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  • image SM Adam volume 37/46

Reference number

SM Adam volume 37/46


[5] Finished drawing for the attic storey of a building, c1764, unexecuted


Plan of the attic storey of a twenty-one by fifteen-bay building. To the southwest and northeast there are attic storey rooms forming further bedchambers. The northwest and southeast ranges have pitched roofs. The towers have crenulated square turrets, and the turrets to the north east have conical oculi. The southeast towers are projecting, with two-bay link blocks, and this forms an irregular façade


bar scale of 3/4 inch to 10 feet


Plan of the Attick Story of Luton Castle in Bedfordshire / Showing the Roofs of the other parts of the House- / Belonging to The Right Honble The Earl of Bute (in the hand of William Adam, underwritten in pencil) / Bed Chamber / Bed cham.r / Bed room / Bed cham.r / Bed Chamber / Passage - / Bed chamber / Bed room / Bed cham.r / Bed chamber / Bed chamber / Passage / Bed chamber / Bed room / closet / Bed room / Bed cham.r / 46 (pencil) and some dimensions given

Signed and dated

  • c1764

Medium and dimensions

Pen, pencil and wash on laid paper (543 x 510)


Office hand, possibly Giuseppe Manocchi or William Hamilton, with part title inscription in the hand of William Adam


number 8 (brown ink) / 8 (pencil) / Lord Bute Luton Park a house in the Castle style


LVG surmounted by a fluer-de-lis within a crowned cartouche


Bolton, 1922, Volume II, Index, p. 21
Russell, 1992, pp. 44-47
King, Volume I, p. 12; Volume II, pp. 85, 131, 163
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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