[8] Preliminary design for a chimneypiece for the dining room (later the music room), 1778, executed with alterations

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Robert and James Adam office drawings
- Country houses
  - Mellerstain, Earlston, Scottish Borders: designs for the house, interiors, and an unexecuted memorial tower for the Hon. George Baillie, c1768-78 (19)
    - Design for the chimneypiece for the dining room (later the music room), 1778, executed with alterations (1)

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Reference number

SM Adam volume 22/291

Purpose

[8] Preliminary design for a chimneypiece for the dining room (later the music room), 1778, executed with alterations

Aspect

Elevation of a chimneypiece, with stiles containing segmental compartments ornamented with crockets, a mask, festoons of beading, a rosette enclosed within a wreath of beading, and a short drop of calyx, and with a frieze ornamented with lions with arabesque tails, and with enclosed rosettes in the capitals, and a tablet containing an oval frame enclosing a tazza, flanked by festoons (verso) pencil-drawn girandole

Scale

bar scale of 1 ½ inches to 1 foot

Inscribed

Chimney Piece for the Dining room at Mellerstain / [ _ _ _ _ _ ] Mr Harrison [ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ] (in pencil)

Signed and dated

05/03/1778
Adelphi / 5t. March 1778

Medium and dimensions

Pen and pencil on laid paper (404 x 291)

Hand

Adam office hand, possibly Robert Adam

Literature

Bolton, 1922, Volume II, Index p. 22
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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