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  • image Adam vol.9/69

Reference number

Adam vol.9/69

Purpose

Academic study for two plans and a section through a triangular pavilion with a central circular hall with columns and niches, with two porticoes at either end, one of five bays on steps, the other of three bays recessed. The smaller sketch plan has different porticoes. To the left of the sheet is a longitudinal section through a domed hall with statues in niches and porticoes at either side.

Aspect

Plans, sectionverso plans

Inscribed

Inscribed in ink on drawing 69verso inscribed in ink in a contemporary hand, probably that of Laurent-Benoít Dewez Londres/ Robed

Signed and dated

  • Undated, probably 1755 - 56

Medium and dimensions

Pen, black chalk86 x 338

Hand

Laurent-Benoît Dewez (attributed to)

Verso

Three sketch plans in pen for pavilions with central circular halls contained within colonnades. On one side is a small landscape with pyramid sarcophagus, beside a profile of a face. These drawings and the inscription may be in Dewez's hand, particularly the word 'Londres'.

Watermark

horned crown (part)

Notes

The plans here and on the verso are all exercises on the theme of a small pavilion with circular hall, and may be compared with the plan in Adam vol.9/5, attributed to Laurent-Benoít Dewez (1731-1812). The section may be the source for the section through the Adam Mausoleum in Adam vol.55/38, and may also be compared with a similar section in Adam vol.9/215.

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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