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  • image SM Adam volume 36/6

Reference number

SM Adam volume 36/6


[1] Design for the basement storey, 1787, unexecuted


Plan of the basement storey of a three-bay house, which extends beyond the principal front with steps leading down to passageways, which link to water closets. A central entrance leads into a further passageway, which provides access to the chairmen’s room. Beyond this there are wine vaults, a stairwell set within an oval compartment, and a further staircase set within the bow rear front, which leads through a colonnaded screen to a courtyard beyond. The courtyard is flanked by wings, containing a room for hampers and a confectioner’s room with an oven or copper. Beyond this a passage-way links to the opposite wing, containing a larder/pantry set within a bow front, a beer cellar, and at a lower level, a further wine vault. Beyond this, the rear of the building is irregular in plan and contains kitchen offices


bar scale of 1 3/4 inches to 10 feet


Plan of the Ground Story / Whites Chocolate House / Ground Story / Whites Chocolate house Ground Story (pencil) / Passage to Womens necessary / A / Passage to Mens Necessary / Area / Area / Passage / D / Housekeepers room / Chairmens room / C / Passage / Wine binns / Closet / Servants Eating room / Larder & Pantry / Wine Vault / Small Beer Cellar / Room for Hampers / Court / Larder or Pantry / Wine Vault / Confectioners room & Pantry / Passage / B / Coal Vault / Kitchen / Scullery / Sitting room

Signed and dated

  • 1787
    Robt Adam Architect 1787.

Medium and dimensions

Pen, pencil and wash on laid paper (525 x 731)


Robert Adam


no 6 / no 6


JWHATMAN; Fleur-de-lis within a crowned cartouche


Bolton, 1922, Volume II, Index, p. 50
Sheppard, 1960, pp. 457-58
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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