Folio 92 verso (Ashby 154): Corinthian capital with winged Victories from the Baths of Titus or Trajan

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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)

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Reference number

SM volume 115/154

Purpose

Folio 92 verso (Ashby 154): Corinthian capital with winged Victories from the Baths of Titus or Trajan

Aspect

Perspectival view

Scale

Not known

Inscribed

[Drawing] 24 [early seventeenth-century hand]; Alle Terme di Vespasiano (‘At the Baths of Vespasian’); 27 [in graphite]
[Mount] 154 [x2]

Signed and dated

1625/35
Date range: 1625/35

Medium and dimensions

[Drawing] Pen and brown ink and grey-brown and brown wash; on laid paper (231x164mm), rounded corners at right, inlaid (back to front with respect to original foliation)
Mount] Frame lines, in pen and dark brown ink, 10mm apart; window (224x158mm)

Hand

Seventeenth-Century Hand 2 (Sangallo Copyist 2)

Watermark

See recto

Notes

Another seventeenth-century insertion, this drawing is of a now-lost Corinthian-type capital that has winged Victories at the corners framing paired cornucopias and stands on an elaborately fluted shaft. According to the caption, it was seen at the ‘Baths of Vespasian’, which could denote the Baths of Titus overlooking the Colosseum, or perhaps the neighbouring Baths of Trajan. No other images of it are known. Like others in the codex from the seventeenth century, the drawing is numbered in graphite.

Literature

Ashby 1904, p. 72
Campbell 2004, 2, pp. 648 and 650
Census, ID 47098

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

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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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