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You are here: CollectionsOnline  /  Italy: Rome: ? Mausoleum of Scipio. View of a circular mausoleum above a series of ruined and overgrown vaults, with the Pyramid of Cestius and other buildings in the background.
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image Adam vol.57/72

Reference number

Adam vol.57/72

Purpose

Italy: Rome: ? Mausoleum of Scipio. View of a circular mausoleum above a series of ruined and overgrown vaults, with the Pyramid of Cestius and other buildings in the background.

Aspect

Perspective

Inscribed

Inscribed in ink 72

Signed and dated

Undated, probably 1755 or 1756.

Medium and dimensions

Pencil, brown and grey washes; pencil framing line at bottom159 x 235

Hand

Jean-Baptiste Lallemand (attibuted to)

Verso

Pencil sketch of a ruined triumphal arch, similar to the arch in Adam vol.57/73 and 144.

Notes

This sophisticated and skillful drawing attributed to Jean-Baptiste Lallemand was the source for Robert Adam's less sensitive renditions of the same subject, in which he uses a similar wash technique. Lallemand's pencil drawing in Adam vol.57/74 was probably used by Adam in the same way. As the view shows the Pyramid of Cestius, the mausoleum was probably along the Via Appia outside the Porta San Paolo and S. Sebastiano. It may be a version of Scipioni's mausoleum there, which is shown as 'fuori di Porta S. Sebastino' in Piranesi, Le Antichità Romane, 1756, vol.II, pl.XXVIII.

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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