[18] Alternative finished drawing for a screen and gatehouses, c1778, 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 51/79

Purpose

[18] Alternative finished drawing for a screen and gatehouses, c1778, unexecuted

Aspect

Above- Elevation of an entrance screen formed of a central arch, with a wrought iron gate and spandrels ornamented with rosettes. There is a frieze of further rosettes and a central tablet, with an apron of guttae. The arch is surmounted by a plinth ornamented with festoons and a rosette, and supporting a statue of Britannia surrounded by trophies, and this is flanked by recumbent stags. All this is flanked by Doric screens with wrought iron fences and pairs of Doric porticoes. The screens are surmounted by plinths, alternatively supporting a recumbent lion and unicorn. The pedimented porticoes are alternatively formed with an open arch and a blank arch containing a widow. The capitals and spandrels are both ornamented with rosettes Below- Plan of an entrance screen, as above

Scale

bar scale of 1 1/14 inches to 10 feet

Inscribed

Design for Hide Park Corner (in the hand of William Adam, underwritten in pencil) / Extends 132 feet and some dimensions given

Signed and dated

c1778
177[8] (cropped)

Medium and dimensions

Pen, pencil and wash on laid paper within a single ruled border (595 x 464)

Hand

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

Verso

Another set of designs for Hyde Park Gateway / 3

Watermark

PVL

Literature

Bolton, 1922, Volume II, Index, p. 41
Rowan, 1988, p. 56
King, 2001, Volume II, p. 57
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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