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image SM Adam volume 21/42

Reference number

SM Adam volume 21/42


[2] Preliminary design showing the elevation (west) towards Chancery Lane, 1771-74, unexecuted


Unfinished elevation (west) towards Chancery Lane showing a three-storey, nineteen-bay central block, with a hipped roof, surmounted by a large dome, and with the central three bays projecting, and with an arcade in the ground storey, surmounted by a portico and pediment, and this is flanked by four curved bays, with an arcade in the ground storey, surmounted by a colonnade, and the end three bays are projecting, articulated by pilasters at each side, and with a Venetian window within a relieving arch on the first storey, and this central block is flanked by one-and-a-half-storey, three-bay balustraded links, with central arches, flanked by niches/windows, and beyond are three-storey, five-bay pedimented wings, with a central arched door, flanked by windows, and with projecting end bays containing relieving arches over the windows on the ground storey, and above the bays are articulated by Ionic pilasters, with a central balustraded Venetian window within a relieving arch, and beyond is another link of the same design


bar scale of 1/2 inch to 10 feet

Signed and dated

  • 1771-74
    date range: 1771-74

Medium and dimensions

Pencil on laid paper (563 x 260)


Robert Adam


King, 2001, Volume II, p. 57
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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