[1] Finished drawing for a hospital chapel and wing, c1759, unexecuted

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Robert and James Adam office drawings
- Public buildings
  - Lock Hospital, Grosvenor Place, London, unexecuted designs for a hospital and chapel, commissioned by William Bromfield, c1759 (5)
    - Design and finished drawings for a hospital and chapel, c1759, unexecuted (5)

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Reference number

SM Adam volume 38/20

Purpose

[1] Finished drawing for a hospital chapel and wing, c1759, unexecuted

Aspect

Plan of a square building with a stepped portico entrance which contains a pair of circular staircases. The portico leads to a circular space surrounded by apses, with the apses to the rear containing further staircases. There is a central aisle which leads to a stepped pulpit, and this is crossed by a further aisle. Both aisles provide access to the pews, which form a circle. The building is supported by an internal colonnade. This block is flanked by colonnaded, curved link passages with central stepped entrances. The passage of the left-hand-side links to a nine-bay building with the central three-bays projecting, and these contain a stepped entrance. The entrance leads to a hall which is surrounded by rectangular rooms, and there is a dog-legged staircase to the rear

Scale

to a scale

Inscribed

Plan of Lock Hospital Chapel / with one of the wings- (all in the hand of William Adam, underwritten in pencil) and some dimensions given

Signed and dated

c1759
c1759

Medium and dimensions

Pen, pencil, wash and Naples yellow wash on laid paper (963 x 632)

Hand

Possibly
Office hand, with title inscription in the hand of William Adam

Literature

Bolton, 1922, Volume II, Index p. 39
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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