Drawing 6 (right column, second from top): Ionic capital seen in San Paolo fuori le Mura

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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 115/148

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Reference number

SM volume 115/148f

Purpose

Drawing 6 (right column, second from top): Ionic capital seen in San Paolo fuori le Mura

Aspect

Perspectival view, with measurements

Scale

To an approximate scale of 1:9

Inscribed

.a. S. paolo. (‘At San Paolo’) [measurements]

Signed and dated

c.1513/14
Datable to c.1515

Medium and dimensions

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

Hand

Bernardo della Volpaia

Notes

This ancient Ionic capital, seen as the caption states at San Paolo fuori le Mura, has a tall neck decorated with attenuated leaves. The same capital was recorded later on in a detailed orthogonal drawing by an anonymous draughtsman, and a measured section of the capital appears in the drawing below (Drawing 7). The drawing closely accords in style and format with others on this page and like them it dates from c.1515 (see Cat. Drawing 1). The handwriting of the caption is consistent with that seen in all other annotations in the codex.

OTHER IMAGES MENTIONED: [Anon.] Florence, GDSU, 4327 Ar (Bartoli 1914–22, 6, p. 111)

Literature

Ashby 1904, p. 71
Census, ID 47044

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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