[5] Finished drawing for the west front of a house, c1772, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Hitchin Priory, Hertfordshire, for John Radcliffe, designs for alterations to a house for John Radcliffe, c1772, unexecuted (5)
    - Designs for alterations and additions to a house, c1772, unexecuted (5)

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Reference number

SM Adam volume 29/49

Purpose

[5] Finished drawing for the west front of a house, c1772, unexecuted

Aspect

Elevation of the west front of a castellated, two-storey, seven-bay building with a hipped roof, a part sunken basement, and the central bay projecting. The basement storey is set behind wrought iron balustrades. On the ground storey there is a central stepped entrance, flanked by narrow windows and wrought iron lanterns, and there is a lintel moulding set above. The entrance is flanked by full-height windows with lintel mouldings set above. On the first storey there is a central tripartite window, and this is flanked by three-quarter-height windows, all with lintel mouldings set above. The roof line is ornamented with a band of dentils, and there are half-height windows in the garret storey

Scale

bar scale of 1 1/2 inches to 10 feet

Inscribed

West Front of a New Addition to the House of John Radcliffe Esq.r near Hitchen / Extends 98. Ft 6 In and some dimensions given

Signed and dated

c1772
c1772

Medium and dimensions

Pen and pencil within a single ruled border on laid paper (503 x 332)

Hand

Possibly
Office hand

Literature

Bolton, 1922, Volume II, Index p. 18
Rowan, 1984, pp. 44-45
King, 2001, Volume II, p. 127
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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