Design for the interior decoration of the great drawing room, 1768, as executed with alterations (1)
The design is as executed, except that the oval mirrors shown in detail were rejected in favour of large rectangular ones (shown in Adam volume 20/69), and the chimneypiece design was superfluous as one had already been acquired.
The Spalatro order around the room is Adam's signature use of the little-known design of the pilasters in the corner of the peristyle in Diocletian's Palace in Split. For Stillman it marks an important stage in Adam's decorative work: the doorway (and by extension the windows and fireplace which are articulated in the same way) 'illustrates the subordination of the orders to the decorative significance of the whole design. Instead of using half-columns or even fluted pilasters, Adam has abandoned the conventional use of the classical orders for a display of delicate Neo-classical decoration'.
Large square paintings were intended to decorate the wall facing the window, and Therese Parker asked by letter for Lord Grantham to look out for 'two good landscapes' in Madrid in April 1772. The search was abandoned and two of Adam's mirrors were moved across the room instead.
There is a finished version of this drawing on display at Saltram, showing the oval mirror design in all four piers.