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image SM Adam volume 28/24

Reference number

SM Adam volume 28/24

Purpose

[26] Alternative design for the principal storey of the opera house, c1789, unexecuted

Aspect

Plan of the opera house, with a nineteen-bay east front, formed with paired columns flanking the central bay, and with projecting, single-bay, porticoed pavilions in the first, fifth, fifteenth and nineteenth bays. There is a central horse-shoe-shaped auditorium, with a curved north wall, and curved bench seating surrounded by boxes, with a passageway beyond. The passageway provides access to the east entrance, the oval ballroom (north) and the assembly rooms (west). The stage is positioned to the south of the auditorium, and the proscenium is set with a columnar screen. To the west there is a central octagonal room, flanked by apsidal ended rooms, and each has circular closets(?) To the north of the auditorium there is an oval, colonnaded ballroom, with corner apses and columnar screened entrances to the south, east and west. To the east of the ballroom there is a bifurcated staircase, leading to the east entrance. To the west there is a three-bay room, which leads to an apsidal-ended room with niches, and a vaulted space which links to the auditorium and a further staircase

Scale

to a scale

Inscribed

A second Plan for the Opera House (in the hand of William Adam)

Signed and dated

  • c1789
    c1789

Medium and dimensions

Pen, pencil and wash on laid paper (769 x 476)

Hand

Possibly
Office hand, possibly Robert Morison or Daniel Robertson, with title inscription in the hand of William Adam

Literature

Bolton, 1922, Volume II, Index p. 40
Sheppard, 1960, Volume XXIX, (i), p. 249
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.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).