal Procession at the Opening of the New 
 London Bridge, 1st August, 1831. (79). 
 
 Two Sketches by George Jones, R,A., made 
 in Westminster Abbey at the Coronation of 
 King William IV. and Queen Adelaide, on the 
 8th September, 1831. (77, 82.) 
 
 A Small Landscape by Ruysdael. (83.) 
 
 A Painting by the late William Hilton, R.A. 
 — Marc Antony reading Caesar's Will. (85.) 
 
 A Drawing in Body colours by George 
 Barrett, R.A. — Scene in Mr. Lock's Park at 
 Leatherhead. (78.) 
 
 Two Drawings made by Sir John Soane, 1779. 
 — A Geometrical Elevation of part of the 
 Entablature and portions of two of the Columns 
 of a Temple at Tivoli. (69.) — A Geometrical 
 Elevation of the remains of a Temple at 
 Tivoli. (73.) 
 
52 
 
 NORTH DRAWING ROOM. 
 
 Seven Drawings of various portions of a 
 Design by Sir John Soane for a new House 
 of Lords, made in 1794, in obedience to an 
 order of a Committee of the House of Lords. 
 (60, 66, 67, 70, 71, 87, 88.) 
 
 Perspective View, the fronts next Abingdon 
 Street and the River Thames, of a Design for New 
 Houses of Parliament and Courts of Judicature, 
 made by Sir J. Soane in 1796. (90.) 
 
 View of a Design for the Royal Gallery in 
 the House of Lords, erected, from the Designs of 
 Sir John Soane, between the 30th October, 1823, 
 and 1st February, 1824. (72.) 
 
 View of the Court of Chancery, at West- 
 minster, as executed from the Designs of Sir 
 J. Soane, in the year 1823. (61.) 
 
 View of the Court of King's Bench, at West- 
 minster, as completed in the year 1826, from the 
 Designs of Sir John Soane. (62.) 
 
 In the Recesses over the Bookcases on the south 
 side are some curious specimens of ancient China. 
 
 The glazed Cases (157, 158) contain a Col- 
 lection of ancient and modern Gems, Cameos, 
 Intaglios, &c, formerly in the Collection of M. 
 Capece Latro, Archbishop of Tarentum. 
 
 A detailed description of these Gems is given be- 
 tween the pages 58 and 69 of the " Description of the 
 House and Museum, &c." which lies on the Table for 
 the use of Visitors. 
 
 Between these Cases is a Chronometer, made 
 by T. Mudge, as a companion to that for which he 
 received the Parliamentary reward of £5,000. 
 
STAIRCASE 
 
 , TIVOLI RECESS. 
 
 53 
 
 Returning to the 
 
 STAIRCASE, 
 and ascending towards the second floor, the first 
 object that presents itself is a Bust of the Right 
 Hon. William Pitt, by Flaxman. (24.) 
 
 Next to this Bust is a Drawing by the late 
 J. M. W. Turner, R.A. 1803.— A View in the 
 Vale of Chamouni. 
 
 Beneath is a lithographic fac-simile of a Drawing 
 made by the late Sir Thomas Lawrence in 1814; — 
 a Portrait of His Majesty King George IV, ; and 
 engraved Portraits of Sir Thos. Lawrence, P.R.A., 
 and of John Flaxman, Sculptor, R.A. The five 
 characters from Shakspeare are Etchings after 
 Mortimer. 
 
 A few steps lead to 
 
 THE TIVOLI RECESS. 
 On the west side near the floor is a Cast of a 
 Bas-relief of a Grecian Feast, arranged and 
 modelled by the late J. Flaxman, R.A., whilst 
 pursuing his studies in Italy. (28.) 
 
 Over it, is a plaster Cast of an Alto-relievo, 
 modelled by T* Banks, R.A., whilst pursuing his 
 studies in Italy between the years 1772 and 1779. 
 The subject is — The Grief of Achilles for the 
 Death of Patroclus,and Thetis, hearing his lamen- 
 tation, rising from the sea to comfort him. (29.) 
 
 Above, is an original terra-cotta Model, by 
 Banks, of one of his most celebrated works — 
 Caractacus before Claudius. (30.) 
 
 The historical circumstances connected with this 
 subject are given in Hume's History of England, 
 chap. i. p. 9, and in the Annals of Tacitus, lib. xii. 
 E 
 
54 
 
 TIVOLI RECESS. 
 
 Over this Model is a Bas-relief in terra-cotta 
 from the Borghese Vase, modelled at Rome by 
 Flaxman in 1788. (31.) 
 
 On the artist's return to England, it was worked 
 in marble for Mr. Knight, of Portland Place. 
 
 On the north side, facing the entrance, is — 
 
 A Model of a Sleeping Child, from the 
 original marble executed by the late Sir Francis 
 Chantrey, R. A., in the year 1820, and placed in 
 the Library at Killerton. 
 
