Academic study showing a symmetrical pavilion with dome and colonnaded drum with entrance below between columns, leading to an internal colonnade. On either side are projecting single-bay wings with pilasters and aedicular niches supporting figures on attic storey.

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Robert and James Adam travel drawings
- Adam Volume 55

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Reference number

Adam vol.55/170

Purpose

Academic study showing a symmetrical pavilion with dome and colonnaded drum with entrance below between columns, leading to an internal colonnade. On either side are projecting single-bay wings with pilasters and aedicular niches supporting figures on attic storey.

Aspect

Perspective verso plans

Inscribed

Inscribed in ink on drawing 170

Signed and dated

Undated, probably 1755 - 56

Medium and dimensions

Pencil, grey wash 310 x 260, folded with vertical foldline

Hand

Robert Adam

Verso

Academic study showing two plans. One is for a pavilion with portico of columns and pilasters on steps with spiral staircases behind and flanking long symmetrical rectangular halls with columns. The other is for a building with circular central hall with four oval staircases and further spaces beyond, a portico of nine columns to one elevation. These two plans do not match the pavilion on the recto, and are of a type found in volume 9 (see particularly Adam vol.9/46-49). They may be compared with the apsidal pavilion in Adam vol.55/182 and that with four staircases in Adam vol.55/128; another version of the four staircase plan on the verso of Adam vol.2/188 was probably made at a later date.

Watermark

partial names

Notes

This pavilion drawing is part of an exercise seen in Adam vol.55/168 and 169, and shows several alternatives and possibly chalk overdrawing by Laurent-Benoít Dewez (1731-1812), which may be corrections or suggestions (see Adam vol.55/130-132).

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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