Inscribed in ink 57
Signed and dated
Undated, probably 1755 or 1756.
Medium and dimensions
Pencil, grey, brown and blue washes115 x 175
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.
Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation
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.
Browse (via the vertical menu to the left) and search results for Drawings include a mixture of
Concise catalogue records – drawn from an outline list of the collection – and
fuller records where drawings have been catalogued in more detail (an ongoing