Drawing 2 (top right): Details of the superstructure above the capital of Trajan’s Column

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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 115/129

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Reference number

SM volume 115/129b

Purpose

Drawing 2 (top right): Details of the superstructure above the capital of Trajan’s Column

Aspect

Orthogonal elevation, with measurements

Scale

To an approximate scale 1:22

Inscribed

.a.; .b.; .c.; [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, traces of black chalk and compass pricks

Hand

Bernardo della Volpaia

Notes

The drawing depicts the horizontal mouldings belonging to the cylindrical superstructure of Trajan’s Column, which is also seen in the drawing immediately below. The sides of the cylinder, to show them at an increased scale, have been elided or concertinaed, necessitating the use of a set of letters to indicate how the mouldings actually relate to the drawing below: ‘a’ is the plinth’s base moulding, ‘b’ is the crowning moulding of its lower component, and ‘c’ is the moulding above (b) that forms the base of the column’s damaged upper element.

OTHER DRAWINGS IN CODEX CONER OF SAME SUBJECT: Fol. 42r/Ashby 69; Fol. 53r/Ashby 91; Fol. 64r/Ashby 109; Fol. 76r/Ashby 129 (elsewhere on this page)

Literature

Ashby 1904, p. 64
Census, ID 45323

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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