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  • image SM volume 115/112e
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Reference number

SM volume 115/112e

Purpose

Drawing 5 (bottom right): Architrave seen near San Macuto

Aspect

Cross section and raking view of front, with measurements

Scale

To an approximate scale of 1:11

Inscribed

estra. S./ mautum. (‘Outside San Macuto’)

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 architrave, although highly decorated like the other three on the sheet, differs from them in its details, having foliate decoration on the cyma, bud-like ornament on the middle fillet and twisted-band embellishment on the bottom one. The drawing also includes the profile of part of the soffit which had an inset panel. Ashby identified the church mentioned in the caption as being the San Macuto located close to Piazza Sant’Ignazio near the site of the ancient Iseum. An architrave with an identical sequence of mouldings, however, was drawn by Giuliano da Sangallo in the Codex Barberini, and this is specified as having been ’inside the portico’ of the Lateran Baptistery (dentro al porticho del Bagnio Dighostantino’ i [n] Roma). An architrave of this design was also drawn by an associate of Michelangelo.

OTHER IMAGES MENTIONED: [Giuliano da Sangallo] Rome, BAV, Barb. lat. 4424 (Codex Barberini), fol. 38v (Hülsen 1910, p. 55; Borsi 1985, p. 200); [Circle of Michelangelo] Florence, CB, 5Ar (De Tolnay 1975–80, 4, p. 46)

Literature

Ashby 1904, p. 55
Lembke 1994, p. 155
Census, ID 45712

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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