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You are here: CollectionsOnline  /  Capriccio showing an interior with wall tomb or altar consisting of a statue between small columns supported by two lion consoles on a rusticated basement of a pilastered wall, with a partial view of the exterior. Below this on the sheet is an arcaded elevation with a three-bay centrepiece with frieze of figures and shallow dome or segmental pediment above.
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image Adam vol.55/115

Reference number

Adam vol.55/115

Purpose

Capriccio showing an interior with wall tomb or altar consisting of a statue between small columns supported by two lion consoles on a rusticated basement of a pilastered wall, with a partial view of the exterior. Below this on the sheet is an arcaded elevation with a three-bay centrepiece with frieze of figures and shallow dome or segmental pediment above.

Aspect

Perspective, elevationverso plan (part)

Inscribed

Inscribed in ink on drawing 115verso inscribed in ink in a contemporary hand Entrato d'uno Ampiteatro

Signed and dated

Undated, probably 1755 - 56

Medium and dimensions

Pen258 x 215

Hand

Robert Adam

Verso

Capriccio in pen showing a plan of part of a quadrant and vaulted entrance pavilion that is five bays deep.

Notes

The plan on the verso is the source for the elevation on the recto; both are probably connected with the verso inscription, which is not in Robert Adam's hand, referring to the entrance to an amphitheatre. This scheme may be related to a similar plan of an amphitheatre in Adam vol.9/63. The wall tomb may be compared with that on the verso of Adam vol.55/89 and also Adam vol.9/66.

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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