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  • image Adam vol.56/40
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Reference number

Adam vol.56/40

Purpose

Italy: Venice: Scuola Grande della Carità. Unfinished study of part of Titian's Presentation of the Virgin (1539) in the Scuola Grande della Carità, Venice.

Aspect

Study

Inscribed

Inscribed in pencil di Livio Meus (?) dall opera di Tizziano in Venezia and de recomato di griallo; colour notes and letter keys in Italian; in red ink 40

Signed and dated

  • Undated

Medium and dimensions

Pencil, brown wash443 x 590

Hand

Livio Meus (attributed to)

Verso

Inscribed in ink prezzi 5 a p-16 luno fanno p.80/ 10

Watermark

three crescents

Notes

Robert Adam was in Venice in 1757, and James Adam was there in 1760. This drawing, presumably by Livio Meus, is either a copy from Titian's painting or from a print of the painting, although the colour notes would suggest the former. (For an account of the painting, and copies and prints made from it, see Harold Wethey The Paintings of Titian, 3 vols (London, 1969-75), vol.I, pp.123-4.) There are no records of Robert Adam seeing the painting in Venice in 1757, or of his opinion of Titian, and there were no works by Titian in any of the Adam sales.

Level

Drawing

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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