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  • image SM Adam volume 42/16

Reference number

SM Adam volume 42/16


[3] Design for a school and almshouses, 1780, unexecuted


Elevation of a one-and-a-half-storey, nine-bay building with a hipped roof. The projecting, central three bays are two storeys in height and contain a Tuscan portico entrance with a frieze of fluting and rosette roundels, and this is flanked by semi-circular-headed windows on the ground storey. On the first storey there are three-quarter-height windows, and above this there is a blank tablet and a pedimented roof surmounted by a belvedere containing a clock and supporting a weather vane. The two bays flanking the central block contain tripartite windows on the ground storey, and on the first storey there is a string course and Diocletian windows. The building terminates in projecting single-bay pavilions which contain tripartite windows on the ground and first storey. The pavilions are surmounted by pyramidal roofs Below- Plan of the first storey of a nine-bay building. There is a central square room, with a projecting block to the rear which contains a staircase. The central room is flanked by passages linking to further rooms, and these are accessed by additional staircases in the left- and right-hand sides of the building


bar scale of 1 1/2 inches to 10 feet


Elevation of a new Design for a School and six Alms houses to be built at Humberstone in Lincolnshire / Plan of the second Story of the Alms houses and School some dimensions and figures given

Signed and dated

  • May 1780
    Adelphi / 10.t May 1780

Medium and dimensions

Pen and pencil within a single ruled border on laid paper (517 x 366)


Office hand, possibly Joseph Bonomi or Robert Morison


Bolton, 1922, Volume II, Index p. 18
King, 2001, Volume II, p. 56
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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