Drawing 2 (top left): Entablature perhaps from near the Temple of Apollo Sosianus

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Books

Italian Renaissance Drawings
- Codex Coner: Architecture and Antiquarianism in early sixteenth-century Rome, c.1513-15 with seventeenth-century additions (100 folios)
  - SM volume 115/73

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Reference number

SM volume 115/73b

Purpose

Drawing 2 (top left): Entablature perhaps from near the Temple of Apollo Sosianus

Aspect

Plan of underside, with measurement, at a corner

Scale

To an approximate scale of 1:4

Inscribed

Sub. angulo. istius. coronae./ ionicae. reperta. apud. S. mar[co] (‘Beneath the corner of that Ionic cornice discovered near San Marco’); [measurement]

Signed and dated

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

Medium and dimensions

Pen and brown ink and grey-brown wash over stylus lines

Hand

Bernardo della Volpaia

Notes

The drawing records the underside of the corona belonging to the entablature depicted to its right (Drawing 1) at a corner. Specifically, it shows the lower faces of the modillions at the ends of adjacent sides, with a coffer decorated with a sword and shield at their extremities. The caption is possibly incorrect about the entablature’s location and manifestly incorrect in classifying the entablature as Ionic (see Cat. Drawing 1). It has exactly the same format as the plan beneath it (Drawing 4) and all the drawings on this sheet probably derive from the same source

OTHER DRAWINGS IN CODEX CONER OF SAME SUBJECT: Fol. 44r/Ashby 73 Drawing 1

Literature

Ashby 1904, pp. 40–41
Census, ID 47178

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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