[30] 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 32/22

Purpose

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

Aspect

Elevation of the south front of a house, with a two-storey, nine-bay principal block, with a shallow hipped roof, and with a one-and-a-half-storey, seven-bay wing to the left-hand side, with a hipped roof. The principal block is ornamented with quoins, a frieze of enclosed rosettes, balustrades across the windows on the first storey, and with a three-bay canted bow in the end bays, flanking the central three bays which are arcaded with relieving arches on the ground storey, and articulated with Doric pilasters on the first storey (verso) pencil drawing of the same

Scale

bar scale of 1 3/5 inches to 10 feet

Inscribed

Lord Lisburne South Front (in pencil) / South front of Mamhead / one of the Seats of Lord Viscount Lisburne (in the hand of William Adam) (verso) Lord Lisburne / 3 Elevations 3 Ground Plans / South Front (in pencil) and some measurements given in pencil

Signed and dated

16/05/1777
Adelphi / May 16t 1777

Medium and dimensions

Pen and pencil on laid paper (179 x 514)

Hand

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

Watermark

JWHATMAN and fleur de lis within crowned cartouche

Literature

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

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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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