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  • image SM volume 115/73d

Reference number

SM volume 115/73d

Purpose

Drawing 4 (bottom left): Doric entablature once seen behind Sant’Angelo in Pescheria

Aspect

Plan of underside, with measurements, at a corner

Scale

To an approximate scale of 1:3

Inscribed

Sub. angulo./ istius. coronae/ doricae re[ce]pta/ penes. S. mar/ cum. (‘Beneath the corner of that Doric cornice discovered within San Marco’); [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

The drawing maps out the underside, at a corner, of the corona seen in the one to its right (Drawing 3). It depicts the lower faces of the mutules at the ends of two abutting sides, and the coffer at their extremities embellished with a rosette. An almost identical diagram was executed freehand by Giovanni Francesco da Sangallo, although this shows the coffer as being square rather than as having a small area eaten away at the inner angle. This could indicate that Giovanni Francesco understood the entablature to have a triglyph at the end with a mutule above it, whereas the Coner draughtsman believed that the final triglyph and mutule were inset a little, so that the coffer had to be adjusted to take this into account. A more likely explanation, however, is that there was indeed a triglyph at the entablature’s end, and that both drawings show this to be the case; but Giovanni Francesco did not take account of the caps over the triglyphs encroaching into the space of the coffer, as is specifically shown in a slightly later drawing in the Fossombrone Sketchbook, whereas the Coner draughtsman took account of this and recorded the coffer’s shape actually very accurately. Such insight, however, is still inconsistent with the Coner view of the entablature (Drawing 3), where the presumed corner at the rear terminates not with a triglyph and mutule but with a little extra space beyond them. The location of the entablature given in the annotation is seemingly mistaken (see Cat. Drawing 3).

OTHER IMAGES MENTIONED: [Giovanni Francesco da Sangallo] Florence, GDSU, 1398 Av (Bartoli 1914–22, 6, p. 99; Frommel–Adams 2000, pp. 249–50; [Anon.] Fossombrone, Biblioteca Civica Passionei, Dis., vol. 3, fol. 12 (Nesselrath 1993, p. 113)

OTHER DRAWINGS IN CODEX CONER OF SAME SUBJECT: Fol. 44r/Ashby 73 Drawing 3

Literature

Ashby 1904, pp. 41–42
Census, ID 47182

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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