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  • image SM Adam volume 24/165
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Reference number

SM Adam volume 24/165

Purpose

Preliminary designs for chimneypieces, ND

Aspect

Above- Elevation of a chimneypiece, with Doric pilaster styles ornamented with turned balusters, which support a tablet and fire screen in relief, which is ornamented with arabesques. Above this there is a half-patera and an ox skull, flanked by festoons. The capitals contain cameos, with arabesques and ram masks above. The frieze is ornamented with cameos, ram masks and ox skulls, which suspend festoons and half-paterae

Centre- Elevation of a chimneypiece with Doric pilaster styles ornamented with a central panel containing an ox skull, from which suspends a continuous band of wreaths. This is flanked by turned balusters, which support tubular flowers, tablets and rosettes set within wreaths. The capitals contain roundels depicting a winged sphinx and a half-patera, flanked by ram masks, which support festoons. The frieze is ornamented with masks set within roundels, which alternate with ox skulls, with festoons set in between

Bottom- Elevation of a chimneypiece with Doric pilaster styles, which are ornamented with masks, drop calyx and tubular flowers supporting anthemia. The capitals contain roundels, which depict winged sphinxes and these are flanked by ram masks. The frieze is ornamented with a band of fluting and arabesques, which support anthemia, set within semi-circular bands

Scale

not to scale

Inscribed

163 / 3 Drawing Rooms- (pencil) / Scagliola (pencil) and some dimensions given

Signed and dated

  • ND
    ND

Medium and dimensions

Pen and pencil on laid paper (327x262)

Hand

Probably
Robert Adam

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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