[10] Finished drawing for a pulpit for Mistley Church, c1776, as 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)
    - Finished drawing for a pulpit for Mistley Church, c1776, as executed (1)

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Reference number

SM Adam volume 41/70

Purpose

[10] Finished drawing for a pulpit for Mistley Church, c1776, as executed

Aspect

Elevation of a raised pulpit, approached by curved steps with turned balusters, and ornamented with bands of gadrooning, anthemia and oak leaves. The balcony has Tuscan stiles, and is ornamented with a central panel containing crossed trumpets overlain by a book in relief, set within an oval, and surrounded by rosettes. This is flanked by further panels ornamented with pedestals supporting urns, bearing arabesques and anthemia. Above this there is a frieze of festoons and rosettes. The pulpit is surmounted by a pagoda canopy surmounted by a band of enclosed fluting, interspersed with anthemia forming corner crenellations, and ornamented with drop calyx suspending tubular flowers. The canopy is surmounted by an eagle, and is articulated with fluted pilasters ornamented with winged putti masks, and with capitals containing paterae, and a frieze of fluting

Scale

bar scale of 1 inch to 1 foot

Inscribed

Pulpit of Mistley Church (in the hand of William Adam)

Signed and dated

c1776
c1776

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (442 x 521)

Hand

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

Verso

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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