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I
PAPERS
BRITISH SCHOOL AT ROME.
>•
PAPERS
OF THE
BRITISH SCHOOL AT ROME
Vol. II
SIXTEENTH-CENTURY DRAWINGS
OF ROMAN BUILDINGS
ATTRIBUTED TO ANDREAS CONER
T. ASHBY, Junior, M.A., F.S.A.
Assistant-Director of the British School at Rome ; formerly Craven Fellow in the
University of Oxford,
TKINTED FOR THE SUBSCRIBERS AND SOLD ON THEIR BEHALF BY
MACMILLAN & CO., Limited
LONDON
1904
H^
Richard Clay and Sons, Limited,
bread street hill, e.g., and
bungay, suffolk.
PREFACE.
The contents of this second volume of the Papers of the British
School at Rome afford a further illustration of the variety and extent of
the work which such an institution can do, even though like the other
foreign schools in Rome it is precluded, by circumstances, from the actual
excavation of ancient sites.
The history of the monuments of Rome, whether classical or
mediaeval, whether still existing or not, is difficult to write : to a very
large extent the materials must be sought for elsewhere than in the
soil of Rome, in the libraries and museums of Europe. Of especial
importance are the drawings of these monuments made by architects,
artists, and antiquaries during the period of the Renaissance.
The value of this kind of evidence is now fully appreciated by all
students of the subject. But to render it available for study and criticism
accurate reproduction of the originals is necessary, and a good deal has
been already done in this direction, notably by Professors Lanciani
and Huelsen.
The drawings now published are not only of great importance in
themselves, but the fact that they were discovered by British scholars in
the Soane Museum in London seemed to make it the clear duty of the
British School at Rome to place this new material as promptly as possible
\x\ the hands of students.
H. F. Pelham.
( Chairman of the Committee, )
III^Q^
LIST OF ILLUSTRATIONS.
PACB
Fig. I. Watermark of the Paper upon which the Drawings have been
executed 2
Fig. 2. The **Nicchione" of the Belvedere as represented by
Francesco d'Olanda 25
Fig. 3. Kunstgewerbemuseum, Berlin. Drawing No. 3826 ... 41
Fig. 4. Kunstgewerbemuseum, Berlin. Drawing No. 3827 ... 50
Fig. 5. The Caryatid near S. Basilio 58
Fig. 6. Kunstgewerbemuseum, Berlin. Drawing No. 3829 ... 62
Plate A. British Museum. Drawing 1 859-6-25-560-1'' . To face p, 80
„ B. ,, „ „ 1859-6-25-560-2 . To face p, 80
Plates 1-165, 8 A, 39 A, 161 A. Reproductions of drawings attributed to
Andreas Coner.
INTRODUCTION.
The important series of drawings which are published in the present
volume are preserved in Sir John Soane's Museum, at 13 Lincoln's Inn
Fields, London. A note at the beginning of the volume in which they are
now mounted (which has an Italian parchment binding of the eighteenth
century, on the back of which is written in ink * Architec(tura) Civilis
Andrea Coneri Antiqua Monume(nta) Rome *) states that they were bought
at Mr. Adam's sale in May 18 18 for £s i^j. od. The sale of Robert
Adam's books took place at Christie's on May 20 and 21, 18 18: and the
volume appears in the catalogue as No. 27 of the books to be sold on the
first ddiy^^ Arckitectura Civilis: a volume containing measurements and
sections of celebrated Ancient Edifices- by a Florentine Architect.' ^ Sir
John Soane bought many other books and drawings at the same sale,
including three volumes of drawings by G. B. Montano (many of them
published in his Architettura — Rome, 1638) for which he paid ;£'2i los, 6d,\
and also many drawings by Robert Adam himself. Two copies of the
sale catalogue are preserved at the Museum.
Our drawings were probably acquired by Robert Adam's brother
James, on the occasion of the latter's visit to Rome in 1762, when he
negotiated for King George III. the purchase of the collection of drawings
which had belonged to Cassiano Dal Pozzo from Cardinal Alessandro
Albani (Matz, Nachr, d, k. Ges, d. Wissensch, Gottingen, 1872, 64 sqq.
Michaelis, Ancient Marbles in Great Britain, 84 § 50, 718 ; cf Class, Rev,
1904, 70) : though whether they came from the same library it is impossible
to say.
They originally formed two sketchbooks (or else one in which the
numbering recommenced from i after 99 was reached), but there are
' A small number of obvious identifications have been pencilled in English upon the mounts ~
very possibly by Soane himself.
B
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inrDTX» JX3E=L n tiit vammt ir irhc± titrr wsr TnrinTn?T, anr ^ie mpiESt
ih: Tncfc- anc art iscnnHL'r ntrrr issc ar nritt sue^ ir fanr zsas" Nos.
£ S 3£ 3fil £. asiv.-ii^ ncnnws^ :nr: sansf nf lie mi=r iuKK: j#t iniiies
ir z^rf? mriis?. Tut numnsmir: 2^ nnc hr w j if^> znmanprnarr vTii ^e
aliv -tic iiianc isavss^ iicxx^ er no: ic hk Trrvnnm£; inn man "die
•nmniTTf onir anii i: if lic^g issc nnnaie:^ nsn^ mnsif of ^iir psssesc
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in tie izaz: mnnrriangy ater Tiem ir 2i7a::icss.
Tie unn- waEEsrmack winzk annears ir lie «uer 2? liia: nf viiki a
ia&rsaE -arsfmiir 2? rrrocr. 3"if r . JZ 2> inimc: ir. lie poipe: nf arr-nJ
Drawings Attributed to Andreas Coner. 3
There have been two hands at work in the sketchbook. The earlier
one has done the bulk of the drawings, and must therefore be dealt with
first The date of this artist may, from internal evidence, be put down as,
roughly, 15 15. No. QIQd gives us (for the first time) the year 1512 as the
exact date of the discovery of the obelisk of Augustus, which formed the
gnomon of the great sundial of the Campus Martius, and now stands at
Montecitorio : while the cornice from the baths of Titus shown in 91^ was,
we are told, found in 1513. We have, again, two architectural fragments
described as "/« domo canpolmis'' [sic] — Nos. 105^, 126^. The collec-
tion of Giovanni Ciampolini was dispersed in 1520 (Lanciani, BulL Com,
1899, 108, cf. Rom, Mitt, 1901, 230). And with these dates agree both the
style of the drawings and the character of the handwriting.
As to the personality of the author, there is more difficulty. No name
occurs on any of the drawings : but No. 47 (/^ 43 v. of the first part of the
original sketchbook) is a copy of a letter by one Andreas Coner written
in Italian to Bernardo Rucellai of Florence, describing the sundial with
an ancient Roman rustic calendar carved upon its base, which was at
the time in the possession of the Delia Valle family {Menologium Rusticum
VaUense, cf. CLL. i^. p. 280, no. xxiii B). The letter is dated from Rome,
September i, 1513 : but from the title it bears {Lettera cP Andrea Conero
a Bernardo Rucellai) it is obviously a copy. Further, it is not in the same
handwriting as that which is seen in the greater part of the drawings (those
by the earlier hand), though there is considerable similarity between them,
and not very much difference in date, though the letter is certainly
posterior. Again, it mentions four drawings of the sundial, whereas only
one is to be found in the sketchbook (No. 48).
Bernardo Rucellai (1449 — Oct. 7, 1514), a member of the famous
Florentine family, is well known as the author of a treatise De Urbe Roma
(published, with a preface by Domenico Becucci, in Rerum Italicarum
Scriptores ab anno looo ad 1600, Florence 1770, ii. p. 757 sqq,^ from the
original MS. in the Riccardi library : cf CLL, vi. p. xliii. no. xiii.). Another
work of his was a short treatise de Magistratibus Romanorum^ published
by A. F. Gori in 173S, and again in 1752. His gardens in Florence were
the meeting-place of the Accademia Platonica. Cf. Tiraboschi, Storia della
letteratura italiana, vi. 2, p. 9 sqq,
Andreas Coner, on the other hand, is, it appears, quite unknown.
Professor Lanciani {Storia degli Scaviy i. 162) gives a short description of
B 2
Tht Bhm>E. ^rB'.riL at iLi'io.
the t;ketddr>:>k from noas inm^^jtsf zjy urirasiL znf im^ 240 xDcntions
tiK: iorentcin- of bif g^>d*, v^ii cEiSis^ ir tiit Aniurio di Stato
in Rome tToL 4L4_ Reg:, laz. Ap:>'y^in^ z. iz-?*. The nrrentoffy, wiiich
15 given in fcZl 23 Appeadix I. k dsi^r FriosT, Not-. &, i?^7, aixJ in a
prcvi'jus doarmrm c 145 ■ vt £r»f inn: arrrru: 25 irhncsf ai Osda on
Oct. :k>, so tifflt be rc^fC bsre di-f rerwssn r>fsr two dates — and
appsientiy in Rook cLp.'^z J- He dif nx rhrrefore peri^ in Ac sack of
Rome, tboagii one of ins b3r»c5i, & MS zc Priue^naecsL. was • cpmxlcatms
pcdibus barbarmimS
He is deficribed on c. 145 as r-Jcriaj* Bsmhrrrr^ siF\ du^rcsis^ ; and
£rom his inventory- we find thit be was a man jf cimaderablc learning, the
owner of manuscript? and printed edftazms c»f tbe Greek and Latin classics,
of various dictiDnaries, and of classical anf Renaissance works on mathe-
niatics. asa-onom y. geograpby, ere
He alsc» i>ossessed copies of Bjcmdss, 2V Rrma ImsZamraS^^ and of
Raphael Vo'atenanus, Cctm.mrKXjTi£ mrhax:], and be cites Albertini,
O^usculvm dU Mirahilzbus ktt^ju ft zr^rrzs mrrzs Rrma£ for the height of the
column of Trajan No. G9jL This was practically the whole of the
topographical literature then a\-a:labje: Fu''v:i:s' AnS:^ifaf^s Uriis Romae
appeared in the x-erx- j^ear of Coner s death his .-5 ^tijmaria Vrbis^ a topo-
graphical description of Rome in hexameters, was published in 1 5 1 3, it is
true, but is not a work of so much scientific value as the AntiquilaUs) and
Marliani^s Topc*£^af*k:4M [fivsi edition" in 1554-
These, however, are our only sc^uioes of information. There was some
hope that original letters from Coner to Bernardo Rucellai might be
Drawings Attributed to Andreas Coner. 5
the papers at my request. Nor was any information to be had either in
the Royal Library or in the Royal Archives at Bamberg, as I am informed
by Herr Fischer, librarian of the former. A search made in the records of
the German churches in Rome, S. Maria dell* Anima {Liber Confratemitatis
B. Marie de Urbe, Rome, Typ. Propaganda Fide 1875 ; Nagl, Urkundliches
zur Geschichte der Anima in Rom — Rom. Quartalschr. Suppl. xii) and
S. Spirito (extracts from the Liber Confratemitatis made by Mgr. de
Waal, which he was good enough to allow me to consult) proved equally
fruitless: nor was the name to be found on any of the German tomb
inscriptions in Rome, as far as I could learn from a thorough examination
of a copy of the sections of Forcella's Iscrizioni delle chiese di Roma which
concern these churches, with MS. additions by Mgr. de Waal, which is in
the library of S. Maria in Camposanto. His name does not occur, either,
in any of the ordinary books of reference such as Nagler's KUnstlerlexicoHy
nor, as far as I can discover, had he any relations with Diirer, in whose
correspondence he is not mentioned. Nor in any of the drawings which I
have examined, or others have examined for me, can any trace of the
same handwriting be found. In fact, it is not going too far to say that
Andreas Coner seems to be, up to the present time, entirely unknown and
unheard of.
