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  • image SM Adam volume 53/15

Reference number

SM Adam volume 53/15


[11] Record drawing for friezes, ND


Elevation of friezes for the front and back parlours, the ante room, and the front and back drawing rooms. The front parlour frieze is composed of turned shafts, supported by pedestals, alternating with anthemia flanked by rinceaux. The back parlour frieze is composed of lozenges, with double anthemia in between, and alternately containing enclosed rosettes, and enclosed masks. The ante room frieze is composed of alternating jugs and masks enclosed within fans. The front drawing room frieze is composed of tubular flowers, supported by calyx, and ornamented with ram masks, alternating with double calyx, and connected by festoons, and arabesques of ribbon. The back drawing room frieze is composed of drops of calyx, flanked by arabesques of acanthus leaves and calyx, alternating with scrolled hearts, enclosing anthemia and rinceaux


bar scale of 3/4 inch to 1 foot


General Burgoyne / Front Parlor / Back Parlor / Anti room one pair / First Drawing room / Second Drawing room / General Burgoyne (in pencil in a modern curatorial hand)

Signed and dated

  • ND

Medium and dimensions

Pen and pencil on the laid paper of the folio page (290 x 470)


Adam office hand, possibly James Adam




Bolton, 1922, Volume II, Index p. 40
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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