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  • image Image 1 for SM Adam volume 38/40
  • image Image 2 for SM Adam volume 38/40
  • image Image 1 for SM Adam volume 38/40
  • image Image 2 for SM Adam volume 38/40

Reference number

SM Adam volume 38/40


[1] Design showing a ground plan for the building, 1775, as executed


Ground plan of a rectangular building, supported by piers forming aisles, and giving space for a market, with central three-bay porticoes on each long side, and entrance doors flanked by blind windows on each short side. At one end the entrance is flanked by two small shops, and at the other the entrance is flanked by staircases to the storey above (verso) pencil-drawn elevation for the entrance front as Adam volume 38/38


(recto and verso) bar scale of 3 inches to 10 feet


Plan of the Market / Those parts that one shaded light shew the present building, and those that are shaded dark shew the new additions proposed, The four Piers that / are marked A are proposed to be taken entirely away, and the eight piers marked B to be put up in order to keep the pairings / opposite to the external Arches in the side Front, and must increase the strength of the building is executed with Judgement / To Edmunds Bury (To Edmunds Bury in the hand of William Adam) Shop / Shop / Lobby with the Stairs Leading / to the Theatre above (all underwritten in pencil) / B / B / B / B / A / A / A / A / B / B / B / B

Signed and dated

  • 1775
    datable to 1775

Medium and dimensions

Pen, pencil and wash on laid paper (692 x 507)


adam office hand, possibly Robert Adam or Joseph Bonomi, with addition to title inscription in the hand of William Adam (verso) Robert Adam


IHS IVILLEDARY and LVG surmounted by fleur de lis within crowned cartouche


Bolton, 1922, Volume II, p. 5
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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