[30] Finished drawing for a ceiling for the music room, 1775, as executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Home House, Portman Square, number 17 (now 20), London, for the Countess of Home, 1775-78 (73)
      - Finished drawing for a ceiling for the music room, 1775, as executed (1)

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Reference number

SM Adam volume 12/164

Purpose

[30] Finished drawing for a ceiling for the music room, 1775, as executed

Aspect

Plan of a ceiling with apses on the long sides. The ceiling is ornamented with contiguous circles of calyx alternatively ornamented with a figurative medallion encircled by a band of enclosed calyx and rosettes, and a patera encircled within a band of rosettes enclosed within wreaths of beading. Between each circle there is a patera surrounded by calyx and enclosed within a curved lozenge ornamented with a band of laurel leaf tips. The apses are ornamented with a part-patera enclosed within a foil. Beyond this there are bands of swags, arabesques, laurel leaf tips and calyx alternating with rosettes

Scale

bar scale of 6 inches to 10 feet

Inscribed

Cieling of the Music room at Lady Home's in Portman Square. / 164

Signed and dated

Jan 1775
Adelphi / 27. Janry 1775.

Medium and dimensions

Pen, pencil and coloured washes including olive green, verdigris and cerulean blue on laid paper (593 x 449)

Hand

Possibly
Office hand, possibly Joseph Bonomi

Verso

(Modern curatorial hand, pencil) Vol 12 / 63 / vol. 12. 164

Literature

Bolton, 1922, Volume II, Index p. 48
Hussey and Oswald, 1934, pp. 20, 26
Whinney, 1969, pp. 44-5, 64
King, 2001, Volume I, p. 290, pl. XIV
For a full list of literature references see scheme notes.

Level

Drawing

Exhibition history

Original Drawings of Robert and James Adam, Kenwood House, London, 1953

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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