It is, it will be seen, impossible to affirm with certainty that he is the
author of the earlier series of drawings, inasmuch as no authenticated
specimen of his handwriting has come to light : but the insertion on a
blank leaf, opposite to the drawing of the della Valle sundial, of his letter
relating to it, is in itself a strong argument : and what we know of the man
seems to confirm it. In any case, I shall use the name in speaking of the
drawings by the earlier hand, if only for brevity's sake. The drawings
themselves are most carefully executed in ink, guiding lines having
previously been marked on the paper with a sharp instrument, and the
walls coloured in bistre ; and their fineness and accuracy are quite remark-
able. The notes to them are uniformly written in Latin, which would be
surprising if the artist were not a man of some learning, while some of the
errors in orthography may indicate a non-Italian authorship: and the
small handwriting and the delicacy of the lines of the drawing seem
characteristically German. Baron von Geymiiller is inclined to think in fact
that * the author was not Italian, but had entirely adopted the manner of
drawing of the Italian masters.' Whoever the artist was, he was apparently
iiznimxtKt -ritit "zie ^jjT-a: imaitEns if rie :s.7^ — ani mir* -y^ tylxiW «ft
3i.anaiin* -nn nei in S^im:: in ifi-t Toe iksaimi:»ik in i i c i ins ncK^sf
nnrrnaLimme^iiY-Tiie-acrErir 7am X:me vmc^ I issas sb-
■i i iritrt u 3 ani i L Ton ■ jCTrmiiler. iron Tu?f iesx ^iti 2111111531 1:1 ir»e^ anc
anise ii=2£\r ±c jeielc it liir ^^onir* imi ar^ct zn '±te: punier::. Sic
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4^!W!a- iiiiiifuffr if jLAuiaimf ^ Jiuiiu 'irtr:!?^ tnr tfrg :£XE?:r3Ciin if Tne^ Tmrirtmr -
-vmie 5iis. TLr. TS 91^. Ufir. lil ^gutcs en: Te*:tii«f if iiacric=s rfg^rm-^f a^
lTf.4HI^M'H'»* oil" ]Xi
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ta. SiOTgrtiTQ Tfie joim^er Ijfcz f ~ .
Bf^omntE i^ imEiticns in" r&e Cirrle n^ Scivedisc ire Tuwriere iKSTKr
ilugnrgm ±«ui in tfie ;3iffl:r Xii. 2S. vmcrt ^^i^es- i -mmijer if nt?¥ rt?»mTs
sad die dei-aioiEr 5iis. 43-4£ in vmcit -¥e ^jet inr ire irsc mie an?
lEsgn fir :fie sEzmd irier if :fie iinvrar rjurt: iroiie aiany if rie ircniDesr-
5fc& n S. 3i2^a iela. ?%Tricc^ sni ZL 3£ 3& SS/ the issxrnwszn
ii Bnuiuuiie ^ 5. Etem in Xiimnrfu in; ii^e inui m T im t:
Tje Piiazzn iela. Caacslerfa. XiSv xL itn. • x^. xmi rhe ^ -riitirm
'!2iaufi 5ix la ire jeuieaeiimiL dmu^ rie inrrounon if ijiese suiimmr:?
jD Sisnante iias rcsisnxiy xsn iue5Ciine»i zn/rtr, 7. :r:\
5iri. 3L iiiiiw.'T ±B scsttB if 5t Z^xssr > ic X rarher "atcr ^nigi^ use ider
die Tpgrfr if Fra. -liocnndn m ^aiv ::. :cr^ 3r;siraint» iit*r %ircit cr.
Drawings Attributed to Andreas Coner, 7
majority of which are in the Casa Buonarroti at Florence, though two or
three leaves have found their way into the British Museum by purchase
from Comm. C, Buonarroti in 1859.
The correspondence in subject, in mode of treatment, and in point
of view is surprising, and too striking to be accidental ; cf* infra^ p. 60
and Plates A| B, also Appendix II., where a tabular statement (which
renders the mention of each individual case unnecessary) will be found r
and as these are the only copies (whether from the antique or from
Renaissance buildings) known to exist among the architectural drawings of
Michelangelo, the question of their authenticity at once arises. They are
certainly not directly taken from the buildings themselves : for the similarity
between them and the drawings of Coner renders it certain that either
they were copied from Coner, or that both derive from a common
archetype. The presence of careful measurements in Coner's drawings,
taken with their invariable absence in those attributed to Michelangelo,
seems to exclude the possibility that Coner can have been the copyist,
while, on the other hand, that the artist of the red chalk drawings copied
from Coner seems to be clearly proved, not merely by the close corre-
spondence both in the subjects treated, and in the order in which they
occur (taken in conjunction with the absence of measurements in the
former series), but by the fact that in two cases the supposed Michelangelo
betrays himself as an unintelligent copyist.^
(u) Brit Mus. 1859-6-25-560-2 (Berenson, The Draivings of Fiorentine
Painters, vo\, ii., p. 89, No. 1505), which is reproduced in our Plate B,
contains amongst other subjects a sketch of a composite capital sur-
mounted by a bare architectural profile. This proves to be identical with
Coner, 92^ (the circular temple at Tivoli). Instead, however, of drawing
the entablature with the inscription, the artist has contented himself with
copying its profile, which starts immediately to the right of the central
volute in Coner's sketch.
{b) Casa Buonarroti, * cornice ' 23, No. 3 (left half reverse) contains three
subjects taken from Coner. of which one is evidently copied from Coner,
83** In Coner's sketchbook this forms in reality one subject with 83^,
a com ice from the Piazza di S. Eustachio represented both in elevation
and in profile. The artist of the red chalk drawings has, however, entirely
omitted the elevation of the cornice, and has associated with the profile
' I owe this point to Mr. H. Stuart Joties-
''^^'^ -^
m^
8
The British School at Rome.
two other subjects (81^, 83d) with which it has nothing to do. Not only
so, but upon the immediately following leaf of his sketchbook (the obverse
of the drawing of which we have been speaking) he gives us the rest of
Coner, 81 and 83 (with the exception of 83^, which he entirely ignores),
together with 82. In other cases he copies leaves of Coner absolutely
(e.^-. 49, 84, on drawing No. 2, * cornice ' 22, reverse, right half, and obverse,
left half, respectively), so that there seems to be no method in his pro-
ceedings.
Not only is it almost impossible to believe that Michelangelo would
have copied (and still less copied unintelligently) from Coner's sketchbook,
but the style of the red chalk drawings, which is timid and at the same
time inaccurate, makes it more than improbable that they can be by
Michelangelo himself, although they may well be attributed to one of his
pupils. The drawing in the Teyler collection at Haarlem (Die Zeichnungen
Michel Angelas in Museum Teyler zu Haarlem, PI. xxiii. : Berenson, 1675)
is different in dimensions (13^^ by 9 inches), and shows on the recto a study
for a Christ on the cross in black chalk, which Berenson describes as
* surely too fumbly and stringy for Michelangelo,' and on the verso some
architectural profiles drawn in red chalk which are totally different in style
from the rest of the series, and may well be from the master's hand.
The reverse of the British Museum drawing referred to supra (a\
contains sketches for a building with a few measurements and indications
written in a hand remarkably like that of Michelangelo, as Mr. Sidney
Colvin kindly informs me. But the style of these sketches shows a firm,
decided touch quite unlike that of the drawings on the recto. If they
are by Michelangelo, it is practically certain that the other architectural
Drawings Attributed to Andreas Coner. 9
perhaps, the only cases of this. Some of the more fantastic drawings of
capitals (Nos. 138, 139), and especially those of helmets (161, 161A) come
very close to certain drawings by Giuliano, without being actually copied
from them.
Our sketchbook occupies a fairly early place in the series of Renais-
sance drawings which relate to the antique. The greatest and most famous
collection of isolated drawings (including the disiecta membra of many
sketchbooks) is in the Uffizi at Florence ; but there are also many albums
or Taccuini which have retained their individuality. They are divided into
three classes (which must not be treated as mutually exclusive) by
Fabriczy (// libro di Schizzi dun pittore olandese nel museo di Stuttgart in
Archivio storico deir Arte.vx, [1893], 106 sqq. and separately).
(fl) The sketchbooks of Renaissance architects, who studied the
remains of ancient buildings either as practical architects, in order to use
them as models, or else as antiquarians, with a desire to form a corpus of
the ruins of antiquity. It is to the latter division that the collection before
us belongs, and its systematic completeness is remarkable, and indeed
unparalleled.
{b) The sketchbooks in which the archaeological and scientific interest
is paramount, and material for research is mainly sought.
(r) The collections of purely artistic sketches, including views either
taken for later use in the artist's own paintings, or simply for their own
intrinsic beauty, and from a pure love of the picturesque.
The majority of these drawings are of later date than those of Coner,
though the two sketchbooks of Giuliano da Sangallo form an important
exception ; for that which was till recently in the Barberini Library (which
has now passed ^« ^/c?^ to the Vatican) dates from 1465-1514 (Fabriczy,
Du Handzeichnungen Giuliands da Sangallo, 15), while the Siena
taccuino contains drawings which run from 1483 to 1513 {ib, 73).^
We now come to the consideration of the drawings by the later hand.^
The style of them is quite different : they are not so fine in line, the
* To the list given by Fabriczy, which need not be repeated here, the sketchbook in the
library of the Prince of Waldburg-VVolfegg (Robert, lidm. Mitt. 1901, 209 sqq.) is the only addition
that I can make. The album of Pierre Jacques (published in facsimile by M. Salomon Reinach in
1902) had already been described by GeofTroy in Melanges de Creole Franfaise, 1890, p. 150 sq.
