[32] Preliminary design for the stables, 1785, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Lowther Hall and village, Penrith, Cumberland: designs for a model village, and unexecuted designs for rebuilding Lowther Hall, a dairy, banqueting house, gateway and stables for Sir James Lowther, 5th Baronet, 1766-71 and 1785 (41)
    - Lowther Hall estate buildings
      - Alternative preliminary designs and finished drawing for the stables, 1785, unexecuted (4)

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Reference number

SM Adam volume 1/111

Purpose

[32] Preliminary design for the stables, 1785, unexecuted

Aspect

Elevation, similar to drawing one, with a thirteen-bay curtain wall around the ground storey, with a central carriage arch, flanked by tapering circular towers containing slit windows surmounted by cross-shaped slit windows, and beyond are link walls each containing four arched windows surmounted by an oculus window, and further tapering towers. The first storey is narrower, being nine bays wide, with a central window within a relieving arch, flanked by projecting bays containing slit windows, and surmounted by pepper-pot turrets, and beyond to either side are two windows, each within a relieving arch, and a further projecting bay with a pepper-pot turret. The second storey is narrower still, being five bays wide, and containing cross-shaped slit windows, and surmounted by a flag

Scale

to a scale

Signed and dated

1785
datable to 1785

Medium and dimensions

Pencil on laid paper (255 x 195)

Hand

Robert Adam

Literature

King, 2001, Volume II, p. 245
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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