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  • image Image 1 for Adam vol.54/Series 4/14
  • image Image 2 for Adam vol.54/Series 4/14
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  • image Image 1 for Adam vol.54/Series 4/14
  • image Image 2 for Adam vol.54/Series 4/14

Reference number

Adam vol.54/Series 4/14

Purpose

Capricci showing four elevations, one of which is unfinished and has a three-bay centrepiece with a three-bay wing to one side. Above and below are three alternative elevations for a pavilion with a three-bay centre niche on steps with coffering and flanking single bays.

Aspect

Elevationsverso plans and elevations

Inscribed

Inscribed in ink 14

Signed and dated

  • Undated, probably 1757

Medium and dimensions

Pen190 x 302. The sheet has one vertical fold.

Hand

Robert Adam

Verso

Capricci in pen showing two plans and two elevations for two Gothic pavilions, one with a three-bay portico, two campanile and tiled roof with fretwork cornice. The plan is for a main apartment with niche and room on either side. Below this is the elevation of a circular pavilion with curved portico supporting an arcaded dome and single-bay pavilion with Gothic pediment on either side. These Gothic designs are variations on the Gothic pavilion and plan in Adam vol.54/Series 4/12; the lower elevation may also be compared with the dome and cupola elevation in Adam vol.54/Series 4/9.

Watermark

GR and crown

Notes

The pavilions are elevations to the two plans in Adam vol.54/Series 4/12. The classical pavilion is the counterpart of several similar compositions in the last section of volume 54 (see Adam vol.54/Series 6/196).

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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