Explore Collections Explore The Collections
You are here: CollectionsOnline  /  View or capriccio of two inscribed panels between three broken columns, with a tall house adjoining. The composition of columns and panels is close to that of the Tomb of the Plautii at the Ponte Lugano, Rome.
top left corner
top right corner
bottom left corner
bottom right corner
image Adam vol.57/77

Reference number

Adam vol.57/77

Purpose

View or capriccio of two inscribed panels between three broken columns, with a tall house adjoining. The composition of columns and panels is close to that of the Tomb of the Plautii at the Ponte Lugano, Rome.

Aspect

Perspective verso Elevation

Inscribed

Inscribed in ink 77

Signed and dated

Undated, probably 1755 or 1756.

Medium and dimensions

Pencil, grey, brown and blue washes129 x 183

Hand

Charles-Louis Clérisseau

Verso

Pen drawing of a decorative frieze, with dimensions.

Notes

This drawing by Charles-Louis Clérisseau appears to show the scene at the Tomb of the Plautii at the Ponte Lugano, Rome except that it lacks the circular mausoleum located just behind the inscribed panels and opposite the house with a pitched roof. It may be compared with a similar view in Adam vol.57/7, which Robert Adam drew on his Neapolitan trip. There is another drawing by Adam in the Clerk Collection, Scotland (Clerk 128) that shows this view from the bridge, and also two engravings by Piranesi from the Vedute di Roma and Le Antichità Romane. It is possible that elements in this capriccio could also be based on the Sepulcrum Bibuli.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

If you have any further information about this object, please contact us: drawings@soane.org.uk

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 process).