[11] Design for the principal front of a stable block, 1792, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Dunbar House, also known as Lauderdale House, East Lothian: Designs for additions to a house for James Maitland, 8th Earl of Lauderdale, 1790-92, executed in part (12)
    - Designs for a stable block, 1792, unexecuted (4)

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Reference number

SM Adam volume 48/57

Purpose

[11] Design for the principal front of a stable block, 1792, unexecuted

Aspect

Principal elevation of a two-storey, fifteen-bay stable block comprising a single range terminating in three-bay projecting ends. The central three bays contain a triumphal arch comprising a moulded opening within a relieving arch with a keystone containing a Diocletian window, the flanking piers have urns within balustraded niches with oculi and festoons above. The entrance is surmounted by a clock tower adorned with a panel decorated with guilloche, and Tuscan columns supporting pediments topped with a conical domed roof. The central three bays are flanked on both sides by a single-storey loggia. The three-bay ends comprise three segmental-arched openings with pedimented roofs. There is a mixture of square and rectangular

Scale

bar scale of 7/8 inch to 10 feet

Inscribed

Elevation of stable offices for the Earl of Lauderdale at Dunbar / Ornaments marked A not / drawn in the fair Copy

Signed and dated

16/12/1792
Albemarle Street / 16^th December 1792

Medium and dimensions

Pen, pencil and wash on laid paper (484x251)

Hand

Possibly
Adam office hand, possibly John Robertson

Literature

Bolton, 1922, Volume II, Index, p. 10
King, 2001, Volume 2, p. 217
Further literary references in the 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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