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  • image SM volume 115/134d

Reference number

SM volume 115/134d

Purpose

Drawing 4 (bottom left): Column base from the Pantheon’s internal lower storey

Aspect

Partial section with perspectival view, and measurements

Scale

To an approximate scale of 1:6

Inscribed

In. Te[n]plo. Pa[n]teonis. [‘In the temple of the Pantheon’); [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

The base, as the caption indicates, is from the Pantheon, more specifically the fluted Corinthian order of the interior. With two toruses, two scotias and twin astragals, it is smaller but otherwise identical to the ‘Pantheon’ bases of the exterior portico (Fol. 82r/Ashby 136). It is meticulously recorded in an elevational drawing by Giuliano da Sangallo in the Codex Barberini, likewise depicting part of the base in section, and later representations include a drawing on a sheet of studies of the interior order by Antonio da Sangallo the Younger.

OTHER IMAGES MENTIONED: [Giuliano da Sangallo] Rome, BAV, Barb. lat. 4424 (Codex Barberini), fol. 71r (Hülsen 1910, p. 74); [Antonio da Sangallo the Younger] Florence, GDSU, 1060 Ar (Bartoli 1914–22, 6, p. 73; Frommel–Adams 2000, pp. 200–01)

OTHER DRAWINGS IN CODEX CONER OF SAME SUBJECT: Fol. 8r/Ashby 13; Fol. 23r/Ashby 35; Fol. 23v/Ashby 36; Fol. 24r/Ashby 37; Fol. 24v/Ashby 38; Fol. 38r/Ashby 61; Fol. 38v/Ashby 62; Fol. 39r/Ashby 63; Fol. 40r/Ashby 65; Fol. 50v/Ashby 86; Fol. 65r/Ashby 111; Fol. 80r/Ashby 134; Fol. 82r/Ashby 136

Literature

Ashby 1904, p. 67
Günther 1988, p. 338
Census, ID 46657

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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