[4] Design for the façade of the inn, c1776, executed with minor alterations

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Robert and James Adam office drawings
- Commercial buildings
  - Red Lion Inn, Pontefract, designs for alterations and extensions, and for a new facade, 1776, as executed (4)
    - Designs for the inn, c1776, as executed (4)

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Reference number

SM Adam volume 38/59

Purpose

[4] Design for the façade of the inn, c1776, executed with minor alterations

Aspect

Elevation of a two-and-a-half storey, seven-bay building, with a hipped roof. There is a central, stepped, tripartite doorway set within a Tuscan portico, and this is flanked by pairs of three-quarter-height windows. Above this, on the first storey, there is a central Venetian window articulated by Ionic columns, and ornamented with a fan. This is flanked by pairs of full-height windows with ironwork balconies, with a string course of fluting above, and quarter-height windows in the upper register. The central building is flanked by single-bay wings, surmounted by balustrades. The left-hand wing, on the ground storey has a stepped, tripartite doorway, set within a Tuscan portico. On the first storey there is a full-height, balustraded, pedimented window, and in the upper register there is a Diocletian window. The right-hand wing corresponds with the left, but with a central carriage arch in the ground storey

Scale

bar scale of 1 5/8 inches to 10 fett

Inscribed

A Design for the Principal front of the Red Lion Inn at Pontefract / Extend and some dimensions given

Signed and dated

c1776
c1776

Medium and dimensions

Pen and pencil on laid paper (495 x 331)

Hand

Possibly
Office hand, possibly Joseph Bonomi

Notes

A further Adam drawing for the façade survives in the National Trust collection at Nostell Priory.

Literature

Bolton, 1922, Volume II, Index p. 26
King, 2001, Volume I, p. 51
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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