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Folio 57 recto (Ashby 97): Architrave from the Arch of Titus
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Reference number
SM volume 115/97
Purpose
Folio 57 recto (Ashby 97): Architrave from the Arch of Titus
Aspect
Cross section and raking view of front, with measurements
Scale
To an approximate scale of 1:13
Inscribed
[Drawing] arci. titi et/ uespasianj (‘Of the arch of Titus and Vespasian’); [measurements]
[Mount] 97 [x2]
[Verso] 76 [early seventeenth-century hand]
Signed and dated
- c.1513/14
Datable to c.1513/14
Medium and dimensions
[Drawing] Pen and brown ink over stylus lines; on laid paper (233x165mm), rounded corners at left, small hole at bottom left, inlaid (back to front with respect to original foliation, window on verso of mount)
[Verso] Blank
[Mount] Frame lines, in pen and dark brown ink, 10mm apart
[Verso of mount] Window (225x157mm)
Hand
Bernardo della Volpaia
Watermark
[Drawing] None [Mount] Fleur-de-lys in circle surmounted with crown (variant 3; cut by bottom edge of mount)
Notes
The drawing is from the Arch of Titus (identified by the caption), showing the monument’s architrave together with the profile of the frieze, although it omits the cornice and it is presumably unfinished. Just why this should be so is unclear, since there is room for the cornice as well, which would have fitted comfortably beneath the sheet’s top edge. The positioning of the drawing at the far-left edge and the addition of the caption on the architrave rather than beside it, where there is plenty of space, suggests that other drawings on the sheet were intended.
Drawings of the whole of the entablature include a possibly related one by Antonio Labacco, dating from a short time after, which is of section-plus-view format and shows how the Coner drawing would have looked had it been completed. A plate in Book Three (1540) of Sebastiano Serlio’s treatise is of similar format but has decorative detail on the front as well as the side, and it shows the architrave incorrectly as gently sloping upwards towards the front. The Coner drawing, however, does not include the additional band positioned between the capital and the architrave’s lower fascia (see Desgodetz 1682, p. 185).
RELATED IMAGES: [Antonio Labacco] Rome, BAV, Codex Rossiano 618, fol. 27v
OTHER IMAGES MENTIONED: Serlio 1619, fol. 100r
OTHER DRAWINGS IN CODEX CONER OF SAME SUBJECT: Fol. 35r/Ashby 56; Fol. 56r/Ashby 95; Fol. 81r/Ashby 134; Fol. 89r/Ashby 147
Drawings of the whole of the entablature include a possibly related one by Antonio Labacco, dating from a short time after, which is of section-plus-view format and shows how the Coner drawing would have looked had it been completed. A plate in Book Three (1540) of Sebastiano Serlio’s treatise is of similar format but has decorative detail on the front as well as the side, and it shows the architrave incorrectly as gently sloping upwards towards the front. The Coner drawing, however, does not include the additional band positioned between the capital and the architrave’s lower fascia (see Desgodetz 1682, p. 185).
RELATED IMAGES: [Antonio Labacco] Rome, BAV, Codex Rossiano 618, fol. 27v
OTHER IMAGES MENTIONED: Serlio 1619, fol. 100r
OTHER DRAWINGS IN CODEX CONER OF SAME SUBJECT: Fol. 35r/Ashby 56; Fol. 56r/Ashby 95; Fol. 81r/Ashby 134; Fol. 89r/Ashby 147
Literature
Ashby 1904, p. 49
Census, ID, 45445
Census, ID, 45445
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