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You are here: CollectionsOnline  /  Italy: Rome: ? Acqua Claudius. View of three bays of an aqueduct, possibly the Acqua Claudius (Arcus Caelimontani) in a garden setting. In the background is a two-storied villa, which may be the Villa Celimontana (Mattei al Celio).
  • image Adam vol.57/49
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Reference number

Adam vol.57/49

Purpose

Italy: Rome: ? Acqua Claudius. View of three bays of an aqueduct, possibly the Acqua Claudius (Arcus Caelimontani) in a garden setting. In the background is a two-storied villa, which may be the Villa Celimontana (Mattei al Celio).

Aspect

Perspective

Inscribed

Inscribed in ink 49

Signed and dated

  • Undated, probably 1755 or 1756.

Medium and dimensions

Pencil, grey wash; three pencil framing lines162 x 268

Hand

Robert Adam

Notes

This is one of several drawings of the Roman aqueducts that Robert Adam made, perhaps at the suggestion of Piranesi, although there is another possible source in a pencil drawing by Jean-Baptiste Lallemand (see Adam vol.57/7). The curving structure in the distance may be the branch of the Arcus Neroniani. Adam vol.57/89 may depict the same subject taken from a different position, with the villa pavilion in the distance. Adam made a drawing of the antiquities in a villa garden, probably that of the Villa Celimontana, in Adam vol.57/50.The Acqua Claudia, of the 1st century AD, had the Arcus Caelimontani as its western branch.

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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