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image SM Adam volume 12/78

Reference number

SM Adam volume 12/78


[2] Record drawing for a ceiling for the back parlour, 1771, unexecuted


Plan of a rectangular, compartmental ceiling, divided by bands of fret and rosettes, with an additional rectangular compartment screened from the central flat by two columns, and bands of rosettes enclosed within squares, and this additional compartment is ornamented with portrait medallions, enclosed within wreaths of bell flowers, attended by either calyx, or scrolls and anthemia. The central flat has a central octagonal compartment, containing an octagonal medallion, enclosed within a square frame, flanked by hexagonal compartments framed by festoons, and containing oval medallions within figure-of-eight wreaths. The central octagonal compartment is framed by four triangular compartments containing arabesques, and around this is a border of rectangular compartments, with two compartments at the centre of the long sides containing tubular flowers flanked by winged figures and winged griffons with arabesque tails, and with two compartments at the centre of the short sides containing segmental tablets within fluted frames, enclosed within Vitruvian scroll-shaped wreaths enclosing rosettes, and with an enclosed rosette to each side, and the final two rectangular compartments in each corner contain canopies supported by arabesques, anthemia, and rosettes enclosed within wreaths


bar scale of 1/2 inch to 1 foot


Cieling of the back Parlor at Sir George Colebrooke's in Arlington Street / A duplicate / A (in pencil) / B (in pencil)

Signed and dated


Medium and dimensions

Pen, pencil and coloured washes including verdigris, pink and Indian yellow on laid paper (590 x 376)


Adam office hand, possibly Joseph Bonomi


Bolton, 1922, Volume II, Index p. 34
King, 2001, Volume II, p. 180
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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