Capriccio showing an interior with three bays, two of which have clearstory windows in decorated frames. One bay has steps and coffering with niches and possibly an altar, the other two bays have columns and sculpture in niches. Below on the sheet is part of plan of a curving colonnade.

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Robert and James Adam travel drawings
- Adam Volume 55

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Reference number

Adam vol.55/103

Purpose

Capriccio showing an interior with three bays, two of which have clearstory windows in decorated frames. One bay has steps and coffering with niches and possibly an altar, the other two bays have columns and sculpture in niches. Below on the sheet is part of plan of a curving colonnade.

Aspect

Perspective, plan (part)verso elevations, plans

Inscribed

Inscribed in ink on drawing 103

Signed and dated

Undated, probably 1755 - 56

Medium and dimensions

Pen, grey wash136 x 215

Hand

Robert Adam

Verso

Pen and black chalk capricci showing the top part of an elevation with trophies on the cornice, and the elevation of a domed and colonnaded building, which can be compared with schemes in Adam vol.55/120 verso and the perspective in 55/165 attributed to Laurent-Benoít Dewez (1731-1812). Also on the sheet are two plans for centralised halls.

Watermark

letters

Notes

The interior is a larger version of the section shown in Adam vol.55/102 and a variation on that in 55/94. The plan can be compared with that on the verso of 55/147.

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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