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image Adam vol.57/4

Reference number

Adam vol.57/4

Purpose

Italy: unidentified location ? in the Pozzuoli / Baia area. View of a small castello built on a rock next to the sea, showing its entrance via a moat and drawbridge, with a square battlemented tower above and buttressed walls. To the right are domestic buildings.

Aspect

Perspective

Inscribed

Inscribed in pencil in a contemporary hand Lago; in ink 4

Signed and dated

Undated, probably 1755.

Medium and dimensions

Pencil, pen, grey and brown washes146 x 270

Hand

Robert Adam

Notes

This might be a view of the sixteenth-century castle of Baia, which was situated beside the sea between Baia and Bacoli. However, it is more likely to depict the castellated buildings in Pozzuoli itself, several of which can be seen in the panoramic view of the bay in the introduction to Paoli's Avanzi Delle Antichita Esistenti a Pozzuoli Cuma e Baja, Naples, 1768, pl. IV. The domestic building on the left of the drawing is likely to be part of the town and is similar to that depicted in Adam vol.57/2. If the drawings were arranged in the order of Adam's travels, then views of the town and the Grotto di Napoli (Adam vol.57/6) should appear at this stage, with those around Capua appearing at the end of this section. However, if these drawings are depicting sites around the Lago Fucino and the Liri river, which Robert Adam saw on his return journey to Rome, they should appear later with Adam vol.57/34.

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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