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  • image SM volume 115/122f
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Reference number

SM volume 115/122f

Purpose

Drawing 6 (bottom right): Doric capital seen near Santa Prassede

Aspect

Half a cross section and perspectival view of side, with measurements

Scale

To an approximate scale of 1:7

Inscribed

circa. S. praxe/ dem. (‘Near Santa Prassede’); [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

This capital is very similar in design to the specimen from the Theatre of Marcellus next to it (Drawing 5) and very similar as well in size except that the neck is considerably taller. The drawing, like the one next to it, has minimal indications of perspective these being confined to the bottoms of overhanging mouldings. Michelangelo copied the capital’s profile.

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

Literature

Ashby 1904, p. 61
Census, ID 45619

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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