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You are here: CollectionsOnline  /  Academic study showing a view of a symmetrical pavilion with a dome on a high drum, below which is an apsidal entrance screen of possibly five bays on steps, with aedicular windows on either side and rectangular ones above, and attic storey with figure sculpture. Below this are capricci showing a building with steep drum and dome, portico and projecting wings. At the bottom of the sheet is a detail of two corner bays with Ionic pilasters.
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image Adam vol.55/168

Reference number

Adam vol.55/168

Purpose

Academic study showing a view of a symmetrical pavilion with a dome on a high drum, below which is an apsidal entrance screen of possibly five bays on steps, with aedicular windows on either side and rectangular ones above, and attic storey with figure sculpture. Below this are capricci showing a building with steep drum and dome, portico and projecting wings. At the bottom of the sheet is a detail of two corner bays with Ionic pilasters.

Aspect

Perspectives, detail

Inscribed

Inscribed in ink on drawing 168

Signed and dated

Undated, probably 1755 - 56

Medium and dimensions

Black chalk 312 x 202

Hand

Laurent-Benoît Dewez (attributed to)

Watermark

horned crown

Notes

The smaller perspective is probably related to the scheme in Adam vol.55/164 and the larger pavilion design is part of a series of variations on a symmetrical building with drum and dome, examples of which are found in Adam vol.55/169, 170, 174 and 175. These may all be part of an academic exercise in composition in which Laurent-Benoít Dewez (1731-1812) played a part. There is a more casual, less accomplished version of these schemes in Adam vol.55/51 by Robert Adam.

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.

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