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image Adam vol.7/35

Reference number

Adam vol.7/35

Purpose

London: Parliament House (designs for). Sketch design for a sculptural group on a plinth showing a standing female figure with a sceptre in one hand and probably a crown in the other, leaning on a unicorn, with a lion on the other side and a cat at her feet.

Aspect

Detail

Inscribed

Inscribed in ink in a contemporary Italian hand Libertà Ingliterra [crossed out]

Signed and dated

Undated, probably 1762-63

Medium and dimensions

Pen, brown wash 216 x 154

Hand

Antonio Zucchi (attributed to)

Notes

This drawing is the companion to Adam vol.7/34, and the pen inscription in Italian is probably in Antonio Zucchi's hand. The figure of 'Liberty' is a standing version of the seated figure in Adam vol.7/34.
The set of pen and wash drawings with heightening, Adam vol.7/21-44, are all designs for the relief decoration of James Adam's Parliament House scheme of 1762/63. The predominant theme is British history and the figures are dressed in either early seventeenth-century or classical costume. The principal draughtsman was Antonio Zucchi (1726-95), although some of the figure compositions are probably the work of Agostino Scara, of whom James Adam wrote that he '... draws figures full as well as Brunias...' (J. Fleming, Robert Adam and His Circle in Edinburgh & Rome, London, 1962, p.279). Adam gave great emphasis in his Parliament scheme to the role of decorative sculpture and this probably explains the survival of so much material of this sort. In his unfinished essay on architectural theory of 1762, Adam explained: 'What is meant by outside decoration is sculpture, statues and bas-reliefs, together with foliage, trophies, frets, interlacings and a thousand such ornaments which, if properly applied, give such amazing magnificence and render an ediface so wonderfully interesting...' (Fleming, op.cit., p.317).

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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