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  • image SM volume 115/148e
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Reference number

SM volume 115/148e

Purpose

Drawing 5 (right column, top): Ionic capital from Tivoli

Aspect

Perspectival view, with measurements

Scale

To an approximate scale of 1:10

Inscribed

.in. tibure. (‘At Tivoli’); [measurements]

Signed and dated

  • c.1513/14
    Datable to c.1513/14

Medium and dimensions

Pen and brown ink and grey-brown wash over black chalk and a single vertical stylus line at centre

Hand

Bernardo della Volpaia

Notes

This richly ornamented Ionic capital with a tall, fluted neck was seen, as the caption indicates, at Tivoli, but no other depictions of it are known. The type with a tall and fluted neck would be particularly favoured by Michele Sanmicheli (see Davies–Hemsoll 2004, pp. 308–10). The drawing is sized and neatly positioned on the page to align with those to the left and above, and it is closely allied with them in format and style, suggesting it was likewise executed around 1515 (see Cat. Drawing 1). The annotation is in the same handwriting as all others in the codex.

Literature

Ashby 1904, p. 71
Census, ID 47043

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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