Drawing 2 (left): Entablature once near the Torre delle Milizie

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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 115/89

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Reference number

SM volume 115/89b

Purpose

Drawing 2 (left): Entablature once near the Torre delle Milizie

Aspect

Cross section and axonometric raking view of front, with measurements

Scale

To an approximate scale 1:18

Inscribed

Apud. arcem. Militu[m] (‘Near the soldiers’ fortress [i.e. Torre delle Milizie]’); [measurements]

Signed and dated

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

Medium and dimensions

Pen and brown ink and grey-brown wash over stylus lines

Hand

Bernardo della Volpaia

Notes

Depicting an unidentified entablature once seen in the vicinity of the Torre delle Milizie behind Trajan’s Market, the drawing is unfinished and lacks the corona and the cyma above it, although the cyma’s top edge is indicated by a horizontal line. The entablature is similar in design to the one next to it, which may explain why it was included on the same sheet, and it also resembles the one on the previous page from the Spoglia Christi, although its size was a little smaller. Michelangelo copied the profile of an architrave identical to the one depicted here, next to the one seen in the neighbouring drawing (Drawing 1).

RELATED IMAGES: [Michelangelo], London, BM, 1859-6-25-560/2r (De Tolnay 1975–80, 4, p. 45; Agosti–Farinella 1987, pp. 98–99)

Literature

Ashby 1904, p. 46
Census, ID 46974

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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