Unfinished academic study for the plan for a large series of pavilions and courts. At the top two symmetrical pavilions are joined by a double colonnade that forms the entrance to a large convex portico. This in turn leads to a series of circular halls, on either side of which are two large colonnaded apses and more buildings. Below this plan are fragmentary and unfinished drawings of foliage, and some pen tryouts.

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Robert and James Adam travel drawings
- Adam Volume 9

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Reference number

Adam vol.9/53

Purpose

Unfinished academic study for the plan for a large series of pavilions and courts. At the top two symmetrical pavilions are joined by a double colonnade that forms the entrance to a large convex portico. This in turn leads to a series of circular halls, on either side of which are two large colonnaded apses and more buildings. Below this plan are fragmentary and unfinished drawings of foliage, and some pen tryouts.

Aspect

Plan and details

Inscribed

Inscribed in ink on drawing 53

Signed and dated

Undated, probably 1755 - 1756

Medium and dimensions

Pen127 x 167

Hand

Robert Adam (attributed to)

Verso

Inscribed in ink in Robert Adam's hand with part of one side of a letter of fifteen lines, each scored through in ink.with the Reasons Jamie gave for / particularly from his views of / and which I think was most chymical / not to succeed in England what I am to / to Scotland & the English are so / ay either be engaged with Chalmers / -- -- -- -- may change / -- -- for Italy. Besides had / and -- any such Intention, or had I -- -- -- ready to remove / he ---d to himself in opposition /-- -- But was the whole Affair / My head & in order to say anything / -- -- -- my once the / -- which I have no patience

Notes

The small scale of the plan and thin draughtsmanship are close in style to that of Laurent-Benoít Dewez (1731-1812), but the letter on the verso suggests that the sheet was re-used (there are remains of a landscape composition on the recto) and Robert Adam's hand is the more likely. The composition of the plan may be compared with Adam vol.9/39, and the inspiration of such complex planning can be seen in the antique style of Adam vol.9/43. The letter on the verso appears to be concerned with Robert Adam's career, with references to Scotland, England, Jamie (James Adam) and Chalmers. This latter is likely to be William Chambers, whom the Adam family was called by the name of Chalmers in this period, John Adam referring to him as 'Mr Chalmers' in a letter of 1756 (see J. Fleming, Robert Adam and His Circle in Edinburgh & Rome, London, 1962, p.359). The letter here is probably of the same date and appears to be in Robert Adam's hand. The remaining curved corner of the sheet is similar to those at Adam vol.57/81-84, depicting Roman views, which suggests a similar small sketchbook as the source.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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