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  • image Image 1 for SM 45/1/5 recto and verso
  • image Image 2 for SM 45/1/5 recto and verso
  • image Image 1 for SM 45/1/5 recto and verso
  • image Image 2 for SM 45/1/5 recto and verso

Reference number

SM 45/1/5 recto and verso

Purpose

[1] Preliminary measured drawing of aisled vestibule, courtyard, stair and loggia

Aspect

Plan of aisled vestibule between the courtyard and the piazza in front of it; plan of courtyard; plan of stair from courtyard labelled B; plan of loggia facing Tiber labelled a
(verso) Part-section through carriage entrance and courtyard colonnade; detail of moulded base of Collonne del Cortile; detail of Doric capitals; plan of pier labelled Al di Sopra / Ordine Ionico; section through carriage entrance; detail of coffering labelled quadrato vero / Ornamentd

Scale

Inscribed

as above, dimensions given and (recto) Palazzo Farnese, Her[cules]

Signed and dated

  • Adi [Anno Domini] Nov. 18 1779

Medium and dimensions

Pencil on thin laid paper (275 x 400)

Hand

Soane

Watermark

dove on monti within a circle and F above (Heawood 166, 168)

Notes

Soane was obviously restricted to recording only the semi-public circulation areas of the Palazzo Farnese, designed for Cardinal Alessandro Farnese, later Pope Paul III, by Antonio da Sangallo the Younger (1484-1546) from 1517. An upper storey was added, together with other modifications, by Michelangelo from 1546. Completed by Giacomo della Porta, 1589, the Palazzo Farnese presently houses the French Embassy.

Literature

P.du Prey, John Soane's architectural education 1753-80, 1977, pp.268-9 (describes recto and verso No. 1 in detail)
W.Lotz, revised. D. Howard, Architecture in Italy 1500-1600, 1995, pp. 57-60

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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