Inscribed in ink on drawing 32verso inscribed in chalk in a contemporary hand, part of 10 lines of a list of payments in columns To Salle / To Lazaro / Left / To Do Hou / Saturday 16 / To Rus / after / To Spar / the / Alt /.
Signed and dated
- Undated, probably 1755 - 56.
Medium and dimensions
Pen204 x 223, vertical foldline
Capriccio in grey wash and pen showing a ruined, barrel-vaulted hall with niches beside a square tower in a wooded setting. Below this: two elaborately carved funerary urns, one oval and one square, each with four short legs; also, at far left, a small detail of cornice and frieze. The mausoleum theme on the recto - San Costanza was the Mausoleum of Constantina - perhaps explains the drawing of funerary urns, of which there are other exercises in Adam vol.9/42 and 55/117. The capriccio is similar in subject and style to that in Adam vol.9/30. The inscription is probably in Robert Adam's hand and refers to activities on a 'Saturday 16'.
The plan of the octagonal pavilion was possible derived from the Baptistery at San Giovanni Laterano in Rome, Italy or, for the coupled columns, from San Costanza in Rome or San Vitale at Ravenna. Giorgio Vasari the Younger provided a rich collection of these forms in his Piante di Chiese of 1598; in the Roman section of Adam volume 57 there are views of Santa Costanza (see Adam vol.57/ ). The plan of the circular building has a similar antique source in the Maritime Theatre at Tivoli, Italy or in classical mausoleum plans. The mausoleum theme - San Costanza was the Mausoleum of Constantina - perhaps explains the drawing on the verso of funerary urns.
verso rep. J. Fleming, Robert Adam and His Circle in Edinburgh & Rome, London, 1962, pl.42.
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