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  • image Image 1 for SM 45/4/6, 45/4/8
  • image Image 2 for SM 45/4/6, 45/4/8
  • image Image 1 for SM 45/4/6, 45/4/8
  • image Image 2 for SM 45/4/6, 45/4/8

Reference number

SM 45/4/6, 45/4/8


Copies of a design made in 1545 by Jacopo Barozzi da Vignola (1507-73) (2)


2 Part-elevation showing left upper storey with pinnacles
3 Part-elevation showing left lower storey with entrances


to an Italian scale (No.2 to a larger scale than No.3)


2 (in another hand) Del Vignola, Altezza piedi 105, (Soane) Alta p. 105 and In another design / of V. very little diff.

Medium and dimensions

Pencil on laid paper (549 x 381, 549 x 379)


(2) another hand? (3) Soane


(2) J Whatman (3) fleur-de-lis within crowned cartouche with GR below


Clearly, Soane did not have time to copy the elaborate detail of Vignola's Gothic scheme and drew only parts of the elevation in outline with details of gabled pinnacles and crocketed gables as well as indications of the treatment of the north and central portals. drawing 2, made to a larger scale, has the title written in a clear and different hand that may also have contributed to the drawing itself. In addition to this elevation (n. 4), the Museo di S. Petronio, Bologna has another variant elevation (n. 5) by Vignola that is more highly finished.


P.du Prey, John Soane's architectural education 1753-80, 1977, pp.261-2; M. Faietti and M.Medica (eds),'La Basilica incompiuta. Progetti antichi per la facciata di San Petronio a Bologna'. Catalogue of an exhibition, Museo Civico Medievale, Bologna, 2001, pp.90-2



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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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