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image SM Adam volume 40/2

Reference number

SM Adam volume 40/2


[60] Finished drawing for the house, 1760, executed with minor alterations to the internal arrangement, and minus the southern quadrants and pavilions


Elevation of the south front of a three-storey, nine-bay central block, with a hipped roof interrupted by a drum and dome across the central three bays, and with a portico of four giant Corinthian columns across the central three bays, resting on a rusticated basement with curved external stairs. The central block is flanked on either side by a two-storey, four-bay curved link, with a flat roof, and with a rusticated, arcaded ground floor with rectangular, urn-filled recesses alternating with the arches; and the first floor is colonnaded with Ionic columns with tripartite openings alternating with sculpture-filled niches. Beyond is a two-storey, five-bay pavilion with a hipped roof, and with a rusticated, arcaded ground floor, and the first floor is articulated by Ionic pilasters with three Venetian windows in relieving arches, alternating with two tripartite colonnaded openings, all with Ionic columns. The pavilions have friezes of festoons


bar scale of 1/4 inch to 1 foot


[South] Front of the New Design for Kedleston House / The Seat of Sir Nathaniel Curzon Baronet / Now Lord Scarsdale (in the hand of William Adam)

Signed and dated

  • 1760
    datable to 1760

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (2216 x 509)


Adam office hand, possibly Agostino Brunias, with title inscription in the hand of William Adam


Bolton, 1922, Volume II, Index p. 18
Harris, 1987, pp. 22-23
Harris, 2001, p. 336
For a full list of literature references see scheme notes.



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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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