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You are here: CollectionsOnline  /  Italy: Rome, Castle St Angelo. Record drawing of an arabesque panel of two central figures reclining on a scalloped vase surrounded by looping floral rosettes.
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image Adam vol.26/1

Reference number

Adam vol.26/1

Purpose

Italy: Rome, Castle St Angelo. Record drawing of an arabesque panel of two central figures reclining on a scalloped vase surrounded by looping floral rosettes.

Aspect

Elevation

Inscribed

Inscribed in ink in a contemporary hand Castle St. Angelo. Rome

Signed and dated

Undated, probably 1760 - 63

Medium and dimensions

Pen, watercolour, ink framing line 274 x 421

Hand

Giuseppe Manocchi (attributed to)

Notes

This drawing is a copy of one among the collection of drawings by Charles-Louis Clérisseau in the Hermitage, St Petersburg (2257); it is illustrated in Charles-Louis Clérisseau (1721-1820) Dessins du musée de l'Ermitage Saint-Petersbourg, catalogue of an exhibition held at the Musée du Louvre, Paris, 1995, pl.17, although this only shows the right-hand part of the sheet. Apart from working on the logge, Giuseppe Manocchi (c.1731-82) probably made other drawings, such as those in the RIBA noted as 'volta del Vaticano & di Michelangelo' (J. Lever, ed. Catalogue of the Drawings Collection of the Royal Institite of British Architects, L-N, London, 1973). The decoration is probably taken from the papal apartments in the castello.

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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