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You are here: CollectionsOnline  /  Unfinished record drawing of part of a frieze showing in relief two anthemion in ovals linked by foliage to a central acanthus. Unfinished border detail of cyma reversa.
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image Adam vol.26/153

Reference number

Adam vol.26/153

Purpose

Unfinished record drawing of part of a frieze showing in relief two anthemion in ovals linked by foliage to a central acanthus. Unfinished border detail of cyma reversa.

Aspect

Elevation

Inscribed

Inscribed in ink in a contemporary hand Temple of Concord

Signed and dated

  • Undated, probably 1760 - 1763

Medium and dimensions

Black chalk185 x 432

Hand

Nicolas-François-David Lhuiller (attributed to)

Watermark

part

Notes

The surviving fragments from the Temple of Concordia, Rome do not match this drawing (see E. Nash, Pictorial Dictionary of Ancient Rome, 2 vols., 2nd ed., London, 1968, I, p.293). However, this composition is used with minor variations on the façade of Lansdowne House, London (date) and in the description of that building in The Works in Architecture of Robert and James Adam (London, 1773-79), the source is given as the Temple of Concord (see vol.II, part 3, pl.3): 'In which the ornament of the Freeze is taken from the Temple of Concord at Rome'. Stillman has suggested that 'This ancient frieze no longer survives' and its source may have been the Forum of Trajan (see D. Stillman, The Decorative Work of Robert Adam, London, 1966, p.81).

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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