*fios. 6^7, 8A, 9, 26-30, 66, 99-104, 108, 128, 130, 142, 147^, 15k, 152-155, 157,
158. The later hand has also added the name * S. Angelo in Pescheria ' to 63^.
lo The British School at Rome.
shading is darker, while the execution is decidedly inferior {cf, especially
99, 101, 103). They were certainly inserted in the sketchbook before it
was broken up and mounted, and probably before it was numbered.
They are not indeed very much later in date than the original series :
from their style and the character of the handwriting, they would appear to
belong to the middle of the sixteenth century ; and this view is confirmed
(i) by the fact that the artist saw one of the internal bases of the temple
of Mars Ultor in the church of S. Marco (130*), whereas Coner had drawn
it in its original position (124*), and (2) by the legend to the two capitals
of No. 142 in casa \di\ M, Anton\t\etto delle Medaglie — a dealer in antiquities,
who appears as the owner of a house on the slopes of the Quirinal in 1546,
and is several times mentioned by Pirro Ligorio ; further by a curious
parallelism between the sketchbook in its enlarged form and some drawings
by an unknown artist, formerly in the Destailleur collection, and now in
the Kunstgewerbemuseum at Berlin. Three of these drawings (the only
ones which appear to have any relation with Coner) are reproduced below
(Figs. 3, 4, 6) by the kind permission of Dr. Jessen, Director of the Library
of the Kunstgewerbemuseum, and a table of comparison is given in
Appendix III.
The style of the Berlin drawings (which are roughly executed in
pen and ink) is entirely different, but the legends (and as a rule the points
of view) are identical, and the absence of any objects which do not
occur in our sketchbook makes the relation more striking.^
The later hand seems to have known the sketchbook of Giuliano da San-
gallo, which was till lately in the Barberini Library, and is now in the Vatican
{Barb, Lat, 4424 — formerly xlix. 33) after additions had been made to it by
his son Francesco not earlier than i$/^o (Y^bnczyy Die Handzeichnungen
Giulianc's da Sangallo, 14 sq.). Nos. 6, 8A, 9 are probably copied from
drawings by Francesco (43^ 38''), while 7 is copied from a plan by
Giuliano (29"^).
It will be seen from the above remarks that the sketchbook in its
present state presents many problems, for which it may not be easy to
find a solution. I cannot claim to have discussed them exhaustively —
that I leave to better judges in these matters — but they certainly add to
* I am informed by Dr. Giistav Kilhl, of the library of the Kunstgewerbemuseum, that these
drawings are /w/, in all probability, by the unknown French artist who generally passes under the
name of the Anonymus Destailleur, and that they came from a separate volume, which did not
form part of the series of his works.
Drawings Attributed to Andreas Coner. ii
the interest of the collection. Nor can I hope to have identified all the
plans, elevations, or architectural fragments, some of which further search
would undoubtedly have enabled me to find. I prefer (not solely upon
my own responsibility, but following the advice of others more experienced
than myself) to publish so important a series of drawings at once, rather
than to wait longer, in the hope of being able to make my text a little less
imperfect — though, to one who is not a professed student of architecture,
there will always be a considerable amount of difficulty in attempting a
commentary upon a work of this kind.
I may perhaps be allowed to adopt the very apt remarks of
M. Salomon Reinach, in his preface to the facsimile of the Album de
Pierre Jacques: — * Mon commentaire . . . dans T^tat ou je Toffre au
public, ne peut gufere ^tre qu*une ^preuve bonne i corriger. ... La
redaction du texte est, aprfes tout, chose secondaire ; elle peut etre faite
€xp6ditivement, quitte i ne point refuser aux critiques, ces collaborateurs
du lendemain, le plaisir de d^couvrir quelques erreurs.* It is only fair to
add that it was M. Reinach's preface that led us to employ MM. Berthaud
frferes to execute the reproductions which form the illustrations to the
present work. He is, so far, one of the very few scholars who have
published in facsimile and in their entirety any of the many important
archaeological sketchbooks of the Renaissance.^
The contents of the sketchbook are arranged in a definite order
(whether with a view to publication or not we cannot tell), and may be
classified roughly as follows : — ^
1. Title.
2-25. Ground plans (in which the parts existing and not existing are
not accurately distinguished),
[26-30. Tombs (plans and elevations) by the later hand.]
31-69. Elevations.
70-155. Architectural details.
a. 71-83. Doric entablatures.
/8. 84-91. Ionic and Corinthian entablatures and cornices, corbelled.
7. 92-98, 105-111. The same, not corbelled.
* The only two other publications of the kind known to me are Le ravine di Roma al principio
del secolo xvL Sludi del Bramantino {Bart, Suardi\ Milan 1875, and // Taccuino Senese di
Giuliano da Sangallo, Florence 1902. In both cases the text is the weak point.
* The later hand in making additions has in most cases respected the original arrangement.
12
The British School at Rome.
[99-104. A group of drawings by the later hand.]
B. 112-117. Plain mouldings (cornices and plinths).
6. 118-123. Doric capitals, plain and ornate.
f. 124-132. Ornate bases.
fj. 133-137. Plain bases.
d. 138-140, 142, 144, 147, 148, 151-155. Capitals, Ionic, Corinthian,
Composite.
I. 141, 143, 145, 146, 149, 150, 156-165. Various subjects largely
fantastic.
In describing the various figures on each leaf, I have used the letters
a, 6, etc. beginning from the top left-hand corner and going across the
page, as in a printed book. The same is the procedure adopted in
describing the drawings of other artists with which I have had to deal in
detail.
Besides those gentlemen whom I have already mentioned, my special
acknowledgments are due to Professor R. Lanciani of the University of
Rome, Dr. Christian Hulsen, Second Secretary of the German Archaeo-
logical Institute in Rome, Dr. Hermann Egger of Vienna, Signor Nerino
Ferri, Keeper of the Drawings at the Galleria degli Uffizi in Florence,
Cav. Alessandro Corvisieri, Director of the Archivio di Stato in Rome,
and Mr. H. Stuart Jones, Director of the British School at Rome. There
are others to whom I am grateful for help and advice, whom space will
not allow me to mention. But I cannot but express my deepest regret at
the very sudden death of my friend, Mr. George H. Birch, F.S. A., the late
Curator of the Soane Museum, who had always taken the greatest interest
in the publication of the drawings, and facilitated and assisted it in every
Drawings Attributed to Andreas Coner. 13
1. Frontispiece (number, if any, cut away and back blank).
NOTA • QVOD • OMNIA • QVAE • IN • ISTO • LIBRO • SVNT •
ME«SSVRATA • CVM • BRACHIIS • FLORE«TINIS • DIVIDENDO •
BRACHIVM • IN • PARTESSEXAGI«TAQVAS • VOCO • MINVTA •
ET • CVM • IPSIS • MINVTIS • MINVTISSIME • ME«SSVRATVM •
EST-
The braccio fiorentino in which all the measurements in the drawings
by the earlier hand are given, those by the later hand having no measure-
ments, is equivalent to 0'S83626 m^tre (Geymiiller, Projets primitifs pour
la basilique dt Saint Pierre^ 3S4)> or almost exactly 23 inches : so that
each * minute ' is equivalent to 00097 m^tre (practically one centimetre) or
roughly f of an inch.
2.(1)
HICNOGRAFIAANPHI-EATRIVESPASIANI SIVEDOMITIANI
Accurate ground plan of the Colosseum without measurements.
3. (!') QUARTA • PARS • ANPHITEATRI.
Originally intended to contain a plan of a very small portion of the
Colosseum on a larger scale (some remains of which may be seen on the
right). It was then used for a quarter-plan of the amphitheatre (the N.E.
quarter) with the flights of steps shown and a few measurements. Some
scanty traces of the podium wall are to be seen.
4. (2) SECVNDA • ANPHITEATRI.
Second story of the Colosseum. No measurements.
6. (2^)
TERTI A • ANPHITEATRI • CVM • GRADIBVS.
Third story of the Colosseum with the rows of seats indicated. No
measurements.
14
The British School at Rome.
6. {y) * Pianta dun tempio del Dio Eolo'
Plan of the hereon of Romulus, which stood in the centre of the
square portico built against the narrow end of the Circus of Maxentius
and facing on to the Via Appia (Canina, Edifizi^ Vol. II. tav. 76). A plan
of the lower story (a subterranean chamber) is given on No. 9, * Pianta
di nn tempio vicino a S, Bastiano' The plans are both due to the later
hand, and are very closely allied to (perhaps copied from) drawings by
Francesco da Sangallo in the sketchbook of his father Giuliano da
Sangallo, Cod, Barberin. xlix. 33 (numbered, since its transference to the
Vatican Library, Barb. Lat. 4424) f. 43"^ (compare also f 8 and Giuliano's
other sketchbook. Cod, Sien. S. iv. 8, f. 16). The name * temple of
Aeolus ' occurs there also.
For all details cf Fabriczy, Die Handzeichnungen Giuliano'sda Sangallo,
56 : as no measurements are given, we cannot tell for certain the source
of the present drawings.
7. (3) * Pianta del Setizonio*
This drawing, again, which is by the later hand, agrees absolutely with
the restored plan by Giuliano da Sangallo in Barb. 29"^ (cf 30), which was
adopted by Marliani, Urbis Romae Topographia (1544), 68, but which
as Hiilsen, Das Septizonium (46th Winckelmannsfestprogramm, Berlin,
1886), p. 7, 22, has shown, is quite incorrect and fanciful.
8. (4^ S) (double size).
HICNOGROPHIA • TERMARVM • MEDIA • PARS • DEOCRITINI 1
Drawings Attributed to Andreas Coner. 15
Nomentana over the Anio, and remains of it apparently still exist on
the right of the road (though owing to the absence of measurements, it is
impossible to be absolutely certain : and, further, the internal chamber
seems to have had no windows). Fabriczy {op, cit, 51) is wrong in placing
the tomb on the left, for that on the left is round, both inside and out,
though the internal niches are rectangular. The Doric cornice is given
below, No. 75.
9. (4) * Pianta ctun tempio vicino a 5. Bastiano'
See 6.
10. (6) (back blank).
A plan of an unknown building. The arrangement is not unlike that
of the sacristies on each side of the apse of St. Peter's in Giuliano da
Sangallo's plan in the Uffizi (no. 7), (Geymiiller, op. cit, pi. 26, Fig. i). No
measurements are given, and it may never have been carried into execution.
