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image Adam vol.57/57

Reference number

Adam vol.57/57

Purpose

Italy: Rome: S. Giovanni e Paolo. View showing the entrance façade of S. Giovanni e Paolo and the adjoining campanile, with monastic buildings of the eighteenth-century Passionist Order.

Aspect

Perspective

Inscribed

Inscribed in ink 57

Signed and dated

Undated, probably 1755 or 1756.

Medium and dimensions

Pencil, grey, brown and blue washes115 x 175

Hand

Jean-Baptiste Lallemand

Notes

S. Giovanni e Paolo was a short distance down the Monte Celio, below the Villa Celimontana. Jean-Baptiste Lallemand may have made this drawing when he was working here with Robert Adam (see Adam vol.57/50-57/52). The diagonal tree is the same as that found in several compositions by Adam in both the Roman and Neapolitan sections of Adam volume 57. The façade of the church is not shown accurately here, having five as opposed to seven Ionic bays. There is another view by Lallemand of the rear of the church from the alley of the Livus Scauri that may have been made at the same time (see Adam vol.56/151), and a similar view by Charles-Louis Clérisseau (see Charles-Louis Clérisseau (1721-1820) Dessins du musée de l'Ermitage Saint-Petersbourg, Musée du Louvre, Paris, 1995, p.116, cat.31). A more elaborate capriccio in gouache by Lallemand, showing this scene from beside the water, is illustrated in J. M. Sansum and A. Fioretti, eds. The Enlightened Eye, Images of Nature Observed and Perfected, New York, 1996, cat.40.

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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