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  • image SM Adam volume 33/67

Reference number

SM Adam volume 33/67


[2] Designs for the village, 1766, unexecuted


Elevation of the interior front of one half of the village as in Adam volume 33/68, divided axially from the principal gate to the rear gate opposite, with a two-storey, seven-bay central block, with a hipped roof, and the two end bays slightly projecting; this is flanked by single-storey, eight-bay ranges, and further single-storey, six-bay ranges which are slightly projecting, and with the end wall to the cottage adjacent to the principal gate on the far right-hand side, and part of the smith's shop shown in section at the far left-hand side. Below this is an elevation of the exterior rear entrance, incorporating the smith's shop from Adam volume 33/68, being composed of a one-and-a-half-storey, three-bay building, with a hipped roof, and with a slightly projecting central carriage arch, surmounted by a pediment. Below this is an elevation of the exterior principal front, with a central tripartite ironwork gate, supported by two pyramid-topped piers, and flanked by buildings, each with a two-storey, three-bay central block, with a pyramidal roof, and the central block is flanked by single-storey, two-bay wings, with hipped roofs


bar scale of 3/5 inch to 10 feet


Design of a Village for Sir James Lowther Baronet taken from the Line AB / Another Front of Gateway, Smiths Shop at A / Another Front of the Village taken from the line CD

Signed and dated

  • 1766
    datable to 1766

Medium and dimensions

Pen and pencil on laid paper (488 x 565)


Adam office hand, possibly Giuseppe Sacco, with addition to title inscription in the hand of William Adam


XD&CB within cartouche


Brunskill, 1967, pp. 60-61
King, 2001, Volume II, p. 77
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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