[29] Finished drawing for the west wall of 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 drawings for the music room, 1775, as executed (4)

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Reference number

SM Adam volume 50/33

Purpose

[29] Finished drawing for the west wall of the music room, 1775, as executed

Aspect

Elevation and section of the music room showing an elevation of the organ case. The organ has a base panel ornamented with rosettes enclosed within lozenges and wreaths, above this there is a band of rosettes within roundels and a panel of rosettes and festoons. The stiles are formed from paired Corinthian pilasters, the capitals are ornamented with urns and there is a frieze of fluting with an apron of half rosettes. The central panel is ornamented with arabesques and the case is surmounted by a lyre flanked by draped figures bearing trumpets. The organ is set within a relieving arch and flanked by pilasters ornamented as SM Adam volume 50/34

Scale

bar scale of 3 1/2 inches to 5 feet

Inscribed

Section of one end of the Music Room at Lady Homes (underwritten in pencil)

Signed and dated

Jan 1775
Adelphi Janry 27t 1775

Medium and dimensions

Pen, pencil and wash on laid paper (590 x 442)

Hand

Possibly
Office hand, possibly Joseph Bonomi

Verso

Literature

Bolton, 1922, Volume II, Index p. 48
Hussey and Oswald, 1934, pp. 18-20, 26
Whinney, 1969, pp. 44, 63
King, 2001, Volume I, pp.27, 290-91, fig. 409-10, pl. XIV
For a full list of literature references see scheme notes.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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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