[14] Finished drawing for variant designs for Pinford Bridge, 1767, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Sherborne Castle, Dorset: unexecuted designs for alterations to the house, interior, a new gateway and bridge for 7th Lord Digby, 1760-67 (16)
    - Preliminary designs and finished drawings for variant designs for Pinford Bridge, 1767, unexecuted (4)

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Reference number

SM Adam volume 51/20

Purpose

[14] Finished drawing for variant designs for Pinford Bridge, 1767, unexecuted

Aspect

Elevation of a tripartite bridge, with three segmental arches ornamented with a Vitruvian scroll frieze, enclosed rosettes in the spandrels, a balustraded parapet with a central sculptural panel, and supported by four piers, one pyramid-topped, containing aedicular, rectangular, urn-filled recesses, on stepped starlings, with curved abutments terminating in miniature piers. With pencil annotations including a detailed drawing of a pier in the bottom right-hand corner

Scale

to a scale

Inscribed

Another Design for Lord Digby / Another Design for Lord Digby (in feint pencil) (verso) 3 / 3 / 3 / Number 9 / Lord Digby Dorsetshire / 3

Signed and dated

1767
datable to 1767

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (1254 x 424)

Hand

Adam office hand, with title inscription in the hand of William Adam

Watermark

PVL

Literature

Bolton, 1922, Volume II, Index p. 28
Smith, 1995, pp. 15, 17
King, 2001, Volume II, p. 204
For a full list of literature references see scheme notes.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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