Drawing 10 (bottom centre-right): Impost from the Theatre of Marcellus’s lower storey

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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 115/116j

Purpose

Drawing 10 (bottom centre-right): Impost from the Theatre of Marcellus’s lower storey

Aspect

Cross section and raking view of front, with measurements

Scale

To an approximate scale 1:5

Inscribed

[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

Unidentified by Ashby, this impost comes from the lower storey of the Theatre of Marcellus. It was earlier recorded by Giuliano da Sangallo in his Codex Barberini, where it has similar measurements, although there are enough differences to suggest that this was not the Coner drawing’s prototype. The impost was drawn a little later by an architect working in the circle of Antonio Labacco, where it is accompanied by a depiction of a moulding from the Septizodium, which is also the case here (see Drawing 11) and could imply that both were dependent on the same source.

OTHER IMAGES MENTIONED: [Giuliano da Sangallo] Rome, BAV, Barb. lat. 4424 (Codex Barberini), fol. 70v (Hülsen 1910, p. 73; Borsi 1985, pp. 243–45); [Circle of Antonio Labacco] Cambridge (Mass.), Fogg Museum, Inv. 1932.271, fol. 10r (Burns 1984, p. 413)

Literature

Ashby 1904, p. 57
Census, ID 45823

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.

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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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