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There is an undated preliminary sketch of a bridge with flanking classical-style buildings which Rowan suggests could relate to an unexecuted scheme to formalise the north end of the North Bridge and the buildings that face onto on Princes Street. The perspective appears to be a birds-eye view of the bridge, looking south. Rowan suggests this view is from the dome of the Register House. The sketch shows an open ‘piazza’ with sculptural groups (possibly sphinxes) on the terminating walls of the bridge, and L-shaped classical-style buildings with central pedimented porticoes. The sketch also shows the end elevations of new buildings on the North Bridge with what appear to be castellated turret-style towers which may be a visual guide to indicate the entrance into the Old Town in contrast to the classicism of the New Town. On the verso of the sketch is a rough plan of the bridge and buildings showing basement vaults, including a theatre that had been constructed in 1768, and an outline of a building in the foreground which Rowan suggests is Register House.
There are no other drawings relating to this, and Rowan argues that this drawing was a quick sketch as part of a conversation, ‘very much as an architect will do while developing ideas with a client’ (Rowan, p. 36). The sketch came to nothing and the area at the end of the North Bridge, facing onto Adam’s Register House was developed piecemeal. The bridge was replaced entirely at the end of the nineteenth century.
Literature: A. J. Youngson, The Making of Classical Edinburgh 1750-1840, 1966, pp. 60-65; E. C. Ruddock, ‘The Building of the North Bridge, Edinburgh 1763-1775’, The Transactions of the Newcomen Society, Vol. 47, 1974-76, pp. 9-33; A. Rowan, ‘Robert Adam’s Ideas for the North Bridge in Edinburgh’, The Journal of the Architectural Heritage Society of Scotland, XV, 2004, pp. 34-39; A. Rowan, Vaulting Ambition: The Adam Brothers, Contractors to the Metropolis in the Reign of George III, 2007, p. 70
Louisa Catt, 2024
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.
Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).