Robert Adam & i suoi fratelli; la loro vita, lavoro & influenza su architettura, decorazione e mobili inglesi. Accanto alla grande sala da pranzo, Adam ha scritto, si trova uno splendido con-salotto per theladies, o salle depagnie, come è chiamato dal francese; questo è vario dalle altre camere sotto la forma del suo ceil-ing, che è vededand dipinto in com-partments. I compartimenti del soffitto a cui si fa riferimento sono stati divisi in un modello di quadrati ed esagoni di piccole dimensioni. Lo squarescontiene alternativamente teste e lampade, mentre gli ottagoni pannelli coprircolari, contenenti entrambi i dipinti di soggetti classici

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Robert Adam & his brothers; their lives, work & influence on English architecture, decoration and furniture . Next to the great eating-room, Adam wrote, lies a splendid with-drawing room for theladies, or salle decompagnie, as it iscalled by the French;this is varied fromthe other rooms bythe form of its ceil-ing, which is covedand painted in com-partments. The ceiling compartments referred to were dividedinto a pattern of squares and hexagons of small size. The squarescontain alternately heads and lamps, while the octagons enclosecircular panels, containing either paintings of classic subjects orconventional ornaments. The anthemia around the circular panelswere painted in a distinctive manner on a light ground, andgilding was freely used on the ribs which separate the variouspanels. Beneath the cornice, the walls are covered with arichly figured silk of a crimson colour, which is stated to havebeen woven at Spitalfields and to be of considerable age; but, from the excellence of its -condition, one might imagine it to be ofcomparatively recent manufacture, for the old silk damasks are usually. Fig. 118.—Inscription on Carpet, Red Drawing-Room, Syon House. AND OTHER CONTEMPORARY WORK 167 frayed and show the marks of time. The floor of the room iscovered in the centre with a large carpet, around the border ofwhich the old oak boards are exposed to view. This carpet ispractically certainto have been de-signed by RobertAdam, seeing thatit bears the fol-lowing contempo-rary inscriptionin one corner: By ThomasMoore, 1769 (asseen in Fig. 118).The most con-spicuous featureswithin the roomare the entrancedoorways and theelaborate chim-ney-piece, but it isdoubtful whetherRobert Adamwas responsiblefor the design inthese cases, eitherwholly or in part.The chimney-piece is of whitemarble, with care-fully chased ormolu enrichments. The pilasters, entablature and liningsaround each of the two doors are of a warm cream colour, but all theenrichments and reliefs are either gilded o

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• bookcentury1900
• bookdecade1910
• booksub
• booksubjectarchitecture