11. (7) 's.blaxU:
Bramante's plan for the church of S. Biagio della Pagnotta, in the Via
Giulia, intended to form part of a palace which took its name from the
church (Geymiiller, op. cit. 113), but which was never completed. Compare
Baldassare Peruzzi Uffisi 109"": Salvestro Peruzzi Uffizi 667'' : Aristotile da
Sangallo Uffizi 1893^ S^ biagio tut to di matoni in Roma di bramante Archi-
tetto^ — in this last the church is represented as shorter. There is also a
plan of the whole palace by an unknown artist of the sixteenth century
{Uffizi 136) in which the church is only roughly indicated. It has been
hopelessly modernised, and few traces of Bramante's plan are to be seen
now, though Baron de Geymiiller informs me that he observed some parts
in 1868 and 1882 corresponding to it, with some brick walls descending
towards the Tiber, forming a sort of platform on which the church was to
have been built The church is only open once a year — on February 3.
12 (7^)
A plan of a building which I have been unable to identify, with a
sectional elevation of part of it below. From the presence of measurements
it may be inferred to have been in existence in Coner's time.
* The anonimo Gaddiano (about 1544) also attributes the church to Bramante (Fabriczy^
// Codiu delV anonimo Gaddiano reprinted from Archivio siorico italianOy Ser. v. vol. xii.
(1893) p. 83.
i6 The British School at Rome.
13. (8)
HICNOGRAPHIAPANT-EONISIDESTSMARIiEROTVNDiE.
Ground plan of the Pantheon carefully measured.
14. (80 'cadriani:
A plan of the ground-floor of the palace in the Borgo Nuovo, built by
Cardinal Adriano di Corneto, and given by him in 1504 to Henry VII. of
England.^ It is often called the Palazzo Giraud, from one of its subsequent
owners, and is now the property of Prince Torlonia. The architect is
unknown : Geymiiller (op, cit 69 sq) attributes it, like the Palazzo della
Cancelleria (with which, indeed, it is closely associated in style), to
Bramante: but Gnoli {Archivio Storico delF Arte, v (1892) 176, 331)
denying as he does the attribution of the Palazzo della Cancelleria to this
architect, refuses to admit more than that Bramante may have been called
in to complete the palace of the Cardinal di Corneto, and especially
to construct the courtyard, in which he recognises a different style,
slightly later than that of the facade. It is possible, indeed, that our
drawing may have been copied from a study made by or for Bramante : for
the posterior facade looking on the garden appears incomplete in it, and
the measurements do not exactly correspond with those of the palace as
constructed (Letarouilly, Edifices de Rome Moderne, ii. PL 145), Alterations
in recent years — since the time of Letarouilly — have completely destroyed
all traces of the posterior facade.
Drawings Attributed to Andreas Coner. 17
16. (9^) TENPLI • PACIS
The basilica of Constantine which (cf. Giuliano da Sangallo Barb. 63^)^
has three apses, a third being erroneously added — though only in outline —
on the side towards the Sacra Via, where Constantine, or some later
restorer of the building, added a secondary entrance, which was not part of
the original design. The plan of this entrance does not, therefore, seem to
have been made out clearly in the excavations of 1487 (Lanciani, Storia
ilegli Scavi, i. 85). It is just possible that the three bases of columns (out
of the eight which originally existed) which bear measurements in our
plan were those still extant at the time when it was drawn, though as all
the bases are indicated, this supposition is somewhat doubtful. The two
on the north side were certainly standing at this period, and possibly the
third base of which Guattani speaks {Roma antica^ i. 62 n. i.),^ as
having been supposed to have been used for the statue of Alessandro
Farnese in the Sala dei Capitani of the Palazzo dei Conservatori may have
been that on the south side to which our artist gives a measurement ;
though the story told by Guattani cannot be true, for the base would not
have been large enough (Lanciani, op, cit, ii. 209). The curved wall sup-
porting the hill above and behind the northern apse (where in ancient
times stood the house of Attius Insteius Tertullus, CJ.L. vi. 1696, 1697),
is well indicated: cf, Lanciani, op. cit. ii. 211, Forma Urbis, 29. A road
passed between it and the apse of the basilica.
17. (II) (back blank). S . PETRI.
With regard to this important drawing, I am indebted to Baron von
Geymiiller for the following details. * This plan is of the highest interest
to me. It is copied from a study which can hardly be by anyone else but
Bramante, and made at the moment he drew the red chalk plan on PI. 9 of
my book.^ It may be considered to be the further development of the
idea indicated in the choir. Also, the two piers on the left side of the apse
show a momentary intention of making them narrower than those under
the cupola, and of decorating them with one single pilaster, whilst in his
^ The two plans rest on independent measurements — Giuliano makes the building loi
braccia wide — and the details are not identical.
^ ' Vi e memoria che della base di una di queste colonne fosse formato il gruppo colossale di
Alessandro Faroese.'
* Uffin No. 2a
C
i8
The British School at Rome.
definite plan, which \i-as actually put into execution, they have two pilasters
like those under the cupola.
The fact that between the right transept and the choir there is a sort
of sacristy (rather like those in Giuliano da Sangallo's plan, pi. 26, fig. i),*
made me think for a moment that the artist might have made a project
for the completion of St Peter's in another way 'in 15 14-15, after
Bramante's death) ; but this could not be, for in that case he would have
drawn the temporary choir built by Bramante and removed about
1585.*
Besides this, the idea of placing two columns in front of the diagonal
sides of the * piloni ' of the cupola, an idea which we find in several studies
of Bramante, would have had no meaning after the i8th April, 1506 [when
Julius II. laid the foundation stone of the new church] nor with the actual
* piloni,' which are those of Bramante in their general outlines. So it can
only be one of the ideas of Bramante, which originated at the ver>' time at
which he drew plate 9.
18. (12) SAXTICELSI.
This must be taken from the original plan by Bramante for the
rebuilding of the church of SS. Celso e Giuliano ai Banchi, after its
destruction, whole or partial, under Julius II. Armellini {Chiese di Roma^
364) quotes the following passage from a MS. in the Vatican archives
{Stato temporale delle Chiese di Roma, i. 329 *al tempo di Giulio 11.^ la
chiesa veniva a mezzo la strada del Banchi : v' era un porticale grande del
modello della chiesa di S. Maria in Trastevere : v' erano tre porte grande
Drawings Attributed to Andreas Coner. 19
found elsewhere — in Vasari, for example^) of the Anonimo Gaddiano,
that Bramante was the architect of the new building, et cost per il
detto una parte di San Cielso in banchij\ remarks {op, dt p. 137 n. 232),
that the reconstruction was soon interrupted — Paride de Grassis, who was
prebendary of the church, complains in his diary ^ that it had not progressed
far enough for him to be able to officiate there — and was not completed
until the time of Clement xii. (1730- 1740), so that there is nothing
Bramantesque in the present building ; but Baron von Geymiiller informs
me that * the plan is so absolutely on the principles of a series of studies of
Bramante for the four minor cupolas of St. Peter's, that I see no reason for
doubting that it was designed by this master, as soon as there is some
written information attributing it to him.*
The same plan recurs in Uffizi 875, a rough pen and ink drawing by
Antonio da Sangallo the younger, lettered sancjelso, showing the plan
and details. The measurements tally, but the portico is slightly differently
drawn, there being only four pillars in the line of the facade, the two in the
centre standing free, instead of six pilasters at the ends of partition walls.
At each end of the portico thus formed is a semicircular niche.
19. (12O
a, T • MARCI • WRRON IS INS- GERRA • NO.
No measurements are given. The plan is almost identical ^ with that
drawn by Giuliano da Sangallo Uffizi 2045"^ and Barb. 8 : * Istudio di
Marcho Varone a Sa** Germano * tuto lavorato distucho alto br. vi e poi
chomincia la bote,' in which he makes the width of the central space
18 braccia.
Francesco di Giorgio Martini (6^^/ 322) gives a plan of a building
about half a mile from San Germano,^ which seems to be identical with
this one, though it has not the wings at the side, while at the back it is
connected with a more extensive oblong structure. The central space is
* S. Celso does not therefore occur in Baron von GeymUller's list of Bramante's works
\fip, at. 113).
* This work (Cod. Vat. 5365, Cod. Cor sin. 981 — 983) runs from 1504 to 1 521.
' Coner adds two columns at the entrance, and does not round off the external angles of the
central structure.
* The town has now resumed the ancient name and is known as Cassino.
* *fuora di Sangermano uich(in)a a(u)n mezo miglio.'
C 2
20
The British School at Rome.
given as only * p(iedi) 30 ' ^ in width : but the measurements are obviously
approximate. A plan similar to Coner's is given by Giorgio Vasari the
younger {Uffizi 4850 * pianta dello studio di Marco Varrone a S. Germano ').
The building seems to have formed part of the villa attributed to Varro
(cf Script. Ret Rust ed. Schneider i. 2. 228, Pauly-Wissowa, R.E, iii. 1652),
of which some remains still exist.^
b, TSGILI^APVD.
This also recurs in Cod, Barb, f. 8"" and Uffizi 2045"^, where it is lettered
Tempio di Sibila Chtimana and /* \tind\ Tempio presso Abaja Disibilla
respectively.^ Fabriczy (^Die Handzeichnungen Giuliano's da Sangalio,
30) makes the internal diameter (from the latter drawing) to be about
56 braccia: it is here given as 60, which is about 2 J metres too little. A
rough sketch of it by Francesco di Giorgio Martini is to be found in Uffizi
329, which gives the diameter as 104 feet ; this bears the note deila sibilla
infra monte barbaro ed averno^ which assists us in identifying it with the
thermal buildings on the shores of Lake Avernus, known as a temple of
Apollo. The real diameter is not * about 30 metres/ as Fabriczy says,
but 170 palms (Beloch, Campanien, 171) i.e, 37*90 metres. The name
T. S. Giliae is probably a corruption of Sibillae ; this fact, and the
omission of the name of the locality, would seem to indicate that Coner
had copied the plan from someone else {siipra^ p. 8), and had not
measured it himself
20. (13)
TENPLI • BACHI • APVD • SA«<rTAM • AGNEXI A>«.
Drawings Attributed to Andreas Coner. 21
name * Temple of Bacchus * has been commonly (though of course
erroneously) applied. The artist shows sixteen pairs of columns in the
interior instead of twelve, the correct number. The note at the bottom
{uacuuni plateae est b, 250 lu{n)gitudo et latitudo est b ,^\) refers to the
large space enclosed by a wall, and supported in places by substructures
which from its shape has often been supposed to be a circus, but was in
reality a cemetery. A portion of it is indicated at the bottom of the
drawing.
21. (13O a. IN • CAPVA • VETERA.
