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You are here: CollectionsOnline  /  Italy: Rome, Temple of Jupiter Tonans (Vespasian). Record drawing showing the cyma reversa and astragal of a classical entablature showing stylised ovals with leaf decoration in profile.
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image Adam vol.26/157

Reference number

Adam vol.26/157

Purpose

Italy: Rome, Temple of Jupiter Tonans (Vespasian). Record drawing showing the cyma reversa and astragal of a classical entablature showing stylised ovals with leaf decoration in profile.

Aspect

Elevation

Signed and dated

Undated

Medium and dimensions

Pencil, pen, grey washes; pen framing line 433 x 564

Hand

Unidentified eighteenth-century artist

Notes

This drawing shows the same cyma reversa as appears in Adam vol.26/97, which is attributed to Nicolas-François-David Lhuiller (d.1793) and identified as the Temple of Jupiter Tonans (Vespasian) in the Roman Forum, although the pattern of the astragal here is different and less acurate. The draughtsmanship and technique are sharper than that in Adam vol.26/97 and it is less likely to be in Lhuiller's hand. It is closer to the style found in the early seventeenth-century volume of classical details after Alberto Alberti (1525/6-98), which was in the Adam sale of 1818 (see Catalogue of A Valuable Collection of Antique Sculpture etc. R. Adam, Christie's, London 21 & 22 May 1818; also see L. Fairbairn, Italian Renaissance Drawings from the Collection of Sir John Soane's Museum, 2 vols., London, 1998, I, pp.317-360).

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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