[5] Design for the front elevation of a house, 1787, executed in part

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Robert and James Adam office drawings
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  - Glasserton House, Dumfries and Galloway: designs for a house for Keith Stewart, 1787, executed in part (10)

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Reference number

SM Adam volume 45/63

Purpose

[5] Design for the front elevation of a house, 1787, executed in part

Aspect

Principal elevation of a three-storey, nine-bay house with an attic level and a hipped roof. The end bays project forward with gabled ends containing dormers and pedimented tripartite windows on the first floor. The central three bays are articulated within a three-storey pedimented block adorned with niches, an Ionic-column screen, a fluted frieze, swagged panels and enclosed rosettes. There is a Tuscan portico supporting a first floor balcony. There is a continuous moulded cornice at eaves level and string coursing between each floor. There are a mixture of tripartite windows, square-headed windows, Diocletian windows in the attic and an oculus

Scale

bar scale of 1 ¼ inch to 10 feet

Inscribed

Design for the South front of Glasserton House the Seat of / The Honb^le Commodore Keith Stewart

Signed and dated

1787
datable to 1787

Medium and dimensions

Pen, pencil and wash on laid paper (361x258)

Hand

possibly
Adam office hand, possibly Robert Morison

Literature

Bolton, 1922, p. 15
King, 2001, Vol. 1, pp. 106, 136
Further literature references in 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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