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  • image SM volume 115/68c

Reference number

SM volume 115/68c

Purpose

Drawing 3: Column from Palazzo della Cancelleria

Aspect

Perspectival elevation, with measurements

Scale

To an approximate scale of 1:19

Inscribed

.C[asa]. car[dinalis]. S. G[iorgio]. desupra. (‘The house of the Cardinal of San Giorgio: upper level’); [measurements]

Signed and dated

  • c.1513/14
    Datable to c.1513/14

Medium and dimensions

Pen and brown ink and grey-brown wash

Hand

Bernardo della Volpaia

Notes

This column comes, as the caption makes clear, from the palace of the Cardinal of San Giorgio, known now as the Palazzo della Cancelleria, and, more specifically, it is one of those with monolithic shafts from the upper storey of the courtyard. The shaft, again carefully measured, is 5 braccia and 49 minutes (3.39m) in height, and is thus of around the same size as the two others on the sheet. The attention given to measuring the shaft suggests that it may have been known to be ancient, coming possibly although not certainly from the nearby Theatre of Pompey (Bentivoglio 1982, p. 28). The capital and base are recorded in greater detail elsewhere in the codex (Fols 70r/Ashby 119 and 83r/Ashby 136).

The drawing was copied by Michelangelo.

RELATED IMAGES: [Michelangelo] CB, 1Av: left side (De Tolnay 1975–80, 4, p. 49; Agosti–Farinella 1987, pp. 88–89)

OTHER DRAWINGS IN CODEX CONER OF SAME SUBJECT: Fol. 32r/Ashby 51; Fol. 49r/Ashby 83; Fol. 70r/Ashby 119; Fol. 83r/Ashby 136

Literature

Ashby 1904, p. 39
Census, ID 47209

Level

Drawing

Digitisation of the Codex Coner has been made possible through the generosity of the Census of Antique Works of Art and Architecture Known in the Renaissance, Berlin.

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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