[5] Alternative record drawing for a ceiling for the bow room, 1769

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Robert and James Adam office drawings
- Town houses
  - London
    - Piccadilly, number 79, (now 1 Stratton Street), London: designs for ceilings for the 11th Earl of Eglinton, 1769 (7)
      - Alternative preliminary design and record drawing for a ceiling for the bow room, 1769 (2)

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Reference number

SM Adam volume 11/266

Purpose

[5] Alternative record drawing for a ceiling for the bow room, 1769

Aspect

Plan of a rectangular ceiling, with a canted bow at one end. The central flat is ornamented with a rosette, enclosed within a band of fluting, a fan, and a band of Vitruvian scroll, encircled by four calyx and anthemia, and all set within a lozenge-shaped frame ornamented with acanthus leaves, and framed by rosettes and festoons. Beyond are four segmental compartments enclosed within bands of fluting, and four segmental compartments of rinceaux, enclosed within festoons, and the whole is set within an oval frame of cable moulding, beyond which are peltoid shields enclosed within festoons, rosettes, enclosed within wreaths, and portions of rinceaux. The apse is ornamented with a patera, enclosed within a band of fluting, and a band of Vitruvian scroll with foliage

Scale

bar scale of 3/4 inch to 1 foot

Inscribed

Cieling for the Bow room fronting Stratton Street for The Earl of Eglington (sic) / A Duplicate

Signed and dated

1769
1769

Medium and dimensions

Pen, pencil, and terre verte and pink washes on laid paper (591 x 452)

Hand

Adam office hand, possibly Joseph Bonomi

Literature

Bolton, 1922, Volume II, Index p. 51
For a full list of literature references see scheme notes.

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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