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  • image SM Adam volume 38/16

Reference number

SM Adam volume 38/16


[2] Finished drawing for a hospital and chapel, c1759, unexecuted


Elevation of a two-storey, seven-bay building surmounted by a stepped dome with an oculus. The central five bays form a stepped, pedimented Corinthian portico, which contains a central entrance flanked by further entrances. Above this there are plain roundels, and the flanking bays contain niches with plain tablets set above, and the portico has a frieze of rosettes and festoons. The portico is flanked by aedicule windows supported by Corinthian columns with bases ornamented with rosettes and festoons. Above this there are blank tablets and a frieze of rosettes and ox skulls linked by festoons. The central bays are flanked by one-and-a-half-storey, six-bay, curved link blocks, with stepped entrances in the third bays. Beyond the link blocks there are two-and-a-half-storey, nine-bay buildings with balustraded, hipped roofs. The central three bays form a pedimented Doric portico, with a central stepped, semi-circular-headed entrance at the ground-storey level. The entrance is flanked by semi-circular-headed windows, and at the first-storey level there are balustraded windows, with blank tablets set above. There are string courses between the ground-storey and first-storey levels, and the first and ninth bays of the building are projecting and contain semi-circular-headed windows at the first-storey level


bar scale of 2 1/4 inches to 10 feet


Elevation of Lock Hospital and Chapel (in the hand of William Adam)

Signed and dated

  • c1759

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (2036 x 504)


Office hand, with title inscription in the hand of William Adam


Bolton, 1922, Volume II, Index p. 39
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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