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  • image SM Adam volume 53/40 (part)

Reference number

SM Adam volume 53/40 (part)


[9] Record drawing for friezes for the principal front, the ante room, the drawing room, and a dressing room


Elevation of friezes. The frieze for the principal front is composed of large anthemia supported by calyx, and small anthemia supported by calyx, tubular flowers, further anthemia, and small tripod pedestals, and the small anthemia are connected by swags of ribbon. The frieze for the ante room is composed of anthemia supported by tubular flowers and calys, connected by festoons of beading, and from the beading are bows supporting festoons of bell flowers, and enclosed rosettes. The frieze for the drawing room is composed of a large peltoid shield, ornamented with a fan, supported by calyx, underneath a segmental frame of beading, supported by calyx and tubular flowers, and this is flanked by anthemia and double calyx, and connected by rinceau. The frieze for the dressing room is composed of anthemia supported by calyx, alternating with arrangements of tubular flowers supported by double calyx, and connected by rinceau


bar scale of 3/4 inch to 1 foot


Sr John Griffin [ _ _ _ _ _ _ _ _ ] (in feint pencil) / (and in pen and underwritten in pencil) Burlington Street / Frontispiece / Anti room / Drawing room / Dressing room

Signed and dated

  • N.D.

Medium and dimensions

Pen and pencil on laid paper of folio page (290 x 472)


Adam office hand, possibly James Adam


VDL V and fleur de lis within crowned cartouche


Bolton, 1922, Volume II, Index p. 50
For a full list of literature references see scheme notes.



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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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