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image Image 1 for Adam vol.21/40
image Image 2 for Adam vol.21/40
  • image Image 1 for Adam vol.21/40
  • image Image 2 for Adam vol.21/40

Reference number

Adam vol.21/40

Purpose

Unfinished capriccio showing an asymmetrical building with a domed circular tower of several stories above a portico with segmental portico on a basement. To one side is a wing of colonnades and pyramid, and to the other a smaller arcaded wing. In the foreground is an equestrian statue.

Aspect

Elevationverso plans

Signed and dated

Undated, probably c.1757

Medium and dimensions

Pencil491 x 714, the shhet has two vertical foldlines

Hand

Robert Adam

Verso

Capricci, in pencil, showing two plans. One is for a square building with concave columned entrance elevation leading to a circular hall with a triangular colonnade, with a symmetrical pavilion at the apex. The other is an orthogonal plan of a triangular building with flanking colonnades and a central pavilion, which may be compared to Adam vol.55/43.

Watermark

Wm. Dovecote

Notes

In the opinion of A. A. Tait, this drawing relates in time and place or subject to those contained in Adam volume 55.The composition is similar to that in Adam vol.10/18 and, like that drawing, it is similarly unfinished on one side and may be related to a vast design for a palace (see Adam vol.28/1 and Adam vol.10/14 verso). It belongs to the period of c.1757 and shows strongly the influence on Robert Adam of Giovanni Battista Piranesi (1720-1778) and the Roman Concorso Clementino designs.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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