Plan (without measurements) of the large tomb known as the
Carceri Vecchie near S. Maria di Capua Vetere. Exactly similar plans are
to be found in Cod, Barb, f S*", Sien. 16', i6^ and Uffizi 2045. The tomb
is still extant (Beloch, Campanien, 358 ; cf. Melanges de F^cole Franqaise,
xxiii. (1903), p. 415 No. 21), though an elevation of it by Sangallo {Barb, 8*")
is reproduced by Rivoira, Origini deir Architettura Lombarda^ i. p. 56 and
Fig. 84, without any indication of this fact being given.
SVPRA • MO;iTEM • AVREO * VBI • S • P • CRVC[IF]ISSVS • FVIT.
A plan of the * tempietto ' of Bramante at S. Pietro in Montorio
(Letarouilly, op. cit. PL 103). The legend of the crucifixion of St Peter at
this spot dates only from the 15th century (Marucchi, Basiliques et ^glises
de RonUy 461), though its veracity has recently been sustained by Mgr. G. B.
Lugari (// Gianicolo luogo delta Crodfissione di S. Pietro. Roma, 1900.)
22. (I4^ IS) The back (14, i^"') is plain. ' terminj antoniane'
An extremely fine plan of the Baths of Caracalla on a double sheet.
The flight of stairs near the Calidarium is, however, probably erroneously
drawn, as is that at the end of the peribolus : and the seats in front of
the piscina are doubtful.
No measurements are given (this is the case with the plan of the
baths of Diocletian) but it does not seem to be a mere copy of another
drawing.
Certain parts of the building, in which the walls are faintly indi-
cated, were probably more or less inaccessible, or at rate not easily
measured.
22
The British School at Rome.
23. (i6)
a. HICNOGRAPHIA-TENPLAr;m(sic.)SOLISET LUN^.
A plan of the double temple of Venus and Rome, for which this is the
usual traditional name.
The steps are somewhat differently represented by Lanciani, Forma
UrbiSy 29, where a smaller double flight is shown ascending to the roof
of each temple.
b. (a)erariu{m) romanu{m).
An interesting plan of the group of buildings formed by the heroon of
Romulus son of Maxentius and the so-called Templum Sacrae Urbis (cf.
Liber Pont. i. 279, ed. Duchesne (who refers templum urbis Romae to the
Basilica of Constantine) ; Jordan, Forma Urbis, pp. 8, 9 ; De Rossi, Bull,
Crist. 1867, 61 ff. ; Gilbert, Topographie der Stadt Rom, iii. 186. It differs
from the plans drawn by Pirro Ligorio ( Vat. 3439 f 30 ; Bodl. Canonici.
138 f I3^ IS*": reproduced by Lanciani, Bull. Com. 1882, tav. iii. iv, and
Middleton, Archaeologia, Vol. li. pt. 2, pp. 495, 496) in some important
particulars.
The plan of the heroon Romuli is more accurate, though the niches are
not shown by Lanciani {Forma Urbis, 29) : on the other hand, the windows
in what is now the church of SS. Cosma e Damiano (Lanciani, Bull. cit.
p. 35) are not indicated.
But the chief differences will be found in the representation of the
portion behind the apse of Felix IV. Each wall is shown as possessing
two rectangular niches with a round niche between them. This is the case
Drawings Attributed to Andreas Coner.
23
^^' 3439.
Coner.
Lanciani
F. V.R. 29.
Width of front hall ....
Length of front hall ....
Chord of apse
Width of back hall ... .
Length of back hall (to back of apse)
Diameter of heroon ....
p. 63,0.13=18-951
p. 62 =18*414
p. 44 =13-068
34/5r= 19-842
343r= 19-842
27dr=is-7S7
30^^=17-508
30/^^=17-508
25^r= 14-59
20*50
20-00
12-00
20 50
18-50
13*50
c. TEATRI • CtAPITOLII.
I am entirely unable to say what this is. It may conceivably be a
plan for the Piazza del Campidoglio, with which its dimensions agree fairly
well : though it is doubtful what the oblong pillar in the upper portion of
the central space may be meant for (the equestrian statue of Marcus
Aurelius was not brought from the Lateran till 1538).
In the foreground of Martin Heemskerk's view of Rome from the
Tarpeian rock (cf. Antike Denkmdler, ii. 12, where it is published in
facsimile) there may be an attempt to represent rows of seats in the fore-
ground (somewhere at the back of the modern Palazzo dei Conservatori),
but if so, they are only of a temporary nature ; and it seems more probable
that Heemskerk intended to represent a ropewalk.
24. (16O a. TENPLI • DEAR • VEST^.
A plan of the well known round temple near the Ponte Rotto. The
two columns in the doorway are probably an imaginary addition : they
are not shown by Sangallo Barb, 37, nor by Lanciani, Forma Urbis, 28.
*.
TENPLVw • DE • TIBVRE.
A plan of the circular temple near the old waterfalls at Tivoli, with
a section of the colonnade and cella wall added.
26. (17) Back plain.
PVLCRVM • VIDERE • PONTI • FICIS.
A plan of the Cortile di Belvedere and Giardino della Pigna in the
Vatican, with sketches of certain portions on a larger scale. It presents
many features of interest, as to which Baron von Geymiiller has been
good enough to give me a very considerable amount of valuable in-
formation.
24
The British School at Rome.
At the top of the plan Bramante's famous spiral staircase appears, and
is shown in further detail in A.
To the left of it is the Belvedere itself, in which we notice that (not
including the angle niches) there are no niches in the side walls,
except on the south side, where the Laocoon stood. It is not very
probable that Vasari's words (iv. 157) * fecevi (Bramante) ancora la testata,
che e in Belvedere alio antiquario delle statue antiche, con Tordine delle
nicchie ' refer to the niches of the fa9ade towards the Giardino della Pigna
(either those of the * Nicchione ' B or those of the straight pieces on each
side of it) : for the niches in each angle of the Belvedere were also
constructed by Bramante (Michaelis, Jalirbuch des Instituts^ 1890, p. 13,
n. 27, cf pp. 18, 28). The flight of stairs on the right hand side of the
* Nicchione * is not shown in any other drawing known to me. There is a
slight inconsistency between the method of their representation in the
general plan and in the detail B : the latter is no doubt the more accurate.
Serlio {Architettura [i 562] iii. 142) shows a spiral staircase there. The repre-
sentation of the * Nicchione' itself is extremely good— according to Baron
von Geymiiller, better than any hitherto known.* A rough sketch of it by
Baldassare Peruzzi (Uffizi 569) throws no light upon the question as to the
number of passage-ways through it. Coner only indicates one (that
leading to the room where the fountain was, cf. Michaelis, op, ciL p. 9) : but
a drawing by Francesco d'Olanda in the Escurial (cod. 28-I-20 f. 19^)
would make it appear that in 1534 there was an opening between each of
the pilasters (the pilasters themselves having niches for statues in the front
and sides) through which a garden could be seen, the for^round being the
26
The British School at Rome.
(a double (light marked 17) were not executed. They are shown in
Hramantc's bird's-eye view, and also in a plan {Uffizi 287) attributed to
Antonio da Sangallo the younger, and certainly drawn for Bramante ; they
led from the lower to the higher level, and apparently landed upon the top
of a large building shown in this plan with two rows of square piers down
the centre, but without windows (so that it would merely have formed the
lower end of an external terrace, which appears as an irregular bastion in
the bird's-eye view). They are on the other hand omitted in a plan of the
lower court by an unknown architect of the sixteenth century {Uffizi 1355)
which in other respects agrees fairly closely with Coner.
In the centre of the lower court Coner shows a roughly circular space,
which is no doubt a fountain. It is indicated in precisely the same way in
Bramante*s bird's-eye view, and in Uffizi 1355: it also occurs in Dosio's
view of the two courts {Uffizi 2559), where it is shown as a circular basin
o\\ a ixnlostal, with a jet in the centre. It was removed on the occasion of
the tournament of 1565 (see Appendix IV, p. 85).
The stairs at the right hand lower comer seem to lead from the
gnumil fliH^r to the upjx^r stories : while the long corridor to the right
shows no attempt to reconcile the divergent orientation of the Cortile di S.
Oamaso^ which was conditioned by the older parts of the palace as con-
structcil by Nicholas V., with that i^f the Cortile di Belvedere. The lower
end of the lower court is here ^^and in Uffisi 1353) shown as rectangular.
Hramaiuo socms ti> ha\x* been undecided what form it should take : for
in Uffi:: jS7» whoa^ the rectangular end y^with six pillars across ir) is
shown, ho has himself alieaHl it with red pencil into a curxed end, which
Drawings Attributed to Andreas Coner. 27
26. (20) ' Tevipio de Coruini'
Restored sketch of the tomb of Poplicius Bibulus {C.LL, VI. 13 19),
the inscription not being indicated.
The drawing is not unlike one by Bramantino in a MS. in the
Ambrosian library at Milan (published in facsimile under the title — Le
Ravine di Roma al principio del secolo xvi,, Milan, Hoepli 1875; No. 10 — a
lo magielo de chorbi sepultura toschanido,
27. (20^^) ' /;/ uia Latina:
Plan and elevation of a tomb, the interior having stucco decorations.
The drawing of the elevation is bad, the perspective not being well executed
(an(J the same remark applies to Nos. 28 and 30). There is a slight
resemblance between this and a sketch on one of the newly discovered
drawings by Michelangelo in the Uffizi (No. 18733) which is thus described
in the Rivista d'Arte, 1904, 34. * Nel lato superiore della stessa carta sono
appena accennate due edicole con frontispizio rettilineo convergenti pros-
petticamente verso una terza nicchia centrale arcuata. Non ci sembra del
tutto impossibile che si tratti di un primo pensiero della quarta parete della
Sagrestia Nuova di San Lorenzo, rimasta incompiuta, destinata per le
tombe di Lorenzo il Magnifico e di Giuliano suo fratello.' It is, thus,
possible that Michelangelo derived his idea from the study of this or some
similar example of classical decoration.^ These tombs are not identical
with any of those on the Via Latina drawn by Ligorio {BodL Canonici,
138 f. 109'— IIO^ US', ii8S 143').
They are all brick tombs no doubt (though this is not expressly stated
in regard to No. 28) of the type usual in the second and third centuries
AD., with very fine ornamental brickwork outside.
28. (21) ^ In Via Latina opera di Mattoni!
Interior elevation of a similar tomb.
29. (2r) a. * Pianta del Proffilo dreto \dietro\ a questa carta!
