[10] Preliminary design for a font for St Mary's Church, Ruabon, 1772, as executed

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Robert and James Adam office drawings
- Country houses
  - Wynnstay House, Ruabon, Denbighshire: unexecuted designs for the house, unexecuted designs for a monument to David Garrick for the park, and an executed design for a font for St Mary's Church, Ruabon, for Sir Watkin Williams-Wynn, 4th Baronet, 1770-79 (13)
    - Preliminary design for a font for St Mary's Church, Ruabon, 1772, as executed (1)

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Reference number

SM Adam volume 6/179

Purpose

[10] Preliminary design for a font for St Mary's Church, Ruabon, 1772, as executed

Aspect

Elevation of a font, composed of an octagonal pedestal ornamented with quatrefoils, surmounted by three tapering legs ornamented with enclosed rosettes, and with claw and ball feet, and a wide stretcher ornamented with quatrefoils, and quatrefoils set between the legs, and with a top rail ornamented with quatrefoils, and winged masks, surmounted by an urn, with a socle ornamented with quatrefoils, and a body ornamented with trefoils, and pencil-drawn gadrooning

Scale

bar scale of 3 inches to 1 foot

Inscribed

Copy of a Font for Sir Watkin Williams Winn (in pencil) and some measurements given in pencil

Signed and dated

1772
datable to 1772

Medium and dimensions

Pen and pencil on laid paper (319 x 435)

Hand

Adam office hand, possibly Robert Adam

Watermark

IHS IVILLEDARY

Literature

Bolton, 1922, Volume II, Index p. 32
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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