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  • image SM volume 115/115f
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Reference number

SM volume 115/115f

Purpose

Drawing 6 (bottom centre): Cornice seen near Santa Maria della Consolazione

Aspect

Cross section and raking view of front, with measurements

Scale

To an approximate scale of 1:3

Inscribed

apud. S. M [ariam]. co [n]sola/ tionem. (‘Near Santa Maria della Consolatione’); [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 church of Santa Maria della Consolazione, mentioned in the caption, is to be found just to the south of the Capitoline Hill and close to the Forum Holitorium. It was originally constructed in the fifteenth century (consecrated 1470: Armellini 1942, pp. 656–57) but rebuilt by Martino Longhi the Elder from 1585 (Pietrangeli 1975, pp. 116–22). This fragment found close by is not especially remarkable but was of sufficient interest to Michelangelo for him to copy the profile from the drawing. Later on, the fragment (or one identical to it) was also recorded in a copy drawing by Andrea Palladio, although the block is shown continuing upwards at the back.

RELATED IMAGES: [Michelangelo] Florence, CB, 1Av: right side (De Tolnay 1975–80, 4, p. 49; Agosti–Farinella 1987, pp. 90–91)

OTHER IMAGES MENTIONED: [Andrea Palladio] London, RIBA, Palladio X, fol. 20v (Zorzi 1959, p. 105)

Literature

Ashby 1904, p. 56
Census, ID 45783

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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