Giovanni Battista Montano (1534-1621), Volume of imaginative reconstructions of temples and mausolea of Ancient Rome, with some details of orders and decorations; a number of drawings reproduced in Scielta di varii tempietti antichi, published by Montano's pupil Soria (see no.123) and in Book III of Li cinque libri di architettura di Giovanni Battisto Montani Milanese, published by G. J. de Rossi, Rome 1684. Insc: (on spine): Montani/I. Bound in vellum (425 x 280)

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Reference number

Vol 124

Purpose

Giovanni Battista Montano (1534-1621), Volume of imaginative reconstructions of temples and mausolea of Ancient Rome, with some details of orders and decorations; a number of drawings reproduced in Scielta di varii tempietti antichi, published by Montano's pupil Soria (see no.123) and in Book III of Li cinque libri di architettura di Giovanni Battisto Montani Milanese, published by G. J. de Rossi, Rome 1684. Insc: (on spine): Montani/I. Bound in vellum (425 x 280)

Inscribed

(on spine): Montani/I

Medium and dimensions

Bound in vellum (425 x 280)

Hand

Giovanni Battista Montano (1534 - 1621)

Notes

For a full catalogue entry see Lynda Fairbairn, Italian Renaissance Drawings from the Collection of Sir John Soane's Museum, London 1998, Vol 2 pp 624-685

This volume together with Volumes 123, 125 and the Codex Coner (Vol 115) formed part of Cassiano dal Pozzo's Paper Museum. James Adam negotiated the sale of the Cassiano material from Cardinal Albani's Library on behalf of George III. Most of the collection entered the Royal Library Windsor. Sir John Soane acquired the Montano volumes at the Robert Adam sale in May 1818. The vellum bindings and green pigmentation on the edges of the folios are characteristic of Cassiano dal Pozzo's Museum. Folio 1 bears the wax impression of the seal with the arms of Anna Theresa Benzoni, the wife of Gabriele dal Pozzo, Cassiano's nephew.

Level

Drawing

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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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