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  • image SM Adam volume 11/182

Reference number

SM Adam volume 11/182


[27] Finished drawing for the ceiling for the drawing room, 1766, as executed


Plan of a rectangular, tripartite ceiling, with a large apse one side, divided by bands of scrolled hearts, and rinceau and rosettes. The apse and the three compartment of the central flat each contains a patera, enclosed by fluting, a frame of Vitruvian scroll, and a fan enclosing drops of calyx, and rosettes. In addition to this the compartments of the central flat have rinceau, wreaths, rosettes and anthemia in the corners, and the apse has an outer border of anthemia and calyx.


bar scale of 1/2 inch to 1 foot


Design of a Cieling for the Great Drawing Room at Hatch House in Kent. The Seat of Sir Edward Knatchbull Baronet and some measurements given

Signed and dated

  • 1766

Medium and dimensions

Pen and coloured washes including pink, cerulean blue, and olive green on laid paper (597 x 446)


Adam office hand, possibly William Hamilton or Robert Nasmith


Bolton, 1922, Volume II, Index p. 17
For a full list of literature references see scheme notes.



Exhibition history

Original Drawings of Robert and James Adam, Kenwood House, London, 1953

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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