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  • image SM volume 115/117d
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Reference number

SM volume 115/117d

Purpose

Drawing 4 (top right): Pedestal 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

Identified by Ashby, this pedestal comes from the third storey of the Cortile del Belvedere’s lowest terrace (cf. Letarouilly (1963, 2–3, p. 132). It is also seen on the elevation, represented twice earlier on in the codex (Fols 27r and 28r), and on this sheet it is depicted next to the pedestals of the Doric and Ionic storeys, a position suggesting a continuing sequence up through the orders. According to Sebastiano Serlio (1619, 3, fol. 118v), the pilasters of this third level were going to be Corinthian, although they are only partially depicted in the codex’s earlier elevational drawings (Fols 27r and 28r) and in Serlio’s corresponding illustration.

The bottom of 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 IMAGES MENTIONED: Serlio 1619, 3, fol. 119r

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 1–3 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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