[9] Design for a porte cochère for a house, ND, executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Harley Street, number 1 (now 2) and Cavendish Square number 16, London, designs for exterior and interior alterations for James Hope-Johnstone, 3rd Earl of Hopetoun, ND (9)
      - Design for a porte cochère for a house, ND, executed (1)

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Reference number

SM Adam volume 29/83

Purpose

[9] Design for a porte cochère for a house, ND, executed

Aspect

Above- Elevation of a three-and-a-half-storey, eight-bay house, with proposed additions for a porte cochère across the ground-storey level of the sixth and seventh bays, articulated by raised, fluted Tuscan columns, with a frieze of fluted triglyphs and metopes alternatively ornamented with ox skulls and rosettes. The porte cochère is surmounted by a balustraded balcony, set across a first-storey level tripartite window. To the right-hand side the profile of the porte cochère is shown Below – Plan of the principal façade of an eight-bay building, with a porte cochère across the sixth and seventh bays, flanked by railings and with a stepped entrance beyond. Across the second bay there is a faint preliminary design for a further porte cochère

Scale

bar scale of 1 3/4 inches to 10 feet

Inscribed

Front of the Earl of Hopetowns House towards Harley Street as executed / 109 / Area (pencil)

Signed and dated

ND
ND

Medium and dimensions

Pen, pencil and wash on laid paper (640 x 471)

Hand

Possibly
Office hand, possibly

Verso

Literature

Bolton, 1922, Volume II, Index, p. 40
King, 2001, Volume I, p. 121
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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