[17] Alternative finished drawing for a screen and gatehouses, 1778, unexecuted

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Robert and James Adam office drawings
- Public buildings
  - Hyde Park Corner, London, designs for a triumphal arch, gatehouses and screens, c1778, unexecuted (18)
    - Alternative finished drawings for a screen and gatehouses, c1778, unexecuted (3)

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Reference number

SM Adam volume 51/77

Purpose

[17] Alternative finished drawing for a screen and gatehouses, 1778, unexecuted

Aspect

Above- Elevation of an entrance screen, with a central Ionic arch, and a frieze of festoons and rosettes. The archway has a wrought iron gate, spandrels ornamented with rosettes, and a tablet set above. The arch is surmounted by a socle, ornamented with a figurative medallion, and surmounted by an equestrian statue. This is flanked by plinths supporting military trophies. All this is flanked by three-bay screens, and the central bays contains an arched entrance, set within a Doric portico, and surmounted by a plinth, alternatively supporting a recumbent lion and unicorn. The entrance screen terminates in three-bay pavilions, with the central pedimented bay articulated by Ionic columns. This bay contains a blank relieving arch with an aedicule window and a figurative roundel set within. The flanking bays have slit windows and are surmounted by lanterns Below- Plan of an entrance screen, as above

Scale

bar scale of 1 1/4 inches to 10 feet

Inscribed

Design for Hide Park Corner (in the hand of William Adam) and some figures given (pencil)

Signed and dated

1778
1778.

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (586 x 462)

Hand

Possibly
Office hand, possibly Joseph Bonomi or Robert Morison, with title inscription in the hand of William Adam

Verso

1 / 2 (crossed through)

Watermark

PVL

Literature

Bolton, 1922, Volume II, Index, p. 41
Rowan, 1988, p. 56
King, 2001, Volume II, pp. 39, 57, pl. 46
For a full list of literature references see scheme notes.

Level

Drawing

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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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