Drawing 3 (bottom left): Figured capital with male nudes from San Giovanni in Laterano

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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 115/151

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Reference number

SM volume 115/151c

Purpose

Drawing 3 (bottom left): Figured capital with male nudes from San Giovanni in Laterano

Aspect

Perspectival view from left

Scale

Not known

Inscribed

A San Gio: Laterano (‘At San Giovanni in Laterano’); 25 [in graphite]

Signed and dated

1625/35
Date range: 1625/35

Medium and dimensions

Pen and brown ink and brown wash over ?graphite

Hand

Seventeenth-Century Hand 1 (Codex Ursinianus Copyist)

Notes

The capital in this drawing, added in the seventeenth century to fill a convenient gap and numbered like other later additions in graphite, no longer survives, but, like one of those above (Drawing 2), it came from St John Lateran. Its front face features a pair of male nudes while the one on the side that is visible includes an eagle. The shape of the shaft is curious, being seemingly round at the front but flat at the sides, perhaps indicating the draughtman’s inexperience, also seen among other seventeenth-century additions to the codex, in depicting architectural subjects. The drawing’s format which includes the capital’s left side, is generally similar to that of other seventeenth-century depictions of capitals in the codex, and suggests a derivation from an earlier period.

Literature

Ashby 1904, p. 72
Census, ID 47053
Campbell 2004, 2, pp. 641 and 643

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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