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  • image SM Adam volume 33/07

Reference number

SM Adam volume 33/07

Purpose

[3] Finished drawing for a plan and laid-out wall elevations of the House of the Inner Court of Session, 1791, unexecuted

Aspect

Plan and laid-out wall elevations for a rectangular room with an apsidal end. The ground-floor plan is the same as SM Adam volume 33/6 with some minor variations relating to the jury recess which has been moved to the centre (in place of the chimneypiece) within a recessed arch with a clock above the continuous moulded dado rail, flanked by Corinthian pilasters, followed by door openings (one blind), with plaques above. There are also minor changes to the seating and the openings to other rooms. The large apse in the wall contains an urn set within a recessed arch flanked by two doors with a bench and table in front. There are three segmental-arched windows flanked by pairs of Corinthian pilasters on one wall, paired Doric columns supporting a mezzanine level with additional seating on another, and a doorway flanked by two niches with candelabra below on the other. The washes denote proposed (black) and existing (grey) fabric and coloured washes denote the different building materials

Scale

bar scale of 1 1/2 inches to 10 feet

Inscribed

No 2 / Plan & Section of the four sides of the Inner court of Session, shewing the Great Nich proposed for the Gentlemen of the Jury to sit on tryals. Edinburgh / (in pencil) 7 / (verso) Advocate Liby

Signed and dated

  • 1791
    Adam Architect 1791

Medium and dimensions

Pen, pencil, wash and coloured wash including lemon yellow, cerulean blue and pink within a ruled border on laid paper (598x480)

Hand

Possibly
Adam office hand, possibly Robert Morison or John Robertson

Watermark

Footed P

Literature

Bolton, 1922, p. 11
Kerr, 1998, pp. 4-7
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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