[3] Design for the principal floor of a castle-style house, 1792, as executed

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Robert and James Adam office drawings
- Country houses
  - Mauldsley or Mauldslie Castle, Lanarkshire: designs for a castle-style house and stables for Thomas Carmichael, 5th Earl of Hyndford, 1791-96, as executed (15)
    - Designs and finished drawings for a castle-style house, 1791-92, as executed (11)

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Reference number

SM Adam volume 29/11

Purpose

[3] Design for the principal floor of a castle-style house, 1792, as executed

Aspect

Principal (first) floor plan of a rectangular house with four circular corner towers. There are two external staircases on either side of the house, one leading out from a central bow. The floor is divided into six principal spaces with two oval staircases and additional subsidiary rooms. Rooms include an eating room, library or study, saloon, hall, drawing room, bed chambers, dressing rooms and closets

Scale

bar scale of 1 1/4 inch to 10 feet

Inscribed

Plan of the Principal Story of Mauldslie Castle / No ² / Eating Room / Library or Study / Closet / Dressing room / Butlers / Pantry / Hall / Lobby / Closet / Saloon / Closet / Drawing Room / Bed Chamber / Dressing room / Water Closet with some room dimensions and pencil annotations / (verso) 6 / [_ _ _ _ _ _ / _ _ _ _ _ _ / _ _ _ _ _ _ ]

Signed and dated

12/04/1792
Mr Cairns / Edin^b 12 April 1792

Medium and dimensions

Pen, pencil and coloured wash including pink and lemon on laid paper (469x321)

Hand

Possibly
Adam office hand, possibly John Robertson

Watermark

Portal & Co

Literature

Bolton, 1922, p. 22
For a full list of literature references see 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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