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image Adam vol.26/33

Reference number

Adam vol.26/33

Purpose

Record drawing of a rectangular panel showing in relief two griffins with raised paws, their tails evolving into looping foliage, with two human masks at the centre.

Aspect

Elevation

Signed and dated

Undated, possibly 1760 - 63 or c.1765

Medium and dimensions

Pencil, pen, brown wash on brown washed paper; black framing line 192 x 651, wth vertcal foldline

Hand

Giuseppe Manocchi (attributed to) or possibly A Zucchi

Notes

There is a similar, possibly later, group of drawings attributed to Giuseppe Manocchi (c.1731-82) of around 1765 in Adam volume 19 (see particularly Adam vol.19/86 and 87). However, the draughtsmanship and style of this drawing may have developed from those in Adam volume 7 (another volume connected with James Adam), which have been attributed to Antonio Zucchi (1726-95), who had been engaged by Adam in 1760 to work on the plates for Ruins of the Palace of the Emperor Diocletian at Spalatro, and who remained with Adam until his departure from Rome in May 1763. The composition is similar to the frieze decoration on the Temple of Antoninus and Faustina in the Forum in Rome. Adam vol.26/34 is probably a similar exercise, and Adam vol.26/44 shows a more exact transcription.

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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