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You are here: CollectionsOnline  /  Italy: Rome, Temple of Vespasian in the Imperial Forum. Record drawing for a rectangular soffit panel of a symmetrical composition of rosettes and entwined foliage. The border is unfinished and has Egg-and-dart and dentil forms.
  • image Adam vol.26/47
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Reference number

Adam vol.26/47

Purpose

Italy: Rome, Temple of Vespasian in the Imperial Forum. Record drawing for a rectangular soffit panel of a symmetrical composition of rosettes and entwined foliage. The border is unfinished and has Egg-and-dart and dentil forms.

Aspect

Elevation

Inscribed

Inscribed in ink in a contemporary hand soffite of Jove Tonante; in chalk L (possibly a signature); in pencil in a nineteenth-century hand Temple of Vespasian

Signed and dated

  • Undated, probably 1760 - 63

Medium and dimensions

Black chalk366 x 487, foldline

Hand

Nicolas-François-David Lhuiller (attributed to)

Notes

This drawing is a variation on the architrave soffit from the remains of the Temple of Jupitor Tonans (now Vespasian) in the Forum of Augustus, the Imperial Forum. However, it is possible that it may have come from its near contemporary in the Forum Romanum, the Temple of Castor. Both buildings reflected the high quality of Augustan decorative architecture. The composition and hand, as well as the inscribed capital 'L', attribute this drawing to Nicolas-François-David Lhuiller (d.1793).

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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