- Published Work: Soane/Baroque/Adam/other architects
2 Plan at level of the capitals of the portico (copy of Thomas Hardwick's drawing)
3 Elevation titled LA.FACCIATA.DELLA.ROTONDA.A.ROMA.OGGI.CHIESA.DI.SANTA. MARIA.AD.MARTYRES
4 Section through rear facade (copy of Thomas Hardwick's drawing)
5 Section on east-west axis with thumbnail details of pedimented niche and window (adapted from a drawing by Thomas Hardwick)
(2-5) bar scale of 1/9 in to 1 ft (No.3 labelled PIEDI INGLESI)
(3) as above, M AGRIPPA L F COS TERTIVM FECIT (on frieze, as well as the long Latin inscription on the entablature beginning IMP CAES L SEPTIMUS ...), some dimensions given including To top of Pediment of Portico 82.8½ French / 96.3 - (presumably French feet and English feet, the French foot being the equivalent of 12¾ English inches)
(5) At two different measuremtts / Greatest height from level of Pavement to extreme edge of Opening 147.5 / 146.8 5/16 / 146.8 / All the Columns & Pilasters of great niches of Gialle Briciato without exception & / the Capitols & Vases of White Marble / the Columns to the Altars of Porphyry & Giallo, materials labelled including Giallo Briciato, Porphyry, Bianco, dado all round / Pavon., Verde
The ground floor plan, drawn to a larger scale than the other drawings, is the result of Soane's own measuring. See in Sketchbooks catalogue: 'Italian Sketches', 1779 (SM volume 39, f.41r) for rough elevation and section, and also see in Sketchbooks catalogue: 'Miscellaneous Sketches' 1780-2,(SM volume 40, ff.80v, 73v) for plan and section of chambers above portico, and detail of domed ceiling.
Drawings 3 and 5 were used for Soane's Royal Academy lectures. Drawing 5 seems, like others, to have been 'touched up' for that purpose, for instance, some fine pen lines have been crudely gone over with a denser, thicker pen, the two figures in the portico may have been added to emphasise the huge scale of the building and the strong black wash border has certainly been added.
The Pantheon was and is, for architects, the key building of ancient Rome. First built in 25BC by Marcus Vispanis Agrippa, it was rebuilt on a circular plan (the portico with its inscription being re-used) by Hadrian in A.D.120-5. And consecrated as a church in 608.
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.
Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).