[29] Design for the second scheme of alterations to the house, 1777

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Robert and James Adam office drawings
- Country houses
  - Mamhead, Ashcombe, Devon: designs for interior decoration, alterations to the house, a garden seat, a temple and stable offices for the 1st Earl of Lisburne, 1767-80 (32)
    - Designs for the second scheme of alterations to the house, 1777 (6)

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Reference number

SM Adam volume 32/21

Purpose

[29] Design for the second scheme of alterations to the house, 1777

Aspect

Elevation of the principal (east) front of a two-storey, nine-bay house, with a shallow hipped roof and quoins, and with the central five bays slightly projecting, and with these articulated with Ionic pilasters in the ground storey, with paired pilasters at the end of these five bays, and with Corinthian pilasters in the first storey. The windows in the upper register are surmounted by additional half-height windows, being rectangular in the two end bays, and elliptical in the central five bays

Scale

bar scale of 1 1/2 inches to 10 feet

Inscribed

East front of Mamhead / of the Seat of the Right Honble Lord Viscount Lisburne (in the hand of William Adam and underwritten in pencil)

Signed and dated

1777
datable to 1777

Medium and dimensions

Pen and pencil on laid paper (488 x 349)

Hand

Adam office hand, possibly Joseph Bonomi, with addition to title inscription in the hand of William Adam

Literature

Bolton, 1922, Volume II, Index p. 22
Rowan, 1988, pp. 88-89
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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