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  • image Adam vol.57/33
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Reference number

Adam vol.57/33

Purpose

Italy: Baia: 'Temple of Diana'. View of the 'Temple of Diana' seen across the water, with a boat in the foreground.

Aspect

Perspective

Inscribed

Inscribed in pencil in a contemporary hand Baia; in ink 33

Signed and dated

  • Undated, probably 1755.

Medium and dimensions

Pencil, grey, brown and blue washes135 x 232

Hand

Robert Adam

Notes

This view by Robert Adam shows the 'Temple of Diana' from a distance, another depiction of which is found in Adam vol.57/15. There is also a closer view of the building in Adam vol.57/38 attributed to Charles-Louis Clérisseau, which may have served as the source for the latter's drawing in the Fitzwilliam Museum, Cambridge (3611) (see Charles-Louis Clérisseau (1721-1820) Dessins du musée de l'Ermitage Saint-Petersbourg, catalogue of exhibition at the Musée du Louvre, Paris, 1995, fig.57). In a letter of April 1755, Adam referred to this temple as one of 'which my friend Clérisseau & I took sketches' (National Archives of Scotland, Edinburgh, Clerk of Penicuik Collection, GD18/4796). A similar view is illustrated in Abbé de Saint-Non, Voyage Pittoresque en Sicile et Naples, Paris, 1781-6, vol.II, pl.23, opp. p.215, and in Paoli, Avanzi Delle Antichita Esistenti a Pozzuoli Cuma e Baja, Naples, 1768, pl.LII, where it is wrongly identified on the plate as 'dedicato a venere' [dedicated to venus].

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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