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  • image SM Adam volume 52/68

Reference number

SM Adam volume 52/68

Purpose

[47] Preliminary design for the Etruscan room / third drawing room, c1775, as executed

Aspect

Elevation of a panel with Etruscan style ornamentation, with a band of interlacing circles ornamented with medallions, fans and anthemia and this is surmounted by a geometric band. Above this there are ornamental panels set within niches with a central figurative tablet surmounted by arabesques, a cameo and further cameos flanked by half-figures bearing swags and drop calyx, with an urn above. Below the central tablet there is a tubular flower and half-putto bearing a wreath enclosing a medallion and surmounted by an urn and arabesques. The urn has festoons of beading which suspend medallions and cameos. Above all this the semi-circular head of the niche is ornamented with a tablet containing a roundel and festoons which is surmounted by an anthemion and flanked by winged sphinxes. Between the niches there are further winged sphinxes surmounted by rosettes enclosed within figure-of-eight wreaths, arabesques, tubular flowers, drop calyx and a medallion all surmounted by an urn bearing an anthemion

Scale

not to scale

Signed and dated

  • c1775
    c1775

Medium and dimensions

Pencil on laid paper (190 x 310)

Hand

Probably
Robert Adam

Watermark

Crowned heraldic badge

Literature

Bolton, 1922, Volume II, Index p. 48
Hussey and Oswald, 1934, p. 27
Whinney, 1969, p. 68
King, 2001, Volume I, pp. 27, 197-198, 290
For a full list of literature references see scheme notes.

Level

Drawing

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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