[18] Design for the impost for the circular banqueting room, c1770; it is not known if this design was executed

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Robert and James Adam office drawings
- Country houses
  - Alnwick Castle, Northumberland: designs for interior decoration and buildings in the park for the 1st Duke of Northumberland, 1769-83 (36)
    - Designs for the cornice and impost for the circular banqueting room, c1770; it is not known if this design was executed (2)

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Reference number

SM Adam volume 27/39

Purpose

[18] Design for the impost for the circular banqueting room, c1770; it is not known if this design was executed

Aspect

Elevation of an impost, showing connected hexagonal compartments containing alternating oval medallions and urns enclosed within hexagons, and between the hexagonal compartments are rosettes enclosed within fans of trefoils. The whole is surmounted by a band of acanthus leaves, and a band of enclosed acanthus leaves

Scale

to a scale

Inscribed

Impost for the Circular Room at Alnwick

Signed and dated

1770
datable to c1770

Medium and dimensions

Pen and pencil on laid paper (504 x 347)

Hand

Adam office hand, possibly William Hamilton or Joseph Bonomi

Literature

Bolton, 1922, Volume II, Index p. 1
Harris, 2001, pp. 93, 344
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

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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