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You are here: CollectionsOnline  /  Italy: Tivoli: the Acqua Claudia and Ponte degli Arci. View of the ruins of the Acqua Claudia and the Ponte degli Arci on the way from Tivoli to Subiaco. They are depicted in a landscape setting, with a small river in the foreground.
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image Adam vol.57/22

Reference number

Adam vol.57/22

Purpose

Italy: Tivoli: the Acqua Claudia and Ponte degli Arci. View of the ruins of the Acqua Claudia and the Ponte degli Arci on the way from Tivoli to Subiaco. They are depicted in a landscape setting, with a small river in the foreground.

Aspect

Perspective

Inscribed

Inscribed in pencil on the album leaf in the hand of Thomas Ashby (1874-1931) Acqueducto et Ponte degli Arci Tivoli; in ink 22

Signed and dated

Undated, probably 1755.

Medium and dimensions

Pencil, grey, blue and brown washes202 x 311

Hand

Robert Adam

Watermark

Pro patria

Notes

This drawing has probably been erroneously numbered as part of this set of Neapolitan views, and should possibly belong with the Roman views in this volume. There is no drawing on the verso that might explain its re-use, which was the case with Adam vol.57/19. There are numerous sketches made by Robert Adam, Charles-Louis Clérisseau and others in the vicinity of Tivoli in 1755 (see for example Adam vol.57/85 and 57/91). The aqueduct at Pozzuoli is shown in Paoli, Avanzi Delle Antichita Esistenti a Pozzuoli Cuma e Baja, Naples, 1768, pls.XVII-XVIII.

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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