Album containing drawings and sketches, mainly pencil, ink and wash, by Jacob Schnebbelie (1760-92), sometime draughtsman to SA, and others, engravings, a few etchings, aquatints, etc. A number of the unidentified drawings of monuments, views of churches and rural scenes may be by Schnebbelie. Some of the small drawings laid down may originally have formed part of two notebooks of Schnebbelie presented with SCH/02.
There is evidence for the attribution to him of the following:- Coats of arms in the Hungerford chapel, Salisbury (see SCH/03, fols. 58, 95, 107; engraved after Schnebbelie, in R. Gough, Sepulchral Monuments, II, Part II (1796), pl. lvi), fol. 7; colour wash sketches of roundels of angels, Christ in glory, evangelists, OT figures, and occupations of the months, from the former ceiling of the choir of Salisbury Cathedral destroyed in the Wyatt restoration (see Schnebbelie's letters of 14, 15 Sept., 5 Oct. 1789, SCH/03, fols. 85-6, 89-90; Evans (1956), 207), fols. 22-4, 27-32; wash drawings signed by Schnebbelie, fols. 10a, 87, 89. Notes by Schnebbelie:- Instruction to stop work on the plates of the Monastic Remains (Schnebbelie withdrew from this publication; see Gent. Mag., 62 (1792), 189), fol. iii; list of reductions of brasses at Enfield (cf. SCH/03, fol. 55), fol. 89v; list of articles for Schnebbelie's Antiquaries Museum (1791), fol. 90. Several drawings can be associated with monuments in Westminster Abbey (see J. Physick, Church Monuments, IV (1989), 56-7), e.g. the monument to Bishop Boulter (d. 1742) by Sir Henry Cheere, FSA, fol. 47, a design by James Gibb for a monument to ?Matthew Prior (d. 1721), fol. 93, and a copy of the Nicholas Stone monument to Dudley, 1st Viscount Dorchester (d. 1632), fol. 101. Schnebbelie was engaged to draw tombs in Westminster Abbey in 1787 (cf. SCH/03, fol. 3). Pencil drawing of the wallpainting of St Faith, Westminster Abbey, fol. 3a (inf. Dr Pamela Tudor-Craig, FSA). Other drawings are associated with unidentified monuments by Michael Rysbrack, fol. 48, Sir Henry Cheere, fol. 52, and possibly James Gibbs, fol. 33a (inf. Dr John Physick, FSA).
Other contents:- Pencil drawing, unfinished, of an octagonal romanesque font (not illustrated in Archaeologia (10 (1792), 183-209*), fol. iii verso; wash drawing, 1740-50 (inf. Hugh Tait, FSA), of goblets on a tray by Nicholas Sprimont (d. 1771), goldsmith, fol. 1; pencil drawing of the monument of Thomas Cockayne, 1488, and another figure, from Youlgreave, Derbs., fol. 2b; lithograph by Thomas Fisher of the gravestone of Richard Coppyng, 1517, in Hunton church, Kent, fol. 13; wash drawing of a church, with initials 'HHG', fol. 17; wash drawing of the monument of Sir Henry Beaumont (d. 1607) and his wife Elizabeth (Lovis) (d. 1608) in Coleorton church, Leics. (inf. John A. Goodall, FSA; see J. Nichols, History of Leics., III, Part II (1804), pl. CI, 742-4), fol. 20; colour wash drawing of two saints from the royal window in Canterbury Cathedral, fol. 21; tracery from churches in Lincs. and Yorks., fols. 24v-6; aquatints, possibly after tours by the Rev. William Gilpin, fols. 40a, b, 42a; wash drawing of an Italian? monument mounted over a fragment of an Italian music MS (chorus from an opera?, full score, 18th century), fol. 45; colour wash drawing of an Italian? monument, fol. 46; wash drawing of a dramatic scene, by M(ichael) Sharp (d. 1840), fol. 60; pencil drawing of an Egyptian scene including a monument?, pyramid, etc., fol. 74; ink tracing of four figures including John of Gaunt, fol. 83; wash drawing of a church with details, including the font, fol. 97; pencil drawing of a monument in Christchurch, Hants., fol. 103; ink drawing of two brasses at Long Melford, Suff., fol. 105v. Unidentified drawings include monuments, antiquities, architectural details, churches, ruins and rural scenes, some possibly foreign (Low Countries, Italy). The many engravings, mostly late 18th century-1845, include plates from Archaeologia, many London views, by John Le Keux, Thomas Higham, S. Rawle, and others, a coloured engraving (1800), fol. 56, by J. P. Malcolm, a sheet of etchings of London, Regent Street, etc., fol. 81, architectural views, including, fol. 42b, an exemplary plate from Richard Brown's Sacred Architecture (1845). Engraving, after Stukeley's imaginary plan, 1758, of Caesar's Camp at Brill (at St Pancras, London), fol. 105. (Stukeley exhibited his plan, 14 Dec. 1758; Minute Book VIII, p. 98).