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You are here: CollectionsOnline  /  Italy: Rome, the Vatican. Record drawing of a rectangular panel showing grotesque work of three putti, two lions, birds and a central human mask flanked by two cornucopias, all surrounded by foliage. The panel has an unfinished Egg-and-dart border.
  • image Adam vol.26/37
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Reference number

Adam vol.26/37

Purpose

Italy: Rome, the Vatican. Record drawing of a rectangular panel showing grotesque work of three putti, two lions, birds and a central human mask flanked by two cornucopias, all surrounded by foliage. The panel has an unfinished Egg-and-dart border.

Aspect

Elevation

Inscribed

Inscribed in ink in a contemporary hand Doors in the Vatican

Signed and dated

  • Undated, probably 1760 - 63

Medium and dimensions

Pencil, pen, grey wash 355 x 265

Hand

Giuseppe Manocchi (attributed to)

Notes

This is the companion to Adam vol.26/36; the draughtsmanship is in a similar open hand found in the logge panels and can be attributed to Giuseppe Manocchi (c.1731-82) or his circle. The small neat pen inscription in English may also be by James Adam. The door decoration is from the Raphael logge in the Vatican although this panel does not correspond exactly with any shown in Ottaviani's prints (see below).
The decoration of the Vatican logge appeared as engravings between 1772 - 1777 in three parts: Logge di Rafaele nel Vaticano (1772), Seconda Parte delle Logge di Rafaele nel Vaticano (1776) and Terza ed Ultima Parte delle Logge di Rafaele nel Vaticano (1777). Work on the project of recording was begun in 1760 and was more or less completed by 1768. The principal artists involved were the painter Gaetano Savorelli (d.1791) and the architect Pietro Camporesi (1726-81), and the engraver was Giovanni Ottaviani (1735-1808). The third volume was engraved by Giovanni Volpato (1733-1803), after drawings by Ludovico Tesio (1731-82).

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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