Sketch of a Classical Pedestal 1776 - 1779

Curator: Here we have Thomas Hardwick's "Sketch of a Classical Pedestal," dating from between 1776 and 1779. Hardwick rendered this architectural detail using pencil, and it’s currently housed here at the Met. Editor: My initial impression is one of careful study—a light but precise hand capturing the weight and ornamentation of this classical form. There's a real sense of reverence for the artistry of the original pedestal. Curator: Absolutely. The process of producing a sketch like this underscores the vital role of drawing in architectural education during the late 18th century. It's about understanding construction through direct engagement with materiality—pencil on paper, mimicking stone. And the availability of pencils allowed artists to experiment and make revisions that may not be visible. Editor: Precisely. What stories do you think such architectural forms were intended to convey? I notice the rams' heads, the laurel wreath, the cherub… each element loaded with symbolism related to status, power, and possibly mourning given the funerary inscription, which honors Julia. Who was she in relationship to Hardwick and those viewing his works? Curator: Those symbolic elements speak directly to the revival of classical ideals that influenced so much architecture during this period. It reflects the labor needed to source marble or suitable stone, carve it to such detail, and move it from quarries in places such as Italy. I'm also curious about where the sketch fits within Hardwick's practice. Was this sketch made in preparation for a construction or just pure contemplation of architectural history? Editor: That very specific material production shapes societal relations and belief systems. Perhaps these forms were tied to wealth, or even exploitative forms of production through colonized peoples. Curator: Definitely a point well worth further study. What the history of art allows us to do is imagine alternate approaches for living or seeing art. We begin to interrogate relationships by making those subtle nuances visible through an analysis of drawings like Hardwick’s. Editor: And from understanding this context and those connections we can develop better methods for shaping inclusive architectural systems and futures for the people living with and within these shapes. Thank you for sharing!