 Over it is a Cast from the Shield of Achilles, 
 designed and modelled by the late John 
 Flaxman, R.A., and executed in silver, gilt, by 
 Messrs. Rundell and Bridge, for His Majesty 
 King George the Fourth. (35.) 
 
 Also Two small Statues of Cupid and Psyche, 
 from the original Marbles worked by John 
 Flaxman, R.A.,for Samuel Rogers, Esq. (33,34.) 
 
 Above is a Copy of a piece of the Entablature 
 of the circular Temple at Tivoli, half the size of 
 the original. 
 
 The Window of Painted Glass is a copy, 
 executed by the late Mr. Collins of the Strand, 
 of one of the compartments of the celebrated 
 window designed and presented by Sir Joshua 
 Reynolds to New College, Oxford, about the 
 year 1777 — The subject, Charity. 
 
 On the Staircase adjoining the Tivoli Recess, 
 is a Model in clay by J. Flaxman, R.A., for a 
 Monument intended to have been erected to the 
 Right Hon. William Pitt. (41.) 
 
LOBBY, &C. 
 
 55 
 
 Over this Model is a Cast from the Antique of 
 a Stork and Serpent, in the Museum of the Vatican. 
 (40.) . 
 
 On the jambs of the window is a Medallion relief 
 of a Cupid Bacchus, crowned with a chaplet of Ivy 
 and Indian Corn, and bound with the Sacred Fillet, 
 copied from an antique Gem by M. Denman (38) ; 
 and a Medallion Portrait of the late J. Flaxman, 
 R.A., at the age of 24, executed by himself. (43.) 
 
 Higher on the Staircase are three small Bas- 
 reliefs, by J. Flaxman, R.A. : — 
 The Golden Age. (45.) 
 
 Mercury conveying Pandora to Epimetheus. 
 (46.) 
 
 The Silver Age. (47.) 
 
 In the niche to the right is a Bust of the late 
 George Dance, Architect, R.A., by C. Rossi, R.A. 
 (50) ; and over is a Cast in plaster of the Ephesian 
 Diana. (51.) 
 
 In the large recessed pannel in the Wall of the 
 Staircase is arranged a number of fine Casts in 
 plaster, from antique Fragments, chiefly in the 
 Museum of the Vatican. 
 
 Through the Archway to the left, you enter the 
 
 LOBBY, &c, 
 
 to the Morning Room and Model Room, the 
 Doors and the Windows of which, looking into 
 the Staircase, are enriched with numerous speci- 
 mens of ancient Painted Glass, and the Walls 
 are decorated with a variety of small Prints and 
 Drawings. 
 
 e2 
 
56 
 
 MORNING ROOM. 
 
 MORNING ROOM. 
 
 In this room is a considerable Collection of 
 Paintings, Drawings, and Engravings, amongst 
 which, on the north side, are — 
 
 Eight Etchings after Mortimer, of various 
 characters in Shakspeare's Plays, viz. — York, 
 Cassandra, Richard II., FalstafF, Edgar, The 
 Poet, Beatrice, Bardolph. (1 — 8.) 
 
 Three Engravings by Bartolozzi, after Designs 
 by Cipriani — 
 
 Maternal Love. (9.) 
 Maternal Solicitude. (10.) 
 Filial Affection. (11.) 
 
 A Portrait of Mrs. Soane, the mother of Sir 
 J. Soane, aged 84, by J. Downman, A.R.A. (13.) 
 
 A Portrait of John Soane, the eldest son of 
 Sir John Soane, aged 12 years, by J. Down- 
 man, A.R.A. (12.) 
 
 On the east side, are — 
 
 Eight Drawings of Heads by Mortimer. 
 (14—19, 26, 28.) 
 
 A Painting by George Jones, R.A. — The 
 Smoking Room at Chelsea Hospital. (23). 
 
 Two Drawings, by J. Webber, R.A. — Scenes 
 from Sterne's Sentimental Journey. (21, 24.) 
 
 Two Drawings by W. Hamilton, R.A. — Girl 
 with Cows, and Children and Donkey. (22, 25.) 
 
MORNING ROOM. 
 
 57 
 
 A Drawing executed with Pen and Ink by 
 John Mathews, copied from a Picture by Andrea 
 Ruthart — David Anointed King by the Prophet 
 Samuel. (20.) 
 
 On the west side : — 
 
 A Drawing by J. M. W. Turner, R.A. 1798, 
 — Part of the remains of Kirkstall Abbey, in 
 Yorkshire. (29.) 
 
 A Painting by Sir A. W. Callcott, R.A.— 
 View on the Thames, below Greenwich. (30.) 
 
