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  • image SM Adam volume 50/56

Reference number

SM Adam volume 50/56


[4] Preliminary design for the library, c1763, executed with alterations


Plan and laid out wall elevations for a T-shaped room, with a shallow cove, and with a central recessed canted bow on one side, the windows in the bow surmounted by medallions and festoons, and flanked by niches, and oval mirror frames, surmounted by rectangular figurative panels, and opposite is a wall with a central chimneypiece, with Doric engaged column stiles, and a Doric frieze, surmounted by a rectangular overmantel mirror frame, and flanked by large rectangular frames, overdrawn in pencil by tripartite, pedimented bookcases, and flanked by doors, with square figurative overdoor panels, and with five-bay, pedimented bookcases, articulated by Doric pilasters on each end wall, and surmounted by a rectangular figurative panel


to a scale


Sir John Griffin Griffin (in the hand of William Adam) / (and in pencil) Article 16 / 2 Sheets / 2nd Drawing Room / [ _ _ _ ] Drawing Room / This Section that s is the Section that Mr Adair must make his Estimate from. all the Difference is / that there is to be two Bookcases on the Chimney Side the same as in the other Section / with a Pannell over them like that in this Ends over Bookcases / Books & Surbase to be Continued (verso) 1

Signed and dated

  • c1763
    datable to c1763

Medium and dimensions

Pen and pencil on laid paper (757 x 621)


Adam office hand, possibly Agostino Brunias or George Richardson, with pencil-drawn annotations in the hand of Robert Adam, and title inscription in the hand of William Adam


D&CBLAUW and XD&CB within a cartouche


Bolton, 1922, Volume II, Index p. 2
For a full list of literature references see scheme notes.



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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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