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  • image SM Adam volume 17/209

Reference number

SM Adam volume 17/209


[14] Record drawing of a carpet for the library, c.1780


Plan of a rectangular tripartite carpet, divided by bands of Greek key fret, with an apse on one of the long sides. The apse is delineated from the central flat by a band of enclosed rosettes and husks. The central square compartment contains a rosette encircled by anthemia enclosed within a fan, and with palmettes and calyx in each corner. The rectangular bordering compartments also have a tripartite composition with a rosette at the centre of each panel. The apse contains a semi-circular compartment with a central rosette enclosed by anthemia, and a concentric semi-circular compartment divided into five trapezoidal segments, each with a rosette, separated by panels with husks


bar scale of 3/5 inch to 1 foot


Sir John Ramsden / Byram. Library Carpet / yellow / yellow / yellow / yellow / d.c. / green / g. / green / yell. / green / 209

Signed and dated

  • c1780
    datable to c1780

Medium and dimensions

Pencil, pen and coloured washes of yellow, green and blue on laid paper (445 x 585)


Adam office hand, possibly Joseph Bonomi or Robert Morison


Bolton, 1922, Volume II, Index p. 5
Harris, 1963, p. 48
Spiers, 1979, p. 31, Index, p. 5
King, 2001, Volume I, p. 252
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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