Plan of the tomb No. 28. Dr. Hermann Egger informs me that
drawings of this tomb recur in a collection attributed to Fra Giocondo, now
in the possession of Her Excellency Mme. Polofzoff, in St. Petersburg,
vol. B, f. 8v. The locality is not indicated : in the plan the windows and
* The suggestion is due to Sig. P. N. Ferri, joint author of the article quoted.
28
The British School at Rome.
the round niches on each side are placed closer to the rectangular niche in
the background, which agrees better with the elevation. Cf. Egger,
Kritisches Verzeichnis der architektonischen Handzeichnungen der k. k.
Hof-Bibliothek in IVien, i. 47, 59.
6, ' Pianta del Tevipietto, die si vedeJ
Plan of the tomb of which 30 is the internal elevation.
30. (22) back blank.
* Questo tcmpietto i in Via Latina et e opera di vtattoni*
Internal elevation of a tomb similar to those shown on 27 and 28.
31. (24O S • PETRI • ROM^.
This drawing shows the condition of the building at or about the time
of the death of Era Giocondo (July i, 1515). In a drawing by Antonio da
Sangallo, the younger {Uffizi 44 : reproduced by Geymiiller, op. cit. PI. 23^
Fig. i), the addition of a chapel or sacristy on the left hand side of the choir
is attributed to Era Giocondo: but only the niche on the right hand of this
chapel is shown by Sangallo, so that it alone was ever executed {op. cit.
V\. 45, EG.). It may also be seen in a view by Heemskerk (Berlin, A'tt^r-
stic/icabinet i. 8, reproduced by Geymiiller, op. cit. PI. 52, Eig. i). As
Geymiiller (p. 268), points out, the project of Era Giocondo was soon
abandoned by his successors : but the present drawing is the first indica-
tion of what he really intended to do — to add a similar building on each
side of the choir.
The sijuare staircases in the two back pillars of the dome are shown
Drawings Attributed to Andreas Coner. 29
Measured drawings of the window and door of the round temple at
Tivoli (plan on 24).
Compare Piranesi, Sciographia quathior templorum^ tav. VIII., IX.
In the window the inclination of the sides to one another is consider-
ably over represented, and the measurements do not seem quite accurate.
33. (30') 30^ is blank.
Sketch of the 'tempietto di Bramante' at S. Pietro in Montorio
(plan on 24).
34. (31) iV is blank.
SVPRA • MO;/TEM • AVREO.
Sectional elevation of the same with careful measurements.
Neither of these drawings shows a small attic which now exists above
the cornice of the drum and just below the cupola : it is also omitted by
Bramante {Uffizi 135 ; reproduced by Geymiiller, op. cit, PI. 55, Fig. i),
lacopo Sansovino {Uffizi 1963), and Serlio {Architettura, [1562] iii. 40, 41)
and is very likely a later addition ; Letarouilly {op. cit. i. 244) notes
that it had been criticized as being too high. The lantern, again, differs
from the actual one, which (though Letarouilly, loc. cit., failed to observe it)
is certainly of later date (Geymiiller, op. cit. 66). Bramante's drawing shows
none at all, and the other Renaissance representations give it a different
form : Sansovino {Uffizi 4^ 1963 ^) makes it lofty and slender, rather of the
shape of a candelabrum, while a drawing in the Mus6e Wicar at Lille*
{supra, p. 24 n.) represents it similarly to Goner's sketch. Aristotile da
Sangallo {Uffizi 4319) and Dosio {Uffizi 2041, 2042) show different forms
again. So that it was probably not actually added till a later period.
36. (32) * 5. Mari{a)e rotund{a)e!
Sectional elevation of the south-east quarter of the Pantheon.
36. (32'') ' T. panteonis. id. 5. Mari{a)e rotund{a)eJ
Sectional elevation of the eastern half of the Pantheon, without
measurements.
» Cf. Serlio, loc. cit. » No. 3 of the sketchbook.
30 The British School at Rome.
37. (33) a. ^ tenpluni paneonis' [sic].
Elevation of the exterior with the portico seen from the side.
b. Elevation of part of the interior of some building (unidentified).
38. (33'') Uenplum paneonis' [sic].
Elevation in section of the dome where it joins the back of the portico.
39. (34^ 3S).
Section of the Colosseum (double size) showing the tiers of seats. A
very fine drawing.
39 A. (35').
Section through the lower tiers of seats of the Colosseum, showing the
arrangement of the staircases by which they were approached.
40. (34).
Section through the main entrance of the Colosseum (no doubt that
on the north, that on the south having already partly perished).
41. (37) a. * anphitcatri domitiani!
Elevation of the exterior of the Colosseum, the curve being very
incorrectly rendered, in contrast to the very fine work in No. 39.
b, ^ eiusdem.^
Sectional elevation of the same.
Drawings Attributed to Andreas Coner. 31
closely paralleled by a drawing in the Uffizi (1735) by an unknown artist,
but after Bramante (Ferri, Indice, p. 185), but in this the pediments are not
shown, while both the rectangular central opening and the lateral niches
are a little larger, and the proportions not so good.
It will be noticed that in both these drawings the measurements do not
go beyond the capitals of the small columns of the third order : and it is
precisely from this point that uncertainty as to the intentions of Bramante
reigns. Probably this was the height that had been reached at his
death.
From what Serlio {op, cit, iii. 140, iv. 34) says, one might expect the so-
called Palladio motive, i.e, an arch over the central intercolumniation of the
small columns (Geymiiller, op, cit, 76), which there is some slight effort
to realize in one place.
Uffizi 173s, however, shows a flat entablature over the central columns
with an arch springing from the small pilasters on each side, its crown
rising to the level of the capitals of the large main pilasters of the order :
while Coner shows an oblong panel filling up, apparently, the whole
space between the small and the large columns, which is not perhaps very
satisfactory.
A drawing by Antonio da Sangallo the younger {Uffizi 1408), who
was entrusted with the continuation of the work after Bramante's death,
shows three different variations, in all of which the solution indicated by
Coner is adopted, but in one of which the oblong panel is divided vertically
into three, while the other two show different forms of the unbroken panel.
This drawing was, however, not made until after the collapse of part of the
original structure of Bramante in the time of Paul III. (Appendix IV.>
p. 83), for the travertine arcades of the Doric order of the ground floor
are strengthened by brick arches, while the second (Ionic) order has
assumed the form which it has at the present day, the space between the
pilasters being filled by a solid wall of brickwork, only relieved by a round-
headed window in the centre.
The original state of the building is indeed almost unrecognizable.
The lower (Doric) order is preserved in travertine at the end near the
Teatro, and so are the pilasters of the second (also in travertine) : while
the third order (in peperino) may be seen at the end nearest the library.
The fourth is a later addition to Bramante's plan, though in part dating
from before 1565.
32 The British School at Rome.
44.(41) PV • V • DE SVPRA.
The lower order of the Giardino della Pigna (Letarouilly, op. cit. ii.
Cotir du Belvedere, PL 9). It should be noted that 27 (the height of the
cornice at the impost of the arches) is an error for 37 (116^).
45. (42) EIVSDEM.
A measured drawing in more detail of the same subject as 43 (q.v.).
46. (42^.
Sectional elevation of the first two orders of the Cortile di Belvedere.
47. (43") 43 5s blank.
* Lett(er)a d'Andrea Conero a Bernardo Rucellai in proposito dell'
Horolog(i)o Solare Antico Romano qui a lato designato.
Mag{nifi)co m{esser) Bernardo. lo ve mando con M(esser) hieronimo di
Albici lo modello dello horologio antiquo lo quale si troua in Casa di certi
Gentilhomeni Rontani, chiamati della Valle, cosa per certo belliss{itn)a.
Esso horolog{i)o i di Marnto bianco et ha le figure di dodici segni celesti di
rilicuo, ct cosi li quattro Caualli, doi per banda ; li doi quali non sono nel
modcllOy sono in tutto simili a quelli, vi sono le parole di ciascmio Mese erano
scritte sotto i signi, parte si leggono e parte sono guasti, come vederete nella
Carta, done sono scritte le parole empiano tiitto de ciaschmio segno, et non come
voi ucdetc le scritte appresso certi Segni nel Modello per Horologio [c/ie] hauete
a fare. Vi mando Carte 4. Nella p{rim)a c la grandezza d* esso horologio.
Nella 2^ le figure a gnardar insto lo mezo di Leuante, e mezodi. Nella 3«
Drawings Attributed to Andreas Coner. 33
e equak. a. d. e la grandezza delle doe facce una tra Leuante e Mesodly
Faltra tra Mezodi, e Ponente, c, h, e Valtezza delF horologio It. k, e la sua
grandezza che uene fora ( . ) nella figura secundo a e loco dello gnomone a, b. e
la grandezza di esso gnomone, Nella 3* similmente a, e il loco dello gnomone
a, b, la grandezza di esso, Nella 4* a^ loco del gnomone a^ b, la grandezza
di esso Ma tia dauuertire che F horologio uostro sia di marmo bianco perclie
Fombra si discerna melio, lo Concauo debbe essere desctitto con grandezza di
sesto cio^ che I sesto die hari ^ a descriuerlo sia aperto secundo la linea f, g,
delta prima Carta^ doue fosse altramente F/iorologio uerriafalso{;) lignofnoni
della seconda e 3" Carta debbano essere nelli locipredetti e perpendicolari sopra
la soperficie della Carta, Quando sard misso in figura nel cauo la linea
dritta che si tirard de e, ad, d. e partita per fnezo li dene peruenire la
extremitd del stilo doe gnomone doe b,
Le Linee Meridiane doe ne la figura 2^ e 3* b, c, e ne la 4" a, c, diveno
essere perpendicolare sopra lo liorizonte.
La figura che ha tirata certa linea ad tin centro Darete a M{esser)
Alexandro Pucci^ e ricomandandomi a S{ud) S{ignoria) Altro non accade
scriuere doue uoi dubitarete scriuetemi, et io satisfarb per littere quanto sard
possibilCy e no(n) dubbito die non habbiamo honore. To so con quanta diligentia
Iiauia tirate le linee a V{pstrd) M{agfiificen)cia mi racc{omman)do p{er)
infinite uolte la quale miperdona se sono stato tardo{,)
Romae primo Septembris 15x3.
Tutto di V{ostra) M{agnificencia),
Andreas Conerus,
Nobili et Doct{isst)mo Viro D[pmi)no
Bernardo Oricellario tanq{uam)
Patri lionor{atissi)mo
Florentiae,
48. (44). HORILOGIVM • SOLIS • ANTICVM.
A measured drawing of the sundial once in the possession of the
Della Valle family, with a rustic calendar carved on its base (Menologium
rusticum Vallense, published in CLL. vi. 2306 (cf. 32504) and P. p. 280
n. xxiii. B.) cf. yivAiZsXxs, Jahrbuch des Instituts, 1891, p. 237 No. 187.
