[9] Finished drawing for the west front of the bath house, c1774, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Mistley Hall and Village, Essex, for the Rt. Hon. Richard Rigby, c1774-82 (34)
    - Preliminary designs, designs and a finished drawing for a bath house and a reservoir, c1774, unexecuted (12)

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Reference number

SM Adam volume 41/55

Purpose

[9] Finished drawing for the west front of the bath house, c1774, unexecuted

Aspect

Elevation of the west front of the bath house, with a two-bay pedimented wing, articulated by Ionic pilasters, with a part-sunken, rusticated basement. At the basement level, there is an entrance and window, set within relieving arches. Above this, there is a central Venetian window, set within a relieving arch. This is flanked by niches containing urns, with bands of Vitruvian scroll and figurative roundels above. The pediment has a fluted frieze, with capitals ornamented with rosettes, and the tympanum contains a figurative roundel and festoons. The central block beyond is as SM Adam volume 41/56

Scale

bar scale of 2 3/4 inches to 10 feet

Inscribed

Elevation of the West End (and in the hand of William Adam) of the Salt Water Bath for the Right Honble Richd Rigby

Signed and dated

c1774
c1774

Medium and dimensions

Pen, pencil, wash and pink wash within a double ruled border (cropped) on laid paper (592 x 442)

Hand

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

Verso

3 / 3

Literature

Bolton, 1922, Volume II, Index, p. 22
King, 2001, Volume I, p. 249; Volume II, pp.182-3, 223
For a full list of literature references see scheme notes.

Level

Drawing

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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