[24] Preliminary design for a carpet for the chapel, 1780, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Alnwick Castle, Northumberland: designs for interior decoration and buildings in the park for the 1st Duke of Northumberland, 1769-83 (36)
    - Preliminary design and record drawing for carpets for the chapel, 1780, unexecuted (2)

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Reference number

SM Adam volume 17/202

Purpose

[24] Preliminary design for a carpet for the chapel, 1780, unexecuted

Aspect

Plan of a rectangular carpet, shown within a plan of the chapel; with a circular recess at one end, and a rectangular recess at the other; and with engaged columns around the walls. The carpet is ornamented with connected lozenges, between which are semicircular compartments. The lozenges contain enclosed rosettes within lozenge-shaped frames of wreaths, and the semicircles contain segmental rosettes, encircled by fans of trefoils, and with bordering bands of rosettes enclosed within trefoils. The design is partly colour-washed to show two different colour schemes

Scale

bar scale of 2/5 inch to 1 foot

Inscribed

Design of a Carpet for the Chapel at Alnwick Castle, in two different ways / A/ B / one full half of the Original finished / Design of a Carpet for the Chapel of Alnwick (in pencil) / in two different ways (in pencil)

Signed and dated

05/12/1780
Adelphi / 5th. Decr. 1780

Medium and dimensions

Pen, pencil and coloured washes including terre verte and pink on laid paper (608 x 460)

Hand

Robert Adam

Literature

Harris, 1963, Index p. 47
Harris, 2001, pp. 91, 344
King, 2001, Volume I, p. 262
For a full list of literature references see scheme notes.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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