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  • image SM Adam volume 12/96

Reference number

SM Adam volume 12/96


[1] Design for a ceiling for the first scheme for the eating parlour (later the ball room), 1771, unexecuted


Plan of a rectangular, segmental vaulted, compartmental ceiling, divided by bands of guilloche, with borders on the short sides composed of rectangles of scrolled hearts of acanthus, alternating with squares of anthemia and calyx, or enclosed rosettes, and with borders on the long sides composed of rectangles containing alternating anthemia and calyx, and squares containing oval medallions, and the central flat is composed of bands of rectangular compartments containing peltoid shields, urns, calyx, arabesques, segmental fans, and rosettes enclosed within lozenges, and these bands of rectangular compartments alternate with bands of square compartments, and the central square compartment contains a medallion, within a circular frame of enclosed anthemia, with an apron of festoons, arabesques, and anthemia, and the surrounding square compartments alternate between paterae enclosed within circular frames attended with figure-of-eight laurel wreaths with calyx in each corner, and enclosed medallions encircled by arabesques and set within a circular frame supporting a peltoid shield in each corner


bar scale of 2/5 inch to 1 foot


Design of a Cieling for the Eating Parlor. for The Right Honorable The Earl of Bective. / N:B: This Cieling is / drawn supposing / the Arch extended / or laid down flat

Signed and dated

  • 1771
    Robert Adam Archt. 1771. / 1771.

Medium and dimensions

(1) Pen, pencil and wash within a single ruled border on laid paper (629 x 351)


Adam office hand, possibly Joseph Bonomi




Bolton, 1922, Volume II, Index p. 52
King, 2001, Volume II, pp. 174, 179
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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