Not known

[Drawing] In Via Latina opera di Mattoni (‘On the Via Latina, built of brickwork’); 21 [early seventeenth-century hand]; [in graphite] 3
[Mount] 28 [x2]

• c.1625/35
  Date range: c.1625/35

[Drawing] Pen and brown ink and pink-brown wash over graphite or black chalk and compass pricks; on laid paper (232x164mm), rounded corners at right, inlaid (window on verso of mount)
[Mount] Frame lines, in pen and dark brown ink, 10mm apart

Seventeenth-Century Hand 1 (Codex Ursianus Copyist)

[Drawing] None [Mount] None

Added to the compilation in the seventeenth century, this drawing is of an unidentified tomb on the Via Latina. It shows the interior as featuring a large rectangular panel surmounted by a floating segmental pediment, either side of which are two smaller round-headed niches topped with triangular pediments, and all three elements are then capped by a vault containing a large semi-circular decorative panel with what would appear to be two tiny rectangular openings beneath it. The drawing is accompanied, on the verso, by a plan of the same structure (Fol. 17v/Ashby 29), although there are many discrepancies between them, not least the fact that central tabernacle and the niches could not have been seen all together as they are here because they were spaced much further apart.

The drawing is almost identical to one in Berlin dating from the mid- sixteenth century, although this has a longer annotation describing the brick-built tomb as being well-preserved and as having an interior that was stuccoed and painted. Another view of the interior, also accompanied by the plan and again deriving from the same source, is included in a mid- sixteenth-century album in Saint Petersburg, although it follows a rather different perspectival format (more bird’s eye than frontal), and this is related in turn to a drawing in Padua from the circle of Bartolomeo Ammannati. All these drawings record the semi-circular panel in the vault, and the two rectangles beneath it that appear to be tiny window openings.

As Campbell noted, the drawing was executed in two operations, the wash on the left being darker than that on the right. The number ‘3’ written in graphite results from the seventeenth-century campaign of adding drawings to the codex before its transformation into an album.

RELATED IMAGES: [Anon.] Berlin, Kunstbibliothek, inv. OZ 114, fol. 27

OTHER IMAGES MENTIONED: [Circle of Bartolomeo Ammanati] Padua, BUP, Ms. 764, fol. 15v (Olivato 1978) ; [Anon.] Saint Petersburg, Codex Destailleur B, fol. 11v (Lanzanrini–Martinis 2015, p. 95)

OTHER DRAWINGS IN CODEX CONER OF SAME SUBJECT: Fol. 17v/Ashby 29

Ashby 1904, p. 27
Campbell 2004, 2, pp. 613–14
Census, ID 46788

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

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