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  • image SM volume 115/110a

Reference number

SM volume 115/110a

Purpose

Drawing 1 (top left): Cornice once in the church of Santa Francesca Romana (formerly Santa Maria Nuova)

Aspect

Cross section and axonometric raking view of front, with measurements

Scale

To an approximate scale of 1:8

Inscribed

sub. porticalem. S [antae]. m [ariae]. n [uovae]. (‘Beneath the portico of Santa Maria Nuova’); [measurements]

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 and compass pricks

Hand

Bernardo della Volpaia

Notes

The cornice fragment is recorded in the caption as being under the portico of the church of Santa Maria Nova (later refurbished and renamed Santa Francesca Romana following the installation there of this saint’s relics in 1638), which straddles the western end of the much spoliated second-century Temple of Venus and Rome (Armellini 1942, pp. 193–96). It is broadly typical of a Corinthian cornice except that it is lacking its corona and cyma, which were perhaps made from a separate piece of stone. It has egg-and-dart both above and below a row of dentils, and in this respect as well as in size, it is similar to the cornice from the locality of the same church drawn at the bottom of the page, although in that case the dentils are replaced by a plain band. Given where it was seen, it came from either the Temple of Venus and Rome or one of the grand buildings nearby.

Literature

Ashby 1904, p. 54
Census, ID 45488

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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