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You are here: CollectionsOnline  /  Italy: Rome, Forum of Trajan. Record drawing of a relief panel showing an eagle with spread wings in the centre of a wreath of oak leaves tied by a ribbon.
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image Adam vol.26/58

Reference number

Adam vol.26/58

Purpose

Italy: Rome, Forum of Trajan. Record drawing of a relief panel showing an eagle with spread wings in the centre of a wreath of oak leaves tied by a ribbon.

Aspect

Elevation

Inscribed

Inscribed in ink in a contemporary hand Chiesa dei Stt A (remainder lost as corner is torn)

Signed and dated

Undated, probably 1760 - 63

Medium and dimensions

Black chalk 180 x 437, bottom left corner torn off

Hand

Nicolas-François-David Lhuiller (attributed to)

Watermark

coat of arms

Notes

This panel is now housed in the vestibule to Santi Apostoli, Rome, having been saved 'from so many ruins' by the future Pope Julius II (see P. Bober and R. Rubinstein, Renaissance Artists and Antique Sculpture, Oxford, 1986, p.220). James Adam knew this church and its contents well, and on his 1762 list of 'Good Antiquitys yet to be procur'd at Rome' (National Archives of Scotland, Edinburgh, Clerk of Penicuik Collection, GD18/4954) he noted the 'Columns portico St Apostoli'. There is a print of the relief as the title page to volume II of G. B. Piranesi's Vasi, Candelabri, Cippi, Sarcophagi (Rome, 1778), as 'nel Portico de S.S. Apostoli'. The hand of this drawing is close to that associated with Nicolas-François-David Lhuiller (d.1793), although the style is rather more naturalistic (see also Adam vol.26/59).

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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