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image Adam vol.9/30

Reference number

Adam vol.9/30

Purpose

Academic study for the plan for a symmetrical pavilion with a central octagon adjoining an apsidal hall with a five-bay screen, opening each side onto a room in Greek Cross form. Below the plan is a capriccio showing an overgrown classical ruin set in a landscape, with vaults and arches, a dome and five-bay loggia.

Aspect

Plan, perspectiveverso architectural diagram

Inscribed

Inscribed in ink on drawing 30

Signed and dated

  • Undated, probably 1755 - 56.

Medium and dimensions

Pen, brown and grey washes144 x 169, top left corner torn

Hand

Robert Adam

Verso

Part of an architectural diagram in pen.

Notes

The plan and the perspective do not seem to be related and this is possibly an example of Robert Adam reusing a sheet of paper, as is seen in other drawings, for example Adam vol.55/26. The two drawings would appear to have been made around the same period and this possibly underscores Adam's simultaneous lessons in architectural and landscape composition. However, the practice of the combined plan and perspective was a popular one in the later eighteenth century and can be found in several Adam schemes of the 1780s as well as in his design for a Pheasant House at Kedleston, Derby of 1759 (see L. Harris, Robert Adam and Kedleston, London, 1987, p.88; and A. A. Tait, Robert Adam: drawings and imagination, Cambridge, 1993, pl.145, fig.118). There is a similar composition in Adam vol.9/32 verso. Other examples of capricci showing landscapes are found in Adam volume 55, see Adam vol.55/51 recto and verso, but show separate landscape and architectural perspectives. The plan is of the type of pavilion found in Adam vol.9/18 and 19.

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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