Inscribed in ink on drawing 109
Signed and dated
Undated, probably 1756 - 57
Medium and dimensions
Pen, grey wash285 x 215
Black chalk capriccio showing part of a plan for a rectangular hall with columns and semi-circular staircases at either end, and further halls with apsidal ends. This plan is similar to several schemes, either severelytrimmed or unfinished, in this volume.
According to Fleming, this drawing was among '...his [Robert Adam's] recent architectural drawings [that] are very smooth and sophisticated, recalling the work of his French contemporaries in Rome, notably Marie-Jean Peyre, whom he probably knew though he never mentions him in his letters...' (J. Fleming, Robert Adam and His Circle in Edinburgh & Rome, London, 1962, p.229). Fleming also dates this drawing 1756/57. The drawing has been compared with several of the schemes by Laurent-Benoít Dewez (1731-1812) in the Dessins d'Italie section of his surviving Roman drawings (see A. A. Tait, Robert Adam: drawings and imagination, Cambridge, 1993, p.26, and Dewez 1/18 and in the Dewez drawings in the Rijksarchief, Brussels, thirteen albums of which one contains 70 Dessins d'Italie. The use of casual penwork and grey wash are also typical of Dewez's teaching. There is another variation of this plan and related elevations in Adam vol.55/120 verso.
Rep. J. Fleming, Robert Adam and His Circle in Edinburgh & Rome, London, 1962, pl.67
Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation
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