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image SM 45/4/7

Reference number

SM 45/4/7

Purpose

Copy of a design made in 1522-3 by Baldassare Peruzzi (1481-1536)

Aspect

1 Part-elevation of the proposed facade in a Gothic style, plan of pilaster labelled Forma de li pilastri / d'mezzo, and part-plan labelled la tribuna, La nave and Le Capelle cinquantre

Scale

to Italian scales (with rough bar scale)

Inscribed

di Baldassar da Siena Alt p. 100 / Above it the plan, Pianta antica and some dimensions of the plan given

Medium and dimensions

Pencil on laid paper (548 x 378)

Hand

Soane

Watermark

J Whatman

Notes

Soane chose the less exuberant of the three Gothic schemes (Museo di S.Petronio, Bologna: n. 3b (copied by Soane), n. 17 recto and verso, and a sectional design with a dome, n. 50 ) sent in by Peruzzi, copying most of the left side of the elevation in outline and adding some of the decorative detail of the portals, an elaborate ogee-arched window and crocketed gable and pinnacles.
There is a further alternative elevation in the British Museum (Department of Prints and Drawings, 1898-3-28-1).

Literature

P.du Prey, John Soane's architectural education 1753-80, 1977, p. 261; M. Faietti and M.Medica (eds),'La Basilica incompiuta. Progetti antichi per la facciata di San Petronio a Bologna'. Catalogue of an exhibition, Museo Civico Medievale, Bologna, 2001, pp.77-8

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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