Four months were given on each side, and therefore in the present drawing
' (sic) for haurL
' For the Pucci family see Clausse, Les Satt^llo, ii. 235.
D
34
The British School at Rome.
the first four are omitted. There are certain unimportant differences
between the text of our artist and that given in CJ,L, which seem to be
due to errors on the part of the former. In Sept I. 17, 1 8 we may note the
variants ortorum ortaqueatio [sic], and in Dec. 1. 20, 21. / ieniii [sic]
sacrum.
For the representation of the dial compare Boissard, Romanae Urbis
Topographia, iiL (1597) 140-142.
The signs of the Zodiac in the rectangular spaces above the inscription
relating to each month are omitted by Coner, but were drawn without the
inscriptions by Pierre Jacques (Salomon Reinach, Lalbum de Pierre
Jacquesy PL 42 bis, 43), and eight of them also by Antonio da Sangallo il
Giovane in his drawing {Uffizi 2108) of the first and last inscribed sides.
He also shows the representations of men leading horses, which occupied
the large upper rectangular panels on these two sides.
Cf Cod, Coburgensis 124 (Matz, Berlin. Monatsber. 1871,478). Michaelis
also cites an engraving in Lafreri*s Speculum Urbis Romae, but the plate
is not to be found in any copy of the Speculuvi known to me.
49. (4S0' ^ estra pontem lucanum^
A representation of the fagade-like wall in front of the mausoleum of
the Plautii at Ponte Lucano on the Via Tiburtina. The inscriptions
{CJ.L, xiv. 3606-3608) cut on large slabs of marble, were placed in this
between Corinthian half-columns of travertine, and the first and last of
them are still in situ ; our artist only shows CLL, xiv. 3606, with one or
two errors in the text, due to carelessness, as the inscription is perfectly
Drawings Attributed to Andreas Coner. 35
b, * Palatii Ciardinalis) S{anctt) G{eorgii)!
The palace now known as Palazzo della Cancelleria. Its earlier
appellation comes from its builder Raffaele Riario, Bishop of Ostia, Cardi-
nale di S. Giorgio, who died in 1520. It has generally been attributed to
Bramante, but this has recently been questioned {supra, p. 16).
52. (46^). ^ arci domitiani imp^
The so-called * Arco di Portogallo/ a triumphal arch which spanned
the Via Flaminia (now the Corso) at the corner of the modern Via della
Vite, and was destroyed in 1662. (Lanciani, Ruins and Excavations, S06.)
Our artist has not represented the reliefs with which it was adorned,
and which probably did not originally belong to it: for it bore no
inscription, and who erected it is not known. It seems, in fact, to have
been made up of various fragments, and to be, therefore, an erection of
late date (Lanciani, loc. cit, ; cf Bull, com. 1896, 239) ; though Prof Hiilsen
{Nonunclator Topographicus, in Kiepert and Hiilsen, Forma Urbis Romae
Antiquae) follows Prof. Helbig (JFiihrer, i. p. 380) in attributing it to
Hadrian, while Fabriczy follows Nardini in attributing it to L. Verus and
M. Aurelius {op, cit p. 37).
According to other representations it seems to have been higher in
proportion to its width than our artist makes it ; Giuliano da Sangallo
Barb. 22"^: Berlin, Kunstgcwerbemuseum A 376, 37: Cod, Windsor
'Ancient Roman A rchitecture (lettered P.239 — a, 2) — f 2 : Uffizi/^i (Salvestro
Peruzzi), Uffizi 2528 — reproduced in Dosio, Urbis Romae Aedificiorum
illustrium quae supersunt Reliquiae (1569), PI. 28 : A16 Giovannoli, Bk. iii.
PI. 3 (ist edition). He is also wrong in showing the plinth on each side of
the archway, where it certainly did not run, an error which is shared by
Giuliano da Sangallo.
53. (47) 47"" is blank.
The arch of Constantine.
The inscription {CLL. vi. 11 39) is reproduced, with a few errors which
are due to carelessness ; the reliefs are not given.
54. (48)
Front elevation of the arch of Septimius Severus. No attempt is
made to reproduce the reliefs : but the inscription {C.I.L, vi. 1033) is given,
with a few unimportant errors due to careless copying.
D 2
36
The British School at Rome.
55. (48O.
The pyramid of C. Cestius.
The inscription {CJ.L, vi. 1374) has, as in the preceding instances, been
carelessly copied.
56. (49)
The arch of Titus ; the buildings on each side of it, which belonged
to the mediaeval fortifications of the Frangipani, are omitted. The in-
scription {CJ.L. vi. 945) is correctly given.
57. (49"") * estra roma{m) apud S. Sebastianu{fny
The tomb of Caecilia Metella on the Appian Way.
Some liberties have been taken with the representation ; for the door
is not really on the side facing the Via Appia, but on the S.E. side :
whereas the tablet for the inscription (which is also shown) naturally was
so placed as to be visible from the road.
58. (No number : the back shows signs of having been pasted on to
some other leaf.)
Elevation of the so-called lanus Quadrifrons, close to S. Gioi^o in
Velabra
59. (50O * Tcnpli pacts:
Longitudinal elevation of the interior of the Basilica of Constantine,
shown as restored, with the base of the colossal statue of Constantine in
the western apse. Four columns only are indicated in the chord of the
Drawings Attributed to Andreas Coner. 37
62 (SI)
Elevation of the wall on each side of the door of the Pantheon,
showing the decoration with panels of various marbles, which have now
disappeared, though the strips of frieze between them are still preserved.
Uffizi 1157 (Antonio da Sangallo il giovane) gives a similar re-
presentation.
63. (52) ^. ^. * Tabemacula panteonis!
Elevations of the niches in the interior of the Pantheon (now occupied
by altars, the date of the insertion of which is uncertain) ^ which have,
some triangular, some curved pediments.
(r.) * J. Angela in Pescheria'
(Inscription added by the later hand — the only case.)
The propylaea of the portico of Octavia, restored by Septimius
Severus and Caracalla in 203.
64. (52') a, ' Palatii mercenatis'
A restoration of the fagade of the building identified by Lanciani
with the Templum Solis Aureliani {Ruins and Excavations^ 43o)» and by
Hiilsen with the temple of Serapis (/?A^/«. Mus. 1894, 392; Bull. Com,
189s, 39).
The name * Torre Mesa * is discussed by Jordan {Topographie^ ii. 527),
who derived it from the popular name, * mensa imperatoris^ which appears
in the Mirabilia (c. 27). Flavio Biondo, however, {Roma Instaurata^ i.
100) derived it from Maecenas : quam turrim uulgo nunc uerbo ut ferme
in omnibus multaruvt syllabaru{fn) nominibus assolet syncopato Mesam pro
Mecoenatianam appellant^ and Coner follows him.
b. Unnamed.
A restoration of the facade of the temple of Venus and Rome, from
the portion of a relief representing it which is now in the Museo delle
Terme (Matz-Duhn, 3519; Helbig, Fiihrer ii. 1037; Petersen, Rom,
Mitt. 1895, 244). The central portion exists in the Lateran Museum
(Helbig, op. cit. i. 647) while t^e lower portion is lost. The measurements
^ Ligorio {Taur. xiil 47-55^) cited by Lanciani, Storia degli Scavi^ ii. 237, in dealing with
the Pantheon, speaks of the restoration of the niches (tabernacolini) — * uno di essi sendo stato
resumato da M. Baldassar Peruzzo, et da Raphael d'Urbino, h stata cagione siffatta rinoVatione,
the alciini altri banno iaXXo il simile.' But nothing is said about the altars.
38 The British School AT Rome.
refer to the size of the temple as shown in the relief. Drawings of the
upper part appear in the Codex Pighianus (i 86, 52), and the Coburgensis
(466, 3S) ; but after the Renaissance it was lost sight of until the begin-
ning of the nineteenth century. The present drawing shows that the
upper part of the relief cannot have been found so late as 1546, as Lanciani
{Storia degli Scavi, ii. 221) conjectures : but it does not indicate any know-
ledge of the central portion on Coner*s part.
65. (53) a. ' portical anticuum panteonis'
Sketch of the portico of the Pantheon with the bronze trusses which
supported the roof; cf. L,^x\c\^xi\y , Ruins and Excavations, 485, and,
beside the drawings cited there, a sketch by Baldassare Peruzzi in the
collection of drawings at Christ Church, Oxford (No. 773), a drawing at
Windsor (P. 248 f. 23^'), and another in the Soane Museum, volume labelled
* Margaret Chinnery^ f. 6 (referred to by Geymuller, op, cit, p. 278, as * le
deuxieme dessin.' It is identical with Uffizi 164, by Raphael, and its
copies, 1948,'' 1949 by Sansovino ; see Ferri, Indice, p. 187).
b. HOSTIVMMILITIA(n/;«).
This is a somewhat fanciful restoration of one of the doors in the
nortnern hemicycle of the Forum of Trajan — as is clear from the compari-
son with a very similar sketch by Francesco da Sangallo {Barb, 38') — cf.
Fabriczy, op. cit. 51). The place takes its name from the great tower known
as Torre delle Milizie (constructed, probably, early in the thirteenth century)
which rises just above, and was built upon the ruins of an edifice known as
militiae Tibenanae {Gt^^ovqwius, Rome in ike Middle Aj^es. w 66q ; Lanciani.
Drawings Attributed to Andreas Coner. 39
ip) * ires colu{m)nae sub capitolio!
The three columns of the Temple of Vespasian, with the fragment of
the inscription still existing {C.LL. vi. 938).
68. (SS^) a. ^ ad s. praxedem!
An unfluted column which does not now seem to exist either in or rather
near the church (for that is what ad must mean), braccia 6 minuti 6 in
height (= 3-56 metres). The same column was drawn by G. B. da San-
gallo {Uffizi 1327) who gives the same indication of locality, and by
Giuliano da Sangallo [Barb, 70), * cholona d isanta Persedia in Roma misurata
apunto ' (Fabriczy, op, cit. 68, is wrong in stating that it is the column of
the flagellation, which is shorter and of quite a different shape, not unlike
the base of a candelabrum).
b. * .S". louaflis info{n)tisJ
A fluted column, braccia 5 minuti 6 ( = 2*98 metres) in height, which
Coner saw in the Baptistery of S. Giovanni Laterano, or in one of the
chapels attached to it, but which I have not been able to find there.
c. * C. car. S. G. de supra'
Column and capital of the first floor of the courtyard of the Palazzo
della Cancelleria (supra^ b\b). The base is given in 136^.
d. OBELLICVS • [sic] CiESARIS.
