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  • image SM Adam volume 53/25 (part)

Reference number

SM Adam volume 53/25 (part)


[14] Record drawing for friezes, N.D.


Elevations of four friezes, one to go between the capitals in the salon, another for a dressing room, and two more are unidentified. The first unidentified frieze is composed of calyx supporting and enclosing tubular flowers, and anthemia, connected by scrolled acanthus leaves enclosing rosettes. The frieze to go between the capitals in the salon is composed of urns supported by calyx, and urns ornamented with ram masks supported by turned pedestals, connected by rinceau. The frieze for the dressing room is composed of fluted urns, surmounted by anthemia, and supported by anthemia, calyx, and tubular flowers, and connected by portions of rinceau, rosettes, and anthemia. The second unidentified frieze is composed of acanthus leaves, calyx, anthemia enclosed within scrolled hearts of acanthus leaves, and connected by scrolls of acanthus leaves


bar scale of 3/4 inch to 1 foot


Earl of Thanet / Frieze between Capitals in Salon / Dressing room / Earl of Thanet (in pencil in a modern curatorial hand)

Signed and dated

  • N.D.

Medium and dimensions

Pen and pencil on laid paper of the folio page (291 x 471)


Adam office hand, possibly James Adam


VDL V and fleur de lis within crowned cartouche


Bolton, 1922, Volume II, Index p. 39
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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