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  • image SM Adam volume 50/64

Reference number

SM Adam volume 50/64

Purpose

[2] Design for a hall, c1771, possibly executed

Aspect

Plan and elevation of a two- by two-bay hall, with a frieze of fluting and rosettes with an apron of guttae. One wall contains a central chimneypiece with fluted pilaster stiles surmounted by ram masks, capitals ornamented with paterea, and a frieze of fluting with a central panel containing an urn flanked by arabesques. Above the chimneypiece there is an overmantel panel, ornamented with a figurative roundel encircled by foil, and with corner anthemia. This is flanked by further panels containing pedestals ornamented with ram masks and festoons, and supporting fluted urns bearing further festoons. Above this there are arabesques, scrolled hearts, and wreaths enclosing rosettes which are surmounted by anthemia. The chimneypiece is flanked by entrances with a frieze of fluting and rosettes, and the overdoors are ornamented with figurative roundels and corner rosettes. The opposite wall contains a central entrance with a frieze of fluting and rosettes, and the doorframe and door panels are bordered by bands of moulding. The flanking walls have central, raised niches containing statuary, and there is a figurative panel above. The niches are flanked by entrances, with overdoors ornamented with figurative roundels

Scale

bar scale of 2 3/4 inches to 10 feet

Inscribed

Section of the Hall, For Uvedale Price Esq.r – (in the hand of William Adam, underwritten in pencil) / A[_ _ _ _] 20th (pencil) and some dimensions given

Signed and dated

  • c1771
    c1771

Medium and dimensions

Pen and pencil on laid paper (478 x 514)

Hand

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

Literature

Bolton, 1922, Volume II, Index p. 57
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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