[18] Design for a ceiling for the music room, 1773, unexecuted

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Robert and James Adam office drawings
- Town houses
  - London
    - St James's Square, number 20, London, designs for a house and interiors for Watkin Williams-Wynn, c1772-1777 (99)
      - Design and finished drawing for a ceiling for the music room, 1773 (2)

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Reference number

SM Adam volume 12/46

Purpose

[18] Design for a ceiling for the music room, 1773, unexecuted

Aspect

Plan of an apsidal ended, rectangular ceiling, ornamented with a central figurative roundel, set within a band of Vitruvian scroll, and this is surrounded by arabesques supporting anthemia, all set within a lozenge. The lozenge is enclosed within a band of arabesques and rosettes, and there are corner fans ornamented with part-paterae, and arabesques supporting anthemia enclosed within semi-circular-headed bands. All this is set within a band of guilloche and surrounded by peltoid shields within guilloche bordered compartments. The corners of the ceiling are ornamented with figurative roundels, flanked by winged griffin and arabesques, and with aprons of festoons. The apses are ornamented with a part-patera enclosed within a fan embellished with anthemia and rosettes. Beyond this there are calyx, a band of Vitruvian scroll, and a band of festoons and rosettes. The ceiling is bordered by a band of reed and an overlapping band of festoons

Scale

to a scale

Inscribed

Cieling for the Music room at Sir Watkin Wynn’s in S.t James’s Square - / not executed - / 46. / For Lord Stanleys Eating Room (pencil)

Signed and dated

1773
Adelphi / 1773.

Medium and dimensions

Pen and pencil on laid paper (593 x 405)

Hand

Possibly
Office hand, possibly Giuseppe Manocchi

Literature

Bolton, 1922, Volume II, Index p. 49
King, 2001, Volume I, p. 276
For a full list of literature references see scheme notes.

Level

Drawing

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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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