[25] Variant designs for a gated screen and lodge, 1789, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Findlater Castle, Moray: designs for a castle, stables and offices, gates and a bridge for James Ogilvy 7th Earl of Findlater and 4th Earl of Seafield, 1789, unexecuted (26)
    - Variant designs for a gated screen and lodge, c.1789, unexecuted (2)

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Reference number

SM Adam volume 2/157

Purpose

[25] Variant designs for a gated screen and lodge, 1789, unexecuted

Aspect

Upper: ground plan of a lodge with corner turrets and an external privy, comprising a kitchen and staircase Middle: elevation of a two-storey lodge with flanking circular turrets, and a gated screen with a tall pier on one side. The elevation is adorned with arched windows, machicolated cornices, crenelations and crosses Lower: alternative elevation of a two-storey lodge with flanking circular turrets and the upper storey in a stepped gable, and a gated screen terminating in an additional three-bay lodge with a raised central storey with a relieving arch. The elevation is adorned with arched windows, oculi, enclosed rosettes, machicolated cornices, crenelations and crosses

Scale

to a scale

Inscribed

This Gate for the West approach to Findlater Castle / Pantry / Kitchen / This Sketch With alterations for the East / approach to Findlater Castle. with some dimensions

Signed and dated

4/9/1789-5/9/1789
Cullen 4th & 5 Septr. R. A. datable to 1789

Medium and dimensions

Pen, pencil and wash on laid paper (299x282)

Hand

Probably
Robert Adam

Watermark

Fleur de lis [in part]

Literature

Bolton, 1922, p. 13
King, 2001, p. 244
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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