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  • image SM volume 115/136g
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Reference number

SM volume 115/136g

Purpose

Drawing 7 (bottom centre right): Column base from a property belonging to Cardinal Raffaele Riario

Aspect

Partial section with perspectival view, and measurements

Scale

To an approximate scale of 1:2

Inscribed

apud. uineam/ car[dinalis]. S. Georgij. (‘Near the vineyard of the Cardinal of San Giorgio’); [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 base of very unusual design – with a torus at the top followed by a scotia, an astragal, another scotia and two astragals at the bottom – bears a family resemblance to the one to its left and may have also been regarded as Ionic and as similar to Vitruvius’s Ionic base (see Drawing 6). It was seen in a ‘vineyard’ (vigna) belonging, as the caption indicates, to the patron of the Palazzo della Cancelleria, but no other drawings of it are known.

Literature

Ashby 1904, p. 68
Census, ID 46877

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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