[3] Design for the north front of a house, c1785, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Saint Hill House, Sussex, for Gibbs Crawfurd, variant designs for a house, 1785, unexecuted (13)
    - First design for a house, c1785, unexecuted (5)

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Reference number

SM Adam volume 45/54

Purpose

[3] Design for the north front of a house, c1785, unexecuted

Aspect

Elevation of a two-and-a-half-storey, three-bay house, with a hipped roof, and this is surmounted by a stepped dome with an oculus. The pedimented central bay is projecting, and there is a balustraded porte cochère at the ground-storey level, with a central entrance beyond. The entrance has a fan light, and is flanked by paired Tuscan pilasters. In the first and third bays there are tripartite windows set within a Tuscan screen, and with a pediment over the central compartment. At the first-storey level there is a tripartite widow set behind an Ionic pilaster screen, and within a relieving arch. Above this there is an oculus, and all this is flanked by tripartite windows with a semi-circular head over the central compartment. In the upper register there are half-height, tripartite windows

Scale

bar scale of 1 inch to 10 feet

Inscribed

North front of a New Design for Saint Hill in Sussex for Gibbs Crawford Esq.r / Extends 64 feet

Signed and dated

c1785
c1785

Medium and dimensions

Pen, pencil and wash on laid paper (473 x 236)

Hand

Possibly
Office hand, possibly Robert Morison

Literature

Bolton, 1922, Volume II, Index, p. 27
King, 2001, Volume II, p. 133
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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