 Two Drawings of Landscapes by Ruysdael, 
 from the Collection of Count Victor, originally 
 belonging to Louis XVI. (31, 33.) 
 
 A Drawing by J. M. Moore — The Mountain 
 Lory. (32.) 
 
 Over the Chimney-piece, is a Drawing by the 
 late Mrs. Pope — The Bust of Shakspeare, encircled 
 by all the flowers mentioned in his works. (35.) 
 
 A Drawing of an ancient Fresco in the 
 Aldobrandini Palace, representing the Roman 
 Sponsalia. (37.) 
 
 Two Drawings by Paolo Veronese — St. 
 Matthew and St. Mark, formerly in the Collection 
 of the late B. West, Esq. P.R.A. (36, 38.) 
 
 A Drawing in body colours by Clerisseau, — 
 the Interior of a Sepulchral Chamber. (43.) 
 
 A Painting by John Wood, — Psyche conveyed 
 by Zephyrs to the Valley of Pleasure. (44.) 
 
 A Sketch of a Dog by Rubens, formerly in 
 the Collection of Walsh Porter, Esq. (45.) 
 e 3 
 
58 
 
 THE MODEL ROOM AND RECESS. 
 
 On the small Table, the top of which is inlaid 
 with specimens of various kinds of Marble, is a 
 Cabinet, said to have been presented by King- 
 Philip of Spain, to Queen Mary, of England, 
 
 The door at the south-east angle leads into 
 
 THE MODEL ROOM AND RECESS. 
 
 From the windows in this Recess, views are 
 obtained of the Gardens of Lincoln's Inn Fields, of 
 Lindsey House, (a work of Inigo Jones,) the 
 Royal College of Surgeons, the New Hall and 
 Library of Lincoln's Inn, St. Paul's Cathedral, the 
 Spires of numerous Churches, and other Public 
 Buildings. 
 
 On each side of the centre window are three 
 Paintings by Luigi Mayer, representing the Ruins 
 of the ancient Temples at Agrigentum and Selinunti. 
 
 On the north side, Models of two Medallion 
 Reliefs, after those in the Arch of Constantine at 
 Rome. 
 
 In the recess to the left, is a Model of a Group 
 representing Maternal Tenderness, by John 
 Flaxman, R.A. 
 
 This group was executed as large as life, and put up 
 in Christ Church, Hampshire, to the memory of Lady 
 Fitzharris. 
 
 Above is a small Bas-relief, representing The 
 Adoration of the Magi, by John Flaxman, R.A. 
 
 In the recess to the right is a Figure of 
 
 Resignation, by J. Flaxman, R.A. 
 
 This is a model of a statue forming part of a 
 monument of the Baring family, in Micheldever 
 Church, Hampshire. 
 
THE MODEL ROOM AND RECESS. 
 
 59 
 
 Above, is a Bas-relief, by J. Flaxman, R.A., 
 the subject, Joseph's Dream. 
 
 On the Mahogany Stand, in the centre of the 
 room, are three larg6 Models in cork, of the 
 remains of the Temples at Paestum, and beneath 
 a Model of the remains of the ancient Walls, &c, 
 of the City of Psestum ; a Model of the Temple 
 of Fortuna Virilis at Rome, and a Model of 
 Stonehenge, on Salisbury Plain. 
 
 Amongst the Models placed around the room are 
 the following: — 
 
 In Cork, — the Circular Temple at Tivoli, — the 
 remains of a Structure at Albano, known as the 
 Monument of the Horatii and Curiatii, — the 
 three Columns in the Campo Vaccino at Rome, 
 generally known as the remains of the Temple 
 of Jupiter Stator, — the remains of the Temple 
 of Jupiter Tonans, and the Triumphal Arch of 
 Constantine at Rome. 
 
 Models in Clay > — a Monument designed by 
 T. Banks, R.A., to commemorate a great Naval 
 Victory obtained by Earl Howe ; — a Monument, 
 designed to be erected in memory of Captains 
 Riou and Mosse, who fell in the attack on 
 Copenhagen, 2d April, 1801 , by J. Flaxman, R.A.; 
 — a small Model representing An Escape, or the 
 Intervention of Providence, by C. Rossi, R.A. 
 
 On the Chimney-piece are two Models, by J. 
 Flaxman, R.A., of Hope and Charity, from a 
 Monument in the Temple Church, to the memory 
 of W. Moore, Esq. 
 
60 THE MODEL ROOM AND RECESS. 
 
 On the Walls are a Collection of Architectural 
 Drawings, &c, chiefly of Buildings designed by- 
 Sir John Soane, amongst which are, on the west 
 side, — 
 
 View of a Triumphal Bridge made from the 
 original sketches, by Sir John Soane, of a Design 
 he presented, in 1778, to the Ducal Academy at 
 Parma. (27.) 
 
