[4] Finished drawing for alterations to the elevation of the assembly rooms and flanking buildings, c.1787, unexecuted

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Robert and James Adam office drawings
- Public buildings
  - Edinburgh Assembly Rooms, 54 George Street, Edinburgh: designs for alterations to the Assembly Rooms, c.1787, unexecuted (7)

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Reference number

SM Adam volume 31/33

Purpose

[4] Finished drawing for alterations to the elevation of the assembly rooms and flanking buildings, c.1787, unexecuted

Aspect

Elevation of three, two-storey buildings connected by archways for sedan chairs and coaches. The central building is seven-bays wide with a central dome decorated with festoons. The ground floor is rusticated and the three central bays are articulated by an arcade surmounted by Ionic columns supporting a pediment. The first-floor outer bays have Venetian windows and pairs of Ionic pilasters supporting a continuous fluted frieze with enclosed rosettes, adorned with trophies above. The flanking buildings are shown in part and are a matching design. They are three-storeys and four-bays wide with porticos in the central and outer bays and Venetian windows within recessed arches above. The elevation is adorned with heraldry over the central bay at eaves level

Scale

bar scale of 5/8 of an inch to 10 feet

Inscribed

Design for altering the North front of the Assembly rooms at Edinburgh showing the / Entrance for Chairs & Coaches on each side with some of the adjoining houses in the Street. / (verso) 1 / (in pencil) Assembly Rooms Edinbu--

Signed and dated

c.1787
datable to c.1787

Medium and dimensions

Pen, pencil and wash on laid paper within a ruled border (522x330)

Hand

possibly
Adam office hand, possibly Robert Morison or Daniel Robertson

Watermark

W surmounted by a fleur de lis within a crowned cartouche

Literature

Bolton, 1922, p. 10
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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