[27] Finished drawing a Gothic pavilion, 1778, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Mistley Hall and Village, Essex, for the Rt. Hon. Richard Rigby, c1774-82 (34)
    - Finished drawing for a Gothic pavilion, 1778, unexecuted (1)

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Reference number

SM Adam volume 19/172

Purpose

[27] Finished drawing a Gothic pavilion, 1778, unexecuted

Aspect

Above- Elevation of a single-storey, single-bay pavilion, with a pitched roof and a central ogee entrance, set within an arch. The spandrels are ornamented with quatrefoils, and the entrance is flanked by triple-cluster columns surmounted by triple pinnacles, and paired Corinthian columns. The archway is surmounted by crockets, and the roofline is surmounted by crockets in the form of fleur-de-lis, with a central socle supporting an anthemion and corner pinnacles Below- Plan of a one-by-one-bay pavilion, with entrances set behind columned screens

Scale

bar scale of 5 inches to 8 feet

Inscribed

67 / (modern curatorial hand, pencil) 172

Signed and dated

1778
1778

Medium and dimensions

Pen, pencil and wash on laid paper (443 x 594)

Hand

Possibly
Office hand, possibly Joseph Bonomi or Robert Morison

Verso

Mr (cropped) Rigby / [_ _ _] Seat Brick kiln etc

Watermark

D & C BLAUW IV

Literature

Bolton, 1922, Volume II, Index, p. 22
King, 2001, Volume II, pp. 229, 239, 245
For a full list of literature references see scheme notes.

Level

Drawing

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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