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  • image SM 45/3/45

Reference number

SM 45/3/45


Copy of a measured drawing from an Italian source


Plan showing a deep stage with fixed scenery, and a horseshoe auditorium


bar scale of piedi Veronesi (see note below)

Medium and dimensions

Pen, pencil, some pricking through, within single ruled border on laid paper (462 x 588)




J Honig & Zoonen and bend on shield with bell below, surmounted by fleur-de-lis


Soane's rough plan and comments on the San Carlo theatre in Naples, built 1737 (note/sketchbook 'Italian Sketches and Mema', 1778-9, SM volume 164, ff.20-22) do not correspond with this plan. Neither do two theatres that he mentioned in his sketch/notebooks. That is, Palladio's theatre at Vicenza ('Italian Sketches', 1779, SM volume 39, f.43v) and 'the great Theatre' at Milan - La Scala? ('Notes Italy & Italian language &c', 1780 SM volume 162, f.154). The scale bar corresponds with that inscribed 'Piedi Veronesi' on the copy of a measured drawing of the Palazzo Publico, Verona (q.v.) which suggests that this is a building in Verona.
If the theatre is indeed in Verona it would be the Teatro Filarmonico built from 1716 to the design of Francesco Galli Bibiena and opened in 1732. Severely damaged by fire in 1749, it was rebuilt to Bibiena's original design and re-opened in 1754. In February 1945, it was almost totally destroyed in an air raid and was again rebuilt to a design based upon the original and re-opened in 1945.



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.

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