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  • image SM Adam volume 41/68

Reference number

SM Adam volume 41/68


[5] Finished drawing for Mistley Church, c1776, as executed


Section of a two-storey, three-bay building, with a hipped roof, and a domed ceiling supporting a conical oculus. The ceiling is ornamented with rosettes enclosed within octagonal compartments, flanked by arabesques. There is a central balcony ornamented with festoons, set behind an Ionic screen. This is flanked by semi-circular headed windows and Ionic pilasters. The central building is flanked by single-bay towers and Tuscan porticoes, all surmounted by domed belvederes, supporting weather vanes. The tower to the left contains a lunette, and is lit from above by a lightwell and oculus. The tower to the right forms the chancel and contains an altar surmounted by a frame, with a lunette window and domed ceiling above. The ceiling is ornamented with festoons and a band of enclosed flora, formed with rosettes and calyx, and this is separated by a figurative roundel


bar scale of 1 5/8 inches to 10 feet


Section through Mistley Church (in the hand of William Adam)

Signed and dated

  • c1776

Medium and dimensions

Pen, pencil, wash, pink and Naples yellow washes on laid paper (436 x 298)


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


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



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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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