Drawing 3 (top right): Cornice seen near the Arch of Titus

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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 115/116

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Reference number

SM volume 115/116c

Purpose

Drawing 3 (top right): Cornice seen near the Arch of Titus

Aspect

Cross section and axonometric raking view of front, with measurements

Scale

To an approximate scale of 1:9

Inscribed

apud. arcu [m]. uespasiani. (‘Near the Arch of Vespasian’); [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

This cornice, seen as the caption states near the ‘Arch of Vespasian’, better known as the Arch of Titus, is of unremarkable design. Apart from the copies of this drawing by Michelangelo and Francesco Borromini, both of the profile, no other representations of it are known.

RELATED IMAGES: [Michelangelo] Florence, CB, 1Av: left side (De Tolnay 1975–80, 4, p. 49; Agosti–Farinella 1987, pp. 88–89); [Francesco Borromini] Berlin, Kunstbibliothek, HdZ 3826, inv. Thelen 1 (Thelen 1967, 1, p. 11)

Literature

Ashby 1904, p. 57
Census, ID 45814

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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