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image Adam vol.57/149

Reference number

Adam vol.57/149


Italy: Terni. View of the waterfall at Terni.


Perspectiveverso details


Inscribed in ink in a contemporary hand Cascada di Terni; and in ink 149.

Signed and dated

  • Undated, possibly September 1755.

Medium and dimensions

Black chalk, brown and grey washes, with lead white, partly oxcidised, on grey paper478 x 328


Unidentified eighteenth-century artist


White chalk architectural diagrams.


In September 1755 Robert Adam wrote that he and Charles-Louis Clérisseau planned to '... go first to Caprarola, from that to Narni and Terni ...' (J. Fleming, Robert Adam and His Circle in Edinburgh & Rome, London, 1962, p.180). This drawing may have been made at that time although the hand is neither that of Adam nor Clérisseau, but it is likely to be one of their party. There is a similar drawing by Robert Adam from virtually the same viewpoint in the Blair Adam collection (BA 284), and a drawing from a different viewpoint by Clérisseau (see T. McCormick, Charles-Louis Clérisseau and the Genesis of Neo-Classicism, Cambridge, Massachusetts and London, 1990, p.31). The view can also be compared with Robert Adam's drawing of the Tivoli waterfall in Adam vol.57/75 and its continuation in the Clerk Collection, Scotland (Clerk 115).


A. A. Tait, 'An Adam Volume in Sir John Soane's Museum' in The Burlington Magazine, no.1016, vol. 129, November 1987, p.743



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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