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  • image SM Adam volume 30/45

Reference number

SM Adam volume 30/45


Finished drawing for a house, c1775, executed with minor alterations


Elevation of a two-and-a-half-storey, seven-bay building, with a pitched roof. The central three-bays are surmounted by a balustrade, and the centre bay is set behind a Tuscan portico. This is flanked by windows, and at the first-storey level there is a central, balustraded window with a cornice, and this is flanked by windows. Above this there is a string course ornamented with rosettes, and there are half-height windows in the upper register. The building terminates in two-storey, two-bay, pedimented pavilions, which are surmounted by acroteria. There are full-height windows at the ground-storey level, with figurative roundels above. At the first-storey level there is a string course and three-quarter-height windows. The pavilions have friezes ornamented with rosettes and festoons, and these contain central figurative panels


bar scale of 1 1/2 inches to 10 feet


Design of a House for Nicholas Ashton Esqr (in the hand of William Adam, underwritten in pencil)

Signed and dated

  • c1775

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (454 x 299)


Office hand, possibly Joseph Bonomi, with title inscription in the hand of William Adam


King, 2001, Volume I, p. 212-13
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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