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  • image SM 45/2/24

Reference number

SM 45/2/24


Copy of measured drawing by ? Luigi Trezza or another unidentified Veronese source, ? 5-7 May 1780


Part-section through the Capella Pellegrini


bar scale - ? Veronese piedi


as above, 5 w[it]h. Balus[trades], Glass , Cor.[inthian],Comp.[osite] and dimensions given

Medium and dimensions

Pen and some wash, pencil, some pricking for transfer on laid paper (640 x 471)




VF with 3 six-pointed stars above and Imperial with 3 crescents below


Although a measured drawing of a building in Verona designed by Sanmicheli and drawn on the same watermarked paper as most of Soane's copies of Luigi Trezza's drawings, this is, according to du Prey, Soane's own measured drawing of the chapel built next to the presbytery. However, the bar scale is not an English one and, ruled in the same way as the other Trezza copies, may relate to a Veronese scale; the (equivalent) scale of 3/8 of an inch to a foot is confirmed by the inscribed dimensions. The non-English scale suggests that the drawing is a copy as does the pricking for transfer. The sheet is probably related to another one (Verona: Church of Madonna di Campagna) and both may be copies from the same source.

Designed by Sanmicheli on a circular plan, the mortuary chapel was probably begun in 1527 and was under construction in 1529.

See general note regarding Sanmicheli and Luigi Trezza under Italy: Verona: Gran Guardia Vecchia


P.du Prey, John Soane's architectural education 1753-80, 1977, pp.306-7



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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