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  • image Adam vol.55/81
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Reference number

Adam vol.55/81

Purpose

Capriccio showing the interior of a hall with vaulting and thermal windows, with pilasters below and columns opening into further vaulted rooms with aedicular doorways.

Aspect

Perspectiveverso perspectives, details, plan

Inscribed

Inscribed in ink on drawing 81

Signed and dated

  • Undated, probably 1755 - 56

Medium and dimensions

Black chalk387 x 270, folded with a vertical fold line

Hand

Robert Adam

Verso

Three capricci, two in penand one in black chalk showing perspectives of interiors. The two compositions in pen may be related to Adam vol.55/90 and the lower one is possibly the source for Adam vol.55/73. Also on the sheet are two details show coffered halls with screened niches, and at lower left a plan in chalk of an oval building with a long entrance passage. The plan may be the source for the schemes in Adam vol/55/78 and 80, as well as for the perspective of the vaulted hall beside it.

Watermark

star in circle

Notes

This drawing is similar to the perspectives on the verso and both can be compared with the view of a hall in Adam vol.55/118; all of these drawings may be for a similar building or compositional exercise, possibly based on Santa Maria degli Angeli, Rome (see J. Fleming, Robert Adam and His Circle in Edinburgh & Rome, London, 1962, p.352, and the Clerk Collection, Scotland, Clerk 1).

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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