[5] Design for the principal front of a house, 1789, executed in part

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Robert and James Adam office drawings
- Country houses
  - Yester House, East Lothian: designs for alterations to a house for the 4th and 7th Marquesses of Tweeddale, c.1760-89, executed in part (8)
    - Designs for a carriage entrance and alterations to a house, 1789, executed in part (5)

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Reference number

SM Adam volume 41/5

Purpose

[5] Design for the principal front of a house, 1789, executed in part

Aspect

Front (principal) elevation of a two-storey, nine-bay building with flanking single-storey single-bay links and three-bay pavilions, over a basement level. On the first floor, the central three bays are articulated by Ionic pilasters supporting a pediment adorned with a coat of arms. The pediment is crowned by three statues. The flanking three bays of the main block are balustraded with a hipped roof and there are pencil outlines of chimney stacks. Adjoining the front is a large, ramped, coach entrance adorned with a Vitruvian scroll balustrade to both ramped sides and, on the platform, a bottle-neck balustrade flanked by piers surmounted with tripods. The platform is coursed and contains an arched opening. The flanking pavilions contain Diocletian windows with voussoirs at basement (ground) level, and hipped roofs with weathervanes

Scale

bar scale of 1 inch to 10 feet

Inscribed

New Design for altering and decorating the North Front of Yester House and Wings showing the new Parapet and Ramp / leading to the Door of the Parlor Story ~ / (in the hand of William Adam) the Seat of the Marquis of Tweddale with some pencil annotations. (Verso) 1

Signed and dated

24/03/1789
Albemarle Street / 24th March 1789

Medium and dimensions

Pen and pencil on laid paper (576x494)

Hand

Possibly
Adam office hand, possibly Robert Morison or Daniel Robertson

Literature

Bolton, 1922, Index, pp. 32
King, 2001, Volume 1, pp. 188-189
Further literary references in scheme notes

Level

Drawing

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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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