Drawing 2 (top left): Elaborate Doric capital once in Palazzo Della Valle

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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 115/120

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Reference number

SM volume 115/120b

Purpose

Drawing 2 (top left): Elaborate Doric capital once in Palazzo Della Valle

Aspect

Cross section and raking view of side, with measurements

Scale

To an approximate scale of 1:7

Inscribed

In. domo. auallis. (‘In the house of the Della Valle’)

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, traces of black chalk and compass pricks

Hand

Bernardo della Volpaia

Notes

With its fluted neck and egg-and-dart echinus, the Doric capital is one of three on this page that are of similar type and drawn in exactly the same manner, a section combined with a view, which also allows a dowel hole to be seen – although there would not have been one so high up the shaft. This example, which as the caption indicates was in the Della Valle collection, was recorded just a little later in the same location in an orthogonal drawing by the anonymous draughtsman now known as ‘Pseudo-Giocondo’. The Coner drawing was copied by Michelangelo, but he depicted the capital as if from the front.

RELATED IMAGES: [Michelangelo] London, BM, 1859-6-25-560/1v (De Tolnay 1975–80, 4, pp. 47–48; Agosti–Farinella 1987, pp. 94–95)

OTHER IMAGES MENTIONED: [‘Pseudo-Giocondo’] Florence, GDSU, 1882 Ar (Bartoli 1914–22, 6, p. 16)

Literature

Ashby 1904, p. 60
Census, ID 45839

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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