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  • image SM Adam volume 36/13

Reference number

SM Adam volume 36/13


[6] Finished drawing for the ground storey of a house, c1783, unexecuted


Plan of the ground storey of a five-by-five-bay building, with the central three bays of the west front receding, and containing a central, stepped entrance with a circular porch. Beyond this there is a columnar screened space, with a curved bifurcated staircase to the south, a further curved staircase to the east, and an apsidal-ended space to the north. This links to two apsidal-ended rooms further north. To the south there is a series of rooms, including two oval rooms and a further staircase to the south-west. At the rear / east front there is a pair of splayed staircases leading down from entrances in the first and fifth bays


bar scale of 1 3/4 inches to 10 feet


Whites Chocolate House (crossed through in pencil) Parlour Story- (all in the hand of William Adam, underwritten in pencil) / 14th (pencil) Findlater (W.L. Spiers, modern curatorial hand, pencil) / no. 1 (red ink) / 24 (red ink)

Signed and dated

  • c1783
    Ink notation (cropped) pencil notation 12 Sepr 1783

Medium and dimensions

Pen and pencil within a single ruled border on laid paper (614 x 484)


Office hand, possibly Robert Morison


no 5 / 5 / These Plans go Dec[_ _ _] 2d into the Book




SM Adam volumes 36/10-18 are incorrectly inscribed by William Adam as part of the scheme for White’s Chocolate House, St James’s Street, London.


Bolton, 1922, Volume II, pp. 103-4, Index, p. 45
Rowan, 1985, p. 138
King, 2001, Volume II, pp. 57, 102-6, 130
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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