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You are here: CollectionsOnline  /  Italy: Rome, the Vatican. Record drawing of a rectangular panel showing as grotesque work two transmogrified lions amongst rosettes and foliage in a symmetrical composition.
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image Adam vol.26/40

Reference number

Adam vol.26/40

Purpose

Italy: Rome, the Vatican. Record drawing of a rectangular panel showing as grotesque work two transmogrified lions amongst rosettes and foliage in a symmetrical composition.

Aspect

Elevation

Inscribed

Inscribed in ink in a contemporary hand Vatican

Signed and dated

Undated, probably 1760 - 63

Medium and dimensions

Pencil, pen, grey wash 302 x 236

Hand

Charles-Louis Clérisseau (attributed to)

Notes

This drawing is a companion to those in Adam vol.26/36 and 37. Like them it shows the bottom panel of the logge doors and possibly follows those in Ottaviani print 17 (see below). The hand is close to that in Adam vol.26/61, attributed to Charles-Louis Clérisseau (1721-1820) (see T. McCormick, Charles-Louis Clérisseau and the Genesis of Neo-Classicism, Cambridge Massachusetts and London, 1990, p.142, fig.120).
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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