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image SM volume 26, p. 7

Reference number

SM volume 26, p. 7

Purpose

Reconstruction of the Pantheon in Rome in Republican times, before the addition of the portico

Aspect

1 Plan

Scale

In inch to about 37 feet (drawn scale)

Inscribed

By Gibbs, in pen and brown ink over pencil, with letters A to E, and below the sheet at the foot of p. 7: A. Plan of the Temple, as it is supposed to have ben befor Agrippa made ye Portico. / B. The Entry to ye Temple, shewing ye steps going up to it, and the great niches on each side of it, and ye stairs behind them going up to the Roofe. / C. Recesses in which wer many niches wher they placed their dietys. / D. The opening atop which gave light to the Temple. / E. Vacances in the brickwork, to save materials; and below the margin with pencil notes by Arthur Bolton (1930s).

Signed and dated

1740s

Medium and dimensions

Pen and grey ink with grey wash over faint pencil, with brown ink for dotted line of central oculus, and for inscriptions; on laid paper; 180 x 150.

Hand

James Gibbs

Watermark

Strasbourg bend

Notes

This plan is an adaptation of that published by Fontana, Il Tempio Vaticano, 1694, p. 457, lower. Gibbs has added niches within the semicircular recesses inside the building and has omitted the circuit of internal steps near the perimeter of the main-floor plan. The internal niches are shown in Fontana's section, on p. 467 (see 3, below), so Gibbs is here correcting his former Italian master's representation of the building in plan.

Level

Drawing

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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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