Drawing 4 (bottom right): Cornice once in the House of the Ciampolini

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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 115/105

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Reference number

SM volume 115/105d

Purpose

Drawing 4 (bottom right): Cornice once in the House of the Ciampolini

Aspect

Perspectival elevation of a corner, with measurements

Scale

To an approximate scale of 1:6

Inscribed

In domo. Canpolinis (‘In the House of the Ciampolini’)

Signed and dated

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

Medium and dimensions

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

Hand

Bernardo della Volpaia

Notes

This cornice of unknown origin is recorded in two other early drawings, one a frontal depiction by an associate of Giuliano da Sangallo and the other by an architect from the circle of Antonio Labacco which also shows the underside of the corona. Both agree with the Coner drawing in recording the cornice as being in the house of Giovanni Ciampolini, which was located near the Portico of Octavia (see Fusco–Corti 1991; Bober–Rubinstein 1986, p. 473).

The drawing has the standard format used in the Codex Coner for the representation of corners, as do the two others of cornices on the sheet. It is grouped with them on the sheet presumably because of their similarity in lacking modillions.

OTHER IMAGES MENTIONED: [Circle of Giuliano da Sangallo] Florence, GDSU, 2044 Av (Bartoli 1914–22, 6, p. 31; [Circle of Antonio Labacco] Cambridge (Mass.), Fogg Museum, Inv. 1932.271, fol. 20r (Burns 1984, p. 414)

Literature

Ashby 1904, p. 52
Günther 1988, p. 338
Census, ID 45487

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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