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  • image SM Adam volume 41/79

Reference number

SM Adam volume 41/79


[8] Alternative preliminary design for the pavement for the gallery, 1772, unexecuted


Plan of a pavement following the footprint of the gallery as in Adam volume 41/76. The central circular room contains a central circular fan, enclosed within a bands of Vitruvian scroll, octagonal coffering, and guilloche, and with fans in the niches, and either lozenges or enclosed rosettes in the spaces between the rooms, and the flanking rectangular rooms contain a central oval fan, enclosed within a lozenge-shaped frame ornamented with lozenges, encircled by four enclosed rosettes, and framed by rectangular frames ornamented with lozenges, fret, and guilloche, and the apse at the end of the room contains a fan ornamented with lozenges


bar scale of 1/2 inch to 1 foot


Pavement for the Room of Antiques at Newby the Seat of William Weddell Esqr (in the hand of William Adam and underwritten in pencil) and some measurements given in pencil (verso) Mr Weddell / 7

Signed and dated

  • 1772
    datable to 1772

Medium and dimensions

Pen, red pen, pencil and pink wash on laid paper (982 x 525)


Robert Adam, with title inscription in the hand of William Adam


Bolton, 1922, Volume II, Index p. 23
Stillman, 1966, p. 79
Beard, 1978, p. 62
Middleton, 1986, p. 53
Harris, 2001, p. 356
King, 2001, Volume I, p. 263
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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