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  • image SM Adam volume 41/52

Reference number

SM Adam volume 41/52


[14] Design for a dining room, 1778, possibly executed


Plan and laid-out wall elevations of a dining room, with a canted bay with semi-circular headed windows at one end. Opposite this, there is a chimneypiece, with Doric pilaster styles, ornamented with volutes terminating in acanthus leaves. The frieze is ornamented with rosettes and a central tablet. This is flanked by preliminary frames and doorways with cornices with capitals containing urns, and a frieze of anthemia. The door frame, chair and skirting rails are ornamented with bands of moulding. The room has a frieze of figure-of-eight wreaths enclosing masks, with further moulded bands above. One short end contains a further doorway, flanked by frames, with further frames opposite


bar scale of 6 1/2 inches to 20 feet


Eating Room (in the hand of William Adam, underwritten in pencil) / Dining Room Mistley Hall (pencil)

Signed and dated

  • Feb 1778
    Adelphi / 2.d Febry 1778.

Medium and dimensions

Pen and pencil within a single ruled border on laid paper (697 x 652)


Office hand, possibly Joseph Bonomi or Robert Morison, with title inscription in the hand of William Adam


number fifteen (brown ink) / Mistley Hall- Richd Rigby Esqre Design of [__] House / 3 / Mr Rigby (pencil)


Bolton, 1922, Volume II, Index, p. 22
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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