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  • image SM Adam volume 29/41

Reference number

SM Adam volume 29/41


[5] Design giving a plan, elevation and section for the dairy, 1776, as executed


Plan, elevation and section of a dairy building, with a two-storey, three-bay, circular central block, with a conical roof, surmounted by a circular lantern with a conical roof, and with a central spiral staircase, and with a central door, flanked by Doric columns supporting a miniature pediment, and the door is flanked by windows, and in the upper register is a rectangular figurative panel flanked by oculus windows, and the central block is flanked by one-and-a-half-storey, single-bay links, with pitched roofs, and with a door within a relieving arch, and one of which contains a staircase, and beyond the links are one-and-a-half-storey, single-bay pedimented pavilions, one containing two storeys of rooms, and the other containing an octagonal room with a niche in each corner, and a high coved ceiling, possible with a semi-dome at each end (verso) pencil-drawn detail of a frieze, composed of alternating and connected calyx and anthemia


bar scale of 1 1/2 inches to 10 feet


Plan Elevation and Section of a Dairy for Lady Derby at Knowsley (in the hand of William Adam) / (and in pencil) Design of a Dairy for the Countess of Derby at Knowsley Park / A / Scullery to Dairy / Room and some measurements given (verso) Plan Elevation & Section of a Dairy house for / the Countess of Derby at Knowsley Park / This to be placed Eleventh (in red pen) and some rough calculations in pencil

Signed and dated

  • 22/06/1776
    Adelphi June 22d 1776

Medium and dimensions

Pen and pencil on laid paper (365 x 522)


Adam office hand, possibly Robert Adam or Joseph Bonomi, with title inscription in the hand of William Adam


GR surmounted by fleur de lis within crowned cartouche


Bolton, 1922, Volume II, Index p. 20
For a full list of literature references see scheme 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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