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  • image Adam volume 11/147

Reference number

Adam volume 11/147


[55] Design for a ceiling for the state bedcahmber (now Princess Mary's sitting room), 1767, as executed


Plan of a rectangular ceiling, with a rectangular recess on one side, divided by a screen of two columns, and with a soffit ornamented with rosettes enclosed by guilloche. The central flat is tripartite, with a central square compartment containing an x-shape arrangement with a central medallion enclosed by a fan, and a band of cable moulding, and with an urn on a pedestal, and rinceaux in each corner. The X-shaped arrangement has a figurative lunette to each side, and there are fans in each corner. The central square compartment is flanked by tripartite end compartments, with a central rectangle containing and urn and rinceaux, flanked by squares containing rosettes encircled by enclosed calyx, and anthemia. The rectangular recess is ornamented with a patera, enclosed by an elliptical band of enclosed calyx, and an elliptical frame of Vitruvian scroll, and laurel leaf tips, and flanked by rinceaux


bar scale of 1/2 inch to 1 foot


Design of a Ceiling for the State Bed Chamber at Harewood House

Signed and dated

  • 1767

Medium and dimensions

Pen and coloured washes including terre verte on laid paper (433 x 425)


Adam office hand, possibly William Hamilton


Bolton, 1922, Volume II, Index p. 16
Harris, 2001, pp. 153, 350
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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