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  • image SM Adam volume 31/3

Reference number

SM Adam volume 31/3


[10] Finished drawing for the rear the south building, 1784, unexecuted


Elevation of a two-and-a-half-storey, thirteen-bay building with a balustraded, pitched roof and a central, stepped dome with an oculus. The drum supporting the dome contains oculi windows and is ornamented with a frieze of swags and rosettes. The central five bays are projecting and there is a bow front in the middle three bays. At the ground-storey level the bow front contains Venetian windows and this is flanked by three-quarter-height windows set within relieving arches with fanlights above. Above the windows in the central five bays there are ornamental panels containing urns flanked by half-putti and arabesques. In the upper register there is a string course of guilloche and quarter-height windows, with a frieze of fluting and rosettes above. The flanking bays contain balustraded aedicula windows at the first-storey level and quarter-height windows in the upper register. The building terminates in two-and-a-half-storey, single-bay, balustraded pavilions, with rustication at the ground-storey level. At the first-storey level there are balustraded Ionic screens set within relieving arches. The screens have friezes of swags and rosettes and the head of the arches contain oculi flanked by festoons. The columnar screens are flanked by giant Corinthian pilasters, with a frieze of fluting and rosettes above


bar scale of 1 3/8 inches to 10 feet


Design of the back Front for the South side of the Quandrangle of Kings College Cambridge. / Extends 250 feet / No 10- (pencil)

Signed and dated

  • 1784
    Robt Adam Architect 1784.

Medium and dimensions

Pen, pencil and coloured washes including Payne's grey and sepia within a double ruled border on laid paper (916 x 535)


Robert Adam


3 / 3




Bolton, 1922, Volume II, pp. 173-79; Index, p. 6
King, 2001, Volume II, p. 53
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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