[8] Design for a ceiling for Mistley Church, 1776, possibly executed

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Robert and James Adam office drawings
- Public buildings
  - Mistley Church, Essex, for the Rt. Hon. Richard Rigby, c1776, as executed (11)
    - Design for a ceiling for Mistley Church, 1776, possibly executed (1)

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Reference number

SM Adam volume 14/29

Purpose

[8] Design for a ceiling for Mistley Church, 1776, possibly executed

Aspect

Plan of a rectangular ceiling with a central dome, and apses on the long sides. The dome is surrounded by grotesques, set within compartments, and flanked by panels ornamented with half-putti and arabesques, and square compartments enclosing rosettes. Beyond this, rectangular compartments enclose figurative ovals and anthemia set within lozenges, with rosettes beyond. This is flanked by further panels, ornamented with half-putti and arabesques. Each compartment is bordered by rope moulding. The apses are set behind columnar screens, and are ornamented with bands of rosettes, and part-paterae enclosed within fans. Beyond all this, to the left and right, are plans of the ceilings for the end pavilions, the left-hand side being ornamented with a roundel, enclosed within a rosette and a band of Vitruvian scroll, and a band of festoons

Scale

bar scale of 2 1/2 inches to 10 feet

Inscribed

Design of a Cieling for Mistley Church / 29.

Signed and dated

January 1776
Adelphi January 1776.

Medium and dimensions

Pen and pencil on laid paper (596 x 433)

Hand

Possibly
Office hand, possibly Joseph Bonomi

Verso

Plans Sections & Fronts of old & new Church at Mistley-

Literature

Bolton, 1922, Volume II, Index, p. 23

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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