 A Drawing by T. Sandby, F. Wheatley, and 
 J. Mortimer — View in Privy Gardens, Whitehall, 
 taken about the year 1782, with part of the east 
 front of the Banquetting House. (3.) 
 
 Sketches of a Design for new Houses of 
 Parliament, Courts of Judicature, &c, adjoining 
 Westminster Hall, made from the original Design 
 prepared by Sir John Soane in the year 1796. (4.) 
 
 Drawing by Sir John Soane, 1784 — Section 
 of a Building proposed as a Museum for the 
 Dilettanti Society. (6.) 
 
 View of the new Buildings, forming the 
 principal Alterations and Additions in the 
 establishment of the Royal Hospital at Chelsea 
 executed from the designs and under the 
 superintendence of Sir John Soane, between the 
 years 1809 and 1815. (14.) 
 
 On the north side — 
 
 A View in the Portico, with the principal 
 Entrance, being part of a Design for a Royal 
 Palace, made by Sir J. Soane in 1827. (7.) 
 
 View, from the River Thames, of a Design 
 for new Houses of Parliament, &c, from sketches 
 made by Sir John Soane in 1796. (8.) 
 
THE MODEL ROOM AND RECESS. 
 
 61 
 
 View of a Design for the Fronts next St. 
 James's Park, of the new State Paper Office, 
 made by Sir John Soane, in 1830. (9.) 
 
 Sectional View of a Cenotaph, erected to the 
 memory of the Eight Hon. William Pitt, in the 
 year 1819, adjoining the National Debt and 
 Life Annuities Office, in the Old Jewry, from 
 the Design and under the superintendence of 
 Sir John Soane. (10.) 
 
 The Statue, which is of Bronze, is the work of 
 Sir Richard Westmacott, R.A. 
 
 A View of part of the Museum as arranged 
 in 1813. 
 
 Sketch of a Design for the principal Entrance 
 to a Palace, made in 1821, and proposed, by 
 Sir J. Soane, to be erected on Constitution 
 Hill in the Green Park. (15.) 
 
 View of a Sepulchral Church made by Sir 
 J. Soane, in 1796, and proposed to be erected 
 at Tyringham, in Buckinghamshire. (16.) 
 
 View of a Design for Gothicising the Fronts 
 of the Court of King's Bench at Westminster, 
 made by Sir John Soane, in obedience to an 
 order of a Select Committee of the House of 
 Commons, in May, 1824. (17.) 
 
 View of a Design, made by Sir John Soane 
 in 1823, to render the Entrances into the 
 House of Lords, and the Eooms and Offices 
 appertaining thereto, more commodious, con- 
 sistent with the general plan of the adjacent 
 buildings, and to preserve those great national 
 monuments from destruction by fire. (18.) 
 
62 
 
 THE MODEL ROOM AND RECESS. 
 
 View of a Design for a National Monument, 
 made by Sir John Soane in the year 1818. (19.) 
 
 View of a Design, made by Sir John Soane 
 in 1823, in the Gothic style, to render the 
 Entrances into the House of Lords, &c, more 
 commodious. (20.) 
 
 On the east side are — 
 
 A Drawing in pencil by Sir John Soane, 
 Fragment of an antique Frieze. (1.) 
 
 A Copy in chalk of the Aurora of Guido. (23). 
 
 Three Drawings in one frame. (24, 25, 26.) 
 
 Elevation of the South Front of the Bank of 
 England, as rebuilt from the Designs and under 
 the superintendence of Sir J. Soane, 1823-25. 
 
 View of the Exterior of the Bank of England, 
 taken at the north-east angle. ' 
 
 View of the Exterior of the Bank of England, 
 taken at the north-west angle. 
 
 Four Drawings of remains of Italian Buildings, 
 in body colours, by Fabris. 
 
 Drawing of the celebrated Mosaic Pavement 
 found at Otricoli, now in the grand Saloon of 
 the Vatican, by C. H. Tatham, Architect. (2.) 
 
 Drawing by C. H. Tatham, Architect (5), of 
 a Design for a Ceiling in the Villa Borghese, 
 by Mario Asprucci, Architect, 1796. 
 
 View of a Design for one of the Principal 
 Entrances into the proposed New House of 
 Lords, made by Sir John Soane in 1794 (29.) 
 
THE MODEL ROOM AND RECESS. 63 
 
 A General Plan of the Bank of England as it 
 existed in the year 1831, with an elevation of the 
 South Front. (22.) 
 
 Three Drawings in one frame. (33, 34, 35.) 
 
 Designs made by Sir John Soane for a 
 Monument to His Royal Highness the late Duke 
 of York, as Commander-in-Chief, and submitted 
 to the Committee in 1829. 
 
 London : Printed by Shaw and Sons, Fetter Lane. 
 
1(1 si