[1] Preliminary design for alterations to the church, 1759, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Harewood House, Yorkshire: designs for alterations to the church and house; for the interior decoration; and for a greenhouse and gateway for Edwin Lascelles, 1759-1782 (121)
    - Designs for alterations to All Saints Church and Harewood House, 1759-1762 (8)
      - Preliminary design and finished drawing for alterations to the church, 1759, unexecuted (2)

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Reference number

SM Adam volume 21/148

Purpose

[1] Preliminary design for alterations to the church, 1759, unexecuted

Aspect

Rough part plan and two rough elevations for a church with two aisle. The main elevation shows a three-storey central tower and one-storey aisles, each with traceried windows

Scale

not to scale

Inscribed

The Square of the Steeple above the Church is 18ft 11in to the South and 21.5 to the West / Harewood Church. To add a finishing to the top of the Steeple in the Gothick taste and some dimensions given

Signed and dated

April 1759
23d April 1759

Medium and dimensions

Brown pen and pencil on laid paper (296 x 346)

Hand

Robert Adam

Literature

Bolton, 1922, Volume II, Index p. 17
Mauchline, 1992, pp. 15, 67
For a full list of literature references see scheme notes.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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