[5] Design for the Diocletian wing, 1769, executed with alterations

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Robert and James Adam office drawings
- Country houses
  - Bowood, Calne, Wiltshire: designs for the house, offices and park buildings, for William Petty, 2nd Earl of Shelburne, 1761-71 (32)
    - Designs for the house and offices
      - Design for the Diocletian wing, 1769, executed with alterations (3)

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Reference number

SM Adam volume 39/72

Purpose

[5] Design for the Diocletian wing, 1769, executed with alterations

Aspect

Elevation of the east front of the Diocletian wing, and link to the older house, being a two-storey, seven-bay range with a pitched roof between two three-storey, three-bay, pyramidal pavilions, with pediments on the third floor, and a Venetian window flanked by niches on the ground floor. On the left is a two-storey, five-bay, balustraded link with a domed bow across the central three bays, connected to a one-storey, single-bay room containing a staircase [to the older house]

Scale

bar scale of 1 1/5 inches to 10 feet

Inscribed

Offices at Bowood for The Earl of Shelburne (in the hand of William Adam) / Offices at Bowood for The Earl of Shelburne (in feint pencil) / 75 (in pencil) and some rough calculations in the bottom left-hand corner (verso) 1 / Bowood Offices (in pencil)

Signed and dated

1769
datable to 1769

Medium and dimensions

Pen, brown pen and pencil on laid paper (786 x 380)

Hand

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

Watermark

LVG and fleur-de-lis within crowned cartouche and IHS IVILLEDARY

Literature

Bolton, 1922, Volume II, Index p. 4
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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