[27] Alternative design for a ceiling for the saloon, 1769, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Luton Park, designs for a house and interiors including an organ case for John Crichton Stuart, 3rd Earl of Bute, c1763-72 (56)
    - Alternative design and finished drawing for a ceiling for the saloon, 1769 (2)

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Reference number

SM Adam volume 12/19

Purpose

[27] Alternative design for a ceiling for the saloon, 1769, unexecuted

Aspect

Plan of a tripartite ceiling with an apse on one long side. The central compartment is ornamented with a roundel containing a patera bordered by rosettes and surrounded by calyx. The patera is bordered with a band of guilloche. All this is repeated in the flanking half-roundels, with paterae within octagonal and square compartments. The roundels are flanked by pedestals supporting turned balusters bearing urns ornamented with gadrooning and festoons of husks. The pedestals are flanked by winged griffins with tails forming arabesques. All this is set within a band of enclosed anthemia and a band of guilloche. The apse is ornamented with a part-patera, enclosed within a fan formed of fluting, calyx and scrolled hearts, and this is enclosed within a double band of guilloche

Scale

to a scale

Inscribed

Cieling for the Saloon at Luton not executed- / 19

Signed and dated

1769
1769 (pencil)

Medium and dimensions

Pen and pencil on laid paper (635 x 368)

Hand

Possibly
Office hand, possibly Giuseppe Manocchi, William Hamilton or Joseph Bonomi

Watermark

IV surmounted by a fleur-de-lis within a crowned cartouche

Literature

Bolton, 1922, Volume II, Index, p. 21
King, 2001, Volume I, pp. 18, 122, 122 n.20
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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