[9] Finished drawing for a lodge, c.1781, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Lodges for the Earl of Findlater, unknown location: designs for lodges in the classical and castle styles for James Ogilvy, 7th Earl of Findlater and 4th Earl of Seafield, c.1781-83, unexecuted (16)
    - Alternative design for a classical lodge, c.1781, unexecuted (2)

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Reference number

SM Adam volume 36/67

Purpose

[9] Finished drawing for a lodge, c.1781, unexecuted

Aspect

Lower: ground plan of a lodge with a central rear bow, comprising a series of rooms with a central corridor running across the width of the lodge Middle: principal (first) floor plan of a lodge with an entrance hall and large central room with columns at one end and a rear bow, flanked by a series of rooms with a staircase on one side Upper: attic plan of a lodge comprising a two central rooms with a rear bow, flanked by a series of rooms with a staircase on one side

Scale

bar scale of 1 inch to 10 feet

Inscribed

Attick Story / Principal Story of the Lodge (and in the hand of William Adam) for The Earl of Findlater / (in another hand) Ground Story for the Lodge / (verso) Earl of Findlater

Signed and dated

c.1781
datable to c.1781

Medium and dimensions

Pen, pencil and wash on laid paper (287x506)

Hand

Possibly
Adam office hand, possibly Robert Morison

Watermark

J WHATMAN / W surmounted by a fleur de lis within a crowned cartouche

Literature

Bolton, 1922, p. 54
King, 2001, p. 135
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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