Drawing 3 (top right): Impost from the top storey of the Cortile del Belvedere’s lowest terrace

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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 115/117

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Reference number

SM volume 115/117c

Purpose

Drawing 3 (top right): Impost from the top storey of the Cortile del Belvedere’s lowest terrace

Aspect

Cross section and raking view, with measurements

Scale

To an approximate scale of 1:10

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

The impost, identified by Ashby, is the one on the third (and originally top) storey of the Cortile del Belvedere’s lowest terrace (cf. Letarouilly 1963, 2–3, p. 132), and in its design it roughly matches with the capitals of the free-standing columns there (drawn on Fol. 72r/Ashby 122). The drawing, as well as complementing all the others on the sheet in depicting a detail from the lower terrace, is positioned directly above that of the top-storey pedestal.

The profile in this drawing was copied by Michelangelo.

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

OTHER DRAWINGS IN CODEX CONER OF SAME SUBJECT: Fol. 15r/Ashby 25; Fol. 27r/Ashby 43; Fol. 27v/Ashby 44; Fol. 28r/Ashby 45; Fol. 28v/Ashby 46; Fol. 46v/Ashby 78; Fol. 53v/Ashby 92; Fol. 54r/Ashby 93; Fol. 68r/Ashby 116; Fol. 69r/Ashby 117 (Drawings 1–2 and 4 on this page); Fol. 72r/Ashby 122

Literature

Ashby 1904, p. 57
Ackerman 1954, p. 196
Günther 1988, p. 337

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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