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  • image SM volume 115/120e

Reference number

SM volume 115/120e

Purpose

Drawing 5 (bottom): Doric capital seen near the church known as Santa Maria Liberatrice

Aspect

Cross section and raking view of side, with measurements

Scale

To an approximate scale of 1:8

Inscribed

rep [er]to. apud. S. maria [m]. libera. nos. penis. inferni. (‘Discovered near Santa Maria libera nos [a] penis inferni’)

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

As Ashby realised, the name Santa Maria libera nos a penis inferni (‘liberate us from the torments of hell’) was that of the church also known as Santa Maria Liberatrice, which was built on the top of the Early Christian church of Santa Maria Antiqua in the Roman Forum and eventually demolished in 1900 (Armellini 1942, pp. 527–29; Hülsen 1909, pp. 172–75). The capital, which can no longer be traced, is like the one depicted above it, except that the echinus is undecorated and there are now three continuous beads beneath the echinus rather than two, which makes it more like a standard Doric capital with its three vertically-faced annuli. The drawing is pressed right up against the sheet’s bottom edge suggesting that s that it was an addition. Given that it was drawn in a dark ink, like the three at the top of the page but unlike the one in lighter ink immediately above it (Drawing 4), it is reasonable to assume that the one in lighter ink was executed first and that this drawing and the others were arranged around it at a later time.

Literature

Ashby 1904, p. 60
Census, ID 45885

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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