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  • image SM Adam volume 46/91

Reference number

SM Adam volume 46/91


[3] Drawing for publication showing a design for a house, 1783, unexecuted


Ground plan and elevation of the principal front of a house with a central block, links and pavilions. The central block is a two-and-a-half-storey, three-bay block, with a hipped roof and a two chimney stacks, with a central door behind a single-storey, single-bay, balustraded portico of paired Doric columns, surmounted by a door on the first storey, giving access to a balcony formed by the balustraded roof line of the porch below, and this window is surmounted by a sculpted fan and set within a relieving arch; and the central bay is flanked by projecting bays with arched and balustraded windows within relieving arches on the ground storey, rectangular balustraded windows on the first storey, and half-height windows on the second storey, and surmounted by sculpted sphinxes; and the second storey is ornamented with four paterae. The plan shows that the central block contains a staircase in the back left-hand corner, two reception rooms, and has slightly projecting end bays on the garden front, and projecting bays on each side. The central block is flanked by single-storey, seven-bay links, containing an open five-bay Doric colonnade, with niches visible in the rear wall; and beyond are one-and-a-half-storey, single-bay pavilions, with pyramidal roofs, each with a window within a relieving arch


to a scale


Unknown (in the hand of William Adam and underwritten in pencil) / Unknown (in pencil) / 33 / 33d (in pencil)

Signed and dated

  • May 1783
    datable to May 1783

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (271 x 156)


Adam office hand, possibly Robert Morison, with title inscription in the hand of William Adam (underwritten in pencil)


King, 2001, Volume II, p. 136
For a full list of literature references see schemes notes.



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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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