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  • image SM Adam volume 42/28

Reference number

SM Adam volume 42/28


[2] Design for the first storey and section for a lodge, executed to a variant design, 1766


Above- Longitudinal section of a two-storey, five-bay building, with a central pitched roof, flanked by shallow sloped roofs which terminate in balustrades. The three bays of the central ground-floor and first-floor rooms form canted bay windows, and the windows of the first storey are set within relieving arches, and are flanked by Doric pilasters. Above this there is a frieze of fluting and a domed ceiling, and the central first-storey room is flanked coffered spaces Below-Plan of the first storey of a five-by-three-bay building, with the central three-bays of the principal façade slightly projecting. Beyond this there is a staircase and landing, flanked by a symmetrical formation of bedchambers, dressing rooms and closets. To the rear there is an octagonal drawing room with niches and additional flanking spaces. The drawing room forms the central canted bay window to the rear


bar scale of 2 inches to 10 feet


Section through the Lodge- / House for the Honorable Archibald Montgomorie (in the hand of William Adam, underwritten in pencil) / Plan of the One Pair of Stairs Story- / Dressing Room / Drawing Room / Dressing Room / Closet / Closet / Bed Chamber / Landing of the Stairs / Bed Chamber / 86 (pencil) and some dimensions given

Signed and dated

  • 1766
    [R]obt Ardam Archt. 1766.

Medium and dimensions

Pen, pencil, wash and coloured washes including Naples yellow and pink (314 x 503)


Robert Adam, with part title inscription in the hand of William Adam


Col.l A Montgomerie / 3 / 3 / 5 (pencil) / Number 5 (brown ink, in the hand of William Adam)




Bolton, 1922, Volume II, Index, p. 45
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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