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Reference number
Purpose
Aspect
Scale
Inscribed
Signed and dated
- c.1513/14
Datable to c.1513/14
Medium and dimensions
[Mount] Frame lines, in pen and dark brown ink, 10mm apart; window (224x160mm)
Hand
Watermark
Notes
Unlike its two companions, the temple is Doric, although its capitals are of very unusual design. Instead of the usual neck just below the echinus, there is a short cylindrical element positioned between a pair of cyma mouldings, with the neck itself then following beneath it. The Coner drawing, the earliest record of the capital to survive, combines a section with a perspectival view, unlike the subsequent depictions of it by Peruzzi and Giovanni Battista da Sangallo which are simple profiles, as are two representations of it published by Sebastiano Serlio in Books Three (1540) and Four (1537) of his treatise. The placing of the drawing near to the sheet’s bottom-right corner corresponds with the positions of Doric capitals in other nearby Coner drawings (e.g. Fol. 45v/ Ashby 76), and suggests the original intention was to depict an accompanying section and view of the entablature; and part of the rear line of this intended section, with associated measurements, can be seen close to the sheet’s right-hand edge. A later drawing by Palladio (probably a copy of an earlier image) combines the capital with a depiction of the entablature but in an orthogonal format. The Coner drawing was copied by Michelangelo.
RELATED IMAGES: [Michelangelo] CB, 3Ar: right side (De Tolnay 1975–80, 4, p. 50; Agosti–Farinella 1987, pp. 116–17)
OTHER IMAGES MENTIONED: [Baldassare Peruzzi] Florence, GDSU, 477 Ar (Bartoli 1914–22, 6, p. 59; Wurm 1984, pl. 469); [Giovanni Battista da Sangallo] Florence, GDSU, 1376 Ar (Bartoli 1914–22, 6, p. 93; Frommel–Schelbert 2022, 1, pp. 173–74); Serlio 1619, 3, fol. 60r, and 4, fol. 141v; [Andrea Palladio] London, RIBA, Palladio 11, 5r (Zorzi 1958, p. 79)
Literature
Ashby 1913, p. 205
Census, ID 45028
Level
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.
Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).