Folio 96 recto (Ashby 159): Ornamental herm and satyr

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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 115/159

Purpose

Folio 96 recto (Ashby 159): Ornamental herm and satyr

Aspect

Part of an ornamental composition

Scale

Not known

Inscribed

[Mount] 159 [x2]

Signed and dated

c.1515
Datable to c.1515

Medium and dimensions

[Drawing] Pen and brown ink over traces of black chalk; on laid paper (232x163mm), rounded corners at left, inlaid (back to front with respect to original foliation, window on verso of mount)
[Mount] Frame lines, in pen and dark brown ink, 10mm apart

Hand

Bernardo della Volpaia

Watermark

[Drawing] None [Mount] Fleur-de-lys in circle topped with crown (variant 2; cut at bottom of window)

Notes

The drawing shows a candelabrum in the form of a herm standing on a pedestal and with a flaming bowl on its head, which is touching, to its right and with an outstretched arm, a naked winged satyr blowing a trumpet with an attached pennant. To the herm’s left, another arm is sketched in, and, considering the position of the drawing on the page, it seems likely that the composition was intended to be symmetrical with a second figure at the left.

The drawing, dating from around 1515, is probably of modern invention, albeit one inspired by ancient models. No others of this composition are known.

Literature

Ashby 1904, p. 73

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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