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image SM volume 26, p. 11

Reference number

SM volume 26, p. 11

Purpose

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

Aspect

3 Long section

Scale

Same as for 1

Inscribed

By Gibbs in pen and brown ink over pencil, with letters M to Q, and beneath the sheet, on the lower part of page 11: M. Section of the antient Temple. / N. Steps in profile going up to the Temple. / O. The Entry to the Temple in Profile / P. Five of the eight arches in which wer many niches for their deitys / Q The Entablature over ye grand arches from which springs the shell of ye Cupolo, divided in many sqr pannells sunk in ye brick work, in which wer brass ornaments.

Signed and dated

1740s

Medium and dimensions

Pen and grey ink with grey wash over pencil under drawing, with ruled pencil visible at edges, (guides for trimming); on laid paper; 135 x 164

Hand

James Gibbs

Watermark

none visible

Notes

Gibbs revises Fontana's section on p. 467, lower, of Il Tempio Vaticano, by omitting the internal circuit of steps and by making all the upper niches within the arched recesses round-headed, rather than square headed at the sides of each recess and round-headed in the middle. As in the elevation (2) he enlarges the top step around the exterior of the cupola.

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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