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  • image SM Adam volume 50/23

Reference number

SM Adam volume 50/23


[10] Design for the dining room, 1777, as executed


Plan and laid-out wall-elevations of a dining room, with one wall elevation containing a chimneypiece as Adam volume 23/103, but with minor alterations. The mantel is surmounted by a candelabrum and urns, and all this is set within a relieving arch, ornamented with a medallion, relief pedestals bearing lamps, and a band of enclosed anthemia. The arch is flanked by panels, depicting urns and wreaths, and with a border of beading. Beyond this there are doors with cornices bearing a frieze of masks and urns. The elevation for the opposite wall shows three full-height windows, with a pair of tables, surmounted by pier glass frames as Adam volume 20/200. The elevation for one short end wall shows a central relieving arch ornamented as above. This is flanked by a doorway to the left, and a square plaque ornamented with an urn, wreath, and a band of beading to the right. Set above this there are medallions enclosed within wreaths. The opposite wall elevation shows a sideboard, set within a relieving arch, and flanked by decorative panels


bar scale of 2 inches to 5 feet


Design for finishing the sides of the Dining Room at Wormleybury / (and in the hand of William Adam) for Sir Abraham Hume / Adelphi

Signed and dated

  • Sept 1777
    Adelphi / 27. Sep.t 1777

Medium and dimensions

Pen, pencil and coloured washes including verdigris within a single ruled border on laid paper (637 x 776)


Office hand, possibly Joseph Bonomi, with part title inscription in the hand of William Adam


Bolton, 1922, Volume II, Index p. 31
Harris, 2001, p. 71
King, 2001, Volume I, pp. 26-27, 250-51, 258
For a full list of literature references see scheme notes.



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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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