[51] Design for the east elevation of a castle-style building, 1787, as executed

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Robert and James Adam office drawings
- Country houses
  - Culzean Castle, Ayrshire: designs for additions to a castle-style building and its stables and walled gardens, along with a home farm, viaduct, and interior decoration and furniture for David Kennedy, 10th Earl of Cassilis, c.1776-87, executed in part (57)
    - Designs for additions to Culzean Castle, 1787, as executed (13)

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Reference number

SM Adam volume 37/2

Purpose

[51] Design for the east elevation of a castle-style building, 1787, as executed

Aspect

East flank elevation of a three-storey, castle-style building with corner turrets, with a taller range to the rear, and an additional wing at one end with a two-storey circular block to the front with a conical roof, and a larger three-storey circular block at one end with a conical roof. The entire elevation is adorned with a mixture of square-headed, arched and cross windows and oculi, as well as machicolated cornices, crenelations, string coursing, balustrading and bartizans

Scale

bar scale of 1 inch to 10 feet

Inscribed

East front of Cullean Castle with the additional Building & Circular room proposed to be built towards the Sea. / (in the hand of William Adam and underwritten in pencil) for The Right Hon^ble The Earl of Cassilles / (verso) 2

Signed and dated

1787
datable to 1787

Medium and dimensions

Pen, pencil and wash within a ruled border on laid paper (551x465)

Hand

Possibly
Adam office hand, possibly Robert Morison

Watermark

Footed P

Literature

Bolton, 1922, p. 8
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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