Tombs

NOTES: The sarcophagus was removed to the Vatican Museums in 1912.

NOTES: The sarcophagus was removed to the Vatican Museums in 1912.

NOTES: The sarcophagus was removed to the Vatican Museums in 1912.

NOTES: The mosaics were by Giovanni di Cosma [in Latin Johannes Cosmati]. This drawing is in a small Italian sketchbook, dated 'Napoli, April 17, 1815', from Cockerell's Grand Tour of the eastern Mediterranean and Italy between 1810 and 1817.

NOTES: This drawing is from a sketchbook of 18 leaves used in Italy.

NOTES: This design for a tomb for Henry [illegible] Esq who died on January 2, 1877, does not appear to have been executed.

NOTES: Mamia was a 1st century public priestess in Pompeii, from a prominent family in Herculaneum. Her tomb is in the shape of a semi-circular bench and is found just outside one of the city gates.

NOTES: Semper planned a work entitled ÔÇÿDie Anwendung der Farben in der Architektur und PlastikÔÇÖ (The Use of Colour in Architecture and Sculpture) which was to consist of a collection of chromolithographed plates, issued on subscription, with separate fascicules devoted to a restoration of the Doric order, the Ionic order, the Corinthian order, and examples of polychromy in Etruscan, Roman and Christian works. In 1836 proof prints of a mere six plates were all that were produced. The print catalogued here is one of five presented by Semper to the Royal Institute of British Architects on January 12, 1852, the evening when Thomas Donaldson presented a paper ÔÇÿOn polychromatic embellishments in Greek architectureÔÇÖ.

NOTES: Semper planned a work entitled ÔÇÿDie Anwendung der Farben in der Architektur und PlastikÔÇÖ (The Use of Colour in Architecture and Sculpture) which was to consist of a collection of chromolithographed plates, issued on subscription, with separate fascicules devoted to a restoration of the Doric order, the Ionic order, the Corinthian order, and examples of polychromy in Etruscan, Roman and Christian works. In 1836 proof prints of a mere six plates were all that were produced. The print catalogued here is one of five presented by Semper to the Royal Institute of British Architects on January 12, 1852, the evening when Thomas Donaldson presented a paper ÔÇÿOn polychromatic embellishments in Greek architectureÔÇÖ.

NOTES: In 1845 Brakspear exhibited a drawing at the Royal Academy of Arts, London (no. 1214) which the 'Builder' called "perhaps the finest drawing in the collection [of drawings in the Architecture Room]". The drawing was entitled 'The Parker Monument in Paignton Church, Torbay, Devon'. The drawing seen here appears to be the Kirkham Chantry (late 15th century) in St John's Church, Paignton. There is no Parker Monument in that church, although there is a funerary hatchment to a member of the Parker family hanging in the church.

NOTES: Reproductions of a set of ÔÇÿLecture DiagramsÔÇÖ published with the tenth edition of Banister Fletcher's 'A History of Architecture on the Comparative Method' (1938), revised and corrected for the 11th edition (1943) onwards. They were used for block-making because the original blocks were destroyed at the printers in 1942. The indicated revisions likely principally date from the first post-war edition (13th edition, 1946). Various references suggest this set of Lecture Diagrams came from Sir Banister Flight Fletcher's office and were re-used until the 18th edition (1975).