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You are here: CollectionsOnline  /  Capriccio showing a ruined building formed of a straight and curved colonnade, leading to a triumphal arch heavily decorated with sculpture. In the foreground is a large sarcophagus on a rectangular base.
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image Adam vol.56/87

Reference number

Adam vol.56/87

Purpose

Capriccio showing a ruined building formed of a straight and curved colonnade, leading to a triumphal arch heavily decorated with sculpture. In the foreground is a large sarcophagus on a rectangular base.

Aspect

Perspective

Inscribed

Inscribed in ink 40; in red ink 87

Signed and dated

  • Undated, probably 1756 or 1757.

Medium and dimensions

Pencil, pen, wash, watercolour 202 x 257, right-hand bottom corner section removed & replaced with a different sheet of paper under the drawing, composition completed in pencil and grey washes, possibly in a different hand; 4 corners trimmed diagonally

Hand

Charles-Louis Clérisseau (attributed to)

Notes

This composition is one of several larger drawings from a numbered set all having the sarcophagus as the theme. Another version of this drawing is found in Adam vol.56/102, also attributed to Charles-Louis Clérisseau, the two only differing in their foreground treatment, which in the current drawing depicts a variation on the trophies of Marius, also seen in Adam vol.56/101, but which are lacking in 56/102. The two compositions are closely related to a similar group, but slightly larger in size, among the Clérisseau drawings in The Hermitage (see Charles-Louis Clérisseau (1721-1820) Dessins du musée de l'Ermitage Saint-Petersbourg catalogue of exhibition held at the Musée du Louvre, Paris, 1995, pp.147, 158).There is a copy of this drawing by C J Richardson (1806-1871) in the Victoria & Albert Museum, London (P&D 93.G.8/45).

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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