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You are here: CollectionsOnline  /  [16] Alternative finished drawing for a screen and gatehouses, 1778, unexecuted
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image SM Adam volume 51/78

Reference number

SM Adam volume 51/78

Purpose

[16] Alternative finished drawing for a screen and gatehouses, 1778, unexecuted

Aspect

Above- Elevation of an entrance screen, with a central Doric arch, capitals containing rosettes, a frieze of fluting and a further frieze of rosettes and festoons. The central arch has a wrought iron gateway, and the piers contain niches bearing statuary, with a figurative roundel set above. All this is surmounted by a plinth ornamented with the Hanoverian coat of arms, a crown and crossed sceptres, all flanked with further festoons and rosettes. The plinth is surmounted by a seated Britannia, flanked by a recumbent lion and unicorn. The central arch is flanked by Doric colonnades, surmounted by lanterns, and with wrought iron fences. The screen terminates in single-bay pavilions, with a central relieving arch containing a window, and this is set within a Doric portico with a frieze containing a portrait roundel and festoons. All of this is surmounted by a drum, supporting a ribbed dome Below - Plan of an entrance screen as above. The pavilions contain circular corner niches, with one intended for a staircase

Scale

bar scale of 1 1/4 inches to 10 feet

Inscribed

Design for Hide Park Corner (in the hand of William Adam, underwritten in pencil)

Signed and dated

  • 1778
    1778.

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (592 x 463)

Hand

Possibly
Office hand, possibly Joseph Bonomi or Robert Morison, with title inscription in the hand of William Adam

Verso

3 / 2 / 3 (crossed through)

Watermark

PVL

Literature

Bolton, 1922, Volume II, Index, p. 41
Rowan, 1988, p. 56
King, 2001, Volume II, p. 57
For a full list of literature references see scheme notes.

Level

Drawing

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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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