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  • image SM Adam volume 12/91

Reference number

SM Adam volume 12/91


[2] Finished drawing for a ceiling for the drawing room, 1771, as executed


Plan of a rectangular segmentally vaulted ceiling with an apsidal end, and the central vault is ornamented with a repeating pattern composed of an enclosed oval medallion alternating with a quatrefoil motif, with a central enclosed cameo, encircled by four anthemia enclosed within wreaths, and these quatrefoils are flanked on all four sides by enclosed rosettes and anthemia within lozenges, which connect them to the neighbouring quatrefoil, and this pattern is flanked on the short sides by bands of scrolled hearts and lozenges, and the apse is segmental, and ornamented with a rosette, enclosed within a fan of petals, a fan, and a frame of Vitruvian scroll, and beyond this there are drops of calyx, and cameos enclosed within wreaths, supported by pedestals, and surmounted by tubular flowers


bar scale of ¾ inch to 1 foot


Cieling of the Drawing room at The Right Honble Henry Frederick Thynne’s in Curzon Street

Signed and dated

  • 1771

Medium and dimensions

Pen, pencil, wash and coloured washes including pink and terre verte on laid paper (614 x 446)


Adam office hand, possibly William Hamilton or Joseph Bonomi


Bolton, 1922, Volume II, Index p. 36
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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