The obelisk of the Vatican with the inscription. {CLL. vi. 882.)
69. (56) a. colu{in)na traiani imp, in qua sculpta{e) sunt uictori{a)e et
res ab ipso traiano {gestae ?]p(er) mediu(m) colu{fn)n{a)e sunt gradus 185 in
eode{fn) tnarmore sculp, spiracula 45 . scrip tio talis est J [C.LL, vi. 960]
secundu{m) frd(n)cis\cuni\ albertinu{in)^ altitudinis est pedes 128.' Coner,
like Albertini in the last line, hiatum celat verbis dimidiatis suppressis
{CJX. in loc.).
The base of the column must of course have been visible when this
drawing and others (^.^. Giuliano da Sangallo Barb. 18) were made; but
it does not seem to have been properly kept clear till the time of Paul III.
(Lanciani, Storia degli Scavi, ii. 122).
^ Opusculum de mirabilibus novae ct veteris urbis Romae, f. 40^.
40
The British School at Rome.
b. ^ colu(ni)na antoniana uocatur aliitudo ped. 177 cum gradibus 206
foramina 56 in qua uictorie et res gest{a)e ant[onint\ imp. sculp^d^ sunt
hauoli 24 et 24 canales * [this last must refer to the egg and dart moulding
of the capital]. The column of M. Aurelius in the Piazza Colonna.
c. * apud capitem bouis^
The obelisk of Domitian erected in his Stadium, later placed in the
Circus of Maxentius near the tomb of Caecilia Metella (which from the
bucrania in its frieze bears the name of caput bouis) and re-erected in 165 1,
in the piazza Navona, almost exactly in its original position.
d. * rep(er)to fuit a{n)no D. i $12 in canpo martio!
The obelisk of Augustus in the Campus Martius, cf. CJX. vi. 702 and
30815. The inscription is given by Giuliano da Sangallo {Sien. 3, cf.
Fabriczy, op. cit. 75) and Mazochi, Epigrammata antiquae urbis, f. 11.
The text is that of Mazochi, except • I • F for / IL at the end of the first
line and augusto (a mere slip for aegupto) further down. The details of
its first discovery are given in a note by Laelius Podager to his copy of
Mazochi ( Vat. 8492), who says that it was found * in the time of Julius II,'
(1503-1513) but the actual year is only known from the present drawing:
for Falb, // taccuino Senese di Giuliano da Sangallo (p. 30) gives no
authority for his statement that it was first brought to light in 151 1.
It was, however, covered up again and only finally brought to the
surface in 1748. (Lanciani, Ruins and Excavations ^ 467.)
70. (56O.
Drawings Attributed to Andreas Coner.
41
cornice was drawn by Baldassare Peruzzi {Uffizi 105) Op{er)a dorica di
sanff*.
72. (58).
a. Cornice, unnamed and unidentified.
b. Entablature, unnamed and unidentified.
73. (59)
a, * sub angulo istius coron{d)e ionic(a)e reperta apud 5. mar{cum)'
b. * sub angulo istius coron(a)e doric{a)e ^ rep{er)ta penes S. inaraim'
Fig. 3. — KUNSTGEWERBEMUSEUM, BERLIN. DRAWING No. 3826.
The first of these cornices appears in drawing No. 4 (right half) in
the Casa Buonarroti (see Appendix II, p. 82), and also in drawing
^ The note ' sub angulo istius caron{a)e ' refers in each case to the separate sketch of the
decoration inserted beneath the cornice at the angle.
42
The British School at Rome.
No. 3826 of the Kunstgewerbemuseum in Berlin (* reperta apud S,
Marawi'). (Fig. 3.)
The excavations in which these cornices must have come to light
are not elsewhere recorded : and neither of them corresponds with any
of those which appear in the drawings cited by Ferri {Indice, p. 143).
The building from which they came might well be the Domus Turciorum
(Lanciani, Forma Urbis^ 21). The style of the first reminds one of
cornices belonging to the late restorations of the R^a and Templum Divi
luli, of which fragments have come to light in the recent excavations
in the Forum.
74. (590
Doric capital, unnamed.
Buonarroti cited above.
This also occurs in the drawing of the Casa
75. (60) ''post pontem lamentaneum . et nota quod Gociolatorius cadit
2 minuta . uocata est corona tusciana sine hopera!
Doric cornice and architrave belonging to a tomb on the Via Xomentana
just beyond the Ponte Nomentano over the Anio, about 2^^ miles from the
modem Porta Pia. The tomb still exists on the right hand side of the road, but
no traces of its architecture now remain. The cornice architrave and capital
were, however, drawn by Giuliano da Sangallo Sien. 14, who gives a clipeus in
the metopes. Barb, 39 closely resembles it * : but in both Giuliano gives
the drops in nines, not in eighteens, Cf also Serlio, Architettura [1562]
liL 72 A.
Drawings Attributed to Andreas Coner. 43
The correctness of the drawing is confirmed by recent excavations,
which have brought to light fine fragments of this same order (Hiilsen,
Rom. Mitt. 1902, 45). See App. II.
78. (6r) Vrima Corona PVLCRI • VIDERE.
The cornice of the lower order of the Cortile del Belvedere {supra,
43, 45).
79. (62) CIRCV;« • ARAM • S • PETRI.
Detail of the Doric order of the chapel erected by Bramante round
the old altar of St. Peter's during the erection of the new church (see
Geymiiller, op. cit, pi. 24, and p. 324).
A rough sectional drawing of it is given in the drawing in the
Kunstgewerbemuseum, No. 3827, and a detail of the capital and plan of
the angle in a drawing by Baldassare Peruzzi ( Uffizi i yf),
80. (62O
REPERTA • APVD • ANPHITHEATRV • SAVELLORVM.
(The inscription is hidden by the mount and therefore does not appear
in the photograph.)
It is very like the upper part of the entablature of the Beisilica
Aemilia {supra, 77).
Cf. Lanciani, Storia degli Scavi, i. 194, for the excavations of 15 19
(circa).
81. (63O C • PALATII • MERCEN«ATIS {sic).
a. Pediment ; b. pilaster base moulding of the Templum Solis
Aureliani (?).
For the name see 64a:, and for the architectural details Canina,
Edifizi, ii. tav. 48.
82. {6z) 'Antonii S. GJ
An entablature designed by Antonio da Sangallo the younger. A
copy of it may be found in drawing 3 ('cornice' 23) in the Casa Buonarroti
(see App. II. J It is very like the cornice drawn by Giambattista da Sangallo
l/fisi 16s 2. Chomicie chauata nello fondamento del foglietta done fu
sotterato el uernja I santo pietro e bramante la fecie sotterare nello fonda-
44
The British School at Rome.
mento (c(. 1699— a drawing of the same cornice attributed to Baldassare
Vcruzzi with a similar legend), and reproduced by Serlio, Architettura,
[i 562] ill. 72 B. Serlio, however, states that it was six Roman feet high, so
that it was larger than the cornice before us : and the measurements (in
minuti of the braccio) are a good deal higher. Still, it is probable that it
was from it that Sangallo copied the present cornice, for the detsuls corre-
M|Kjncl almost exactly. It is also very like the entablature of the Palazzo
l\'ilma (No. 8 Via delle Coppelle) which was built by Antonio da Sangallo
the younger, for the Baldassini family (Clausse, Les Sangallo, ii. 145, infra,
1320) but is smaller (Letarouilly, op, ciL i. PI. 3), the chief differepce being
in the height of the frieze.
83. (64) a. b. IN • PLATEA • S • STATU.
hVont view and profile of a cornice otherwise unknown to me.
The reference is to the church of S. Eustachio near the Pantheon ; and
the cornice no doubt came from the Thermae Alexandrinae.
i\ VLTIM\ • CORONA • P • C • S • G.
See No. 51^.
//. ESTIN-CAPITOLIO.
This occurs also in a drawing in the Kunstgewerbemuseum, No. 3826
(Fig. 3). with a similar legend, but otherwise I know nothing of it
i\ * //I 5. /rtur<i*\*
This is not to be found in any of the drawings cited by Ferri, Indice,
Drawings Attributed to Andreas Coner. 45
b. IN • S • LAURENTINO.
The cornice is shown in Uffizi 1692 (2) (Fra Giocondo) Chornice trovata
soto terra in roma (Geymuller, Cento disegni di Fra Giocondo ^ p. 45), also
in Uffizi 1953 (lacopo Sansovino) without indication of locality. The
church meant is apparently S. Lorenzo in Miranda,^ for in a drawing
attributed to Antonio da Sangallo il vecchio {Uffizi 1600) an Ionic column
is described as a Santo lorenzino aclianto a S chosimo e damiano \ though
neither the cornice nor the capital can belong to the temple of Antoninus
and Faustina. The cornice is somewhat like one in the Constantinian
portion of S. Lorenzo fuori le Mura.
85. (65) * Triarum columnar{tifn)'
Entablature of the temple of Castor and Pollux. (Canina, Edifizi ii.
tav. 28.)
86. (65'') ^ prima ciprond) eclesi{a)e s. mari(a)e ritond{a)e'
The entablature of the first order of the interior of the Pantheon.
(Canina op, cit, ii. tav. 73.)
87. (67) a. CORONA • SECV;/DA • ARCHI • COSTA«TINI.
The entablature above the columns (the base of one of which is given
below). Sangallo, Barb. 11, 20.
b. REPERTA • FVIT • APVD • S • MARIAM • MINERVAE.
Cf. Hiilsen {fioni. Mitt, 1903, p. 35, Fig. 2), who gives a photograph
of a drawing by Dosio {Uffizi 201^) of the same cornice,^ bearing the
following note: ^ questa cornice fu trovata vicino alarco di Camigliano^
ancora oggi si vede, girava in dentro era di nichio per omamento d* un
dentro di tentpio! The * arco di Camigliano ' is a mediaeval name given
to a portion of the group of buildings formed by the Iseum and
Serapeum. The cornice also appears in Uffizi 486, 1703 (B. Peruzzi) 1541,
1882^ 2050 (Fra Giocondo). It is curious that Jacques Provost engraved
the same cornice (the measurements being identical) and noted : Hec est
extra urbent prope ecclesiam sancte agnetis 1537. (Passavant, Le Peintre-
graveury vi. p. 129. No. 16.)
' The only church dedicated to S. Ix)rcn£0 which was known as S. Lorenzino was, accord-
ing to Armellini, S. Lorenro in Borgo [op, cit, 781), or de Piscibus. S. Lorenzo ai Monti (p. 164)
n^^ht also be meant. It lies in the S.W. exedra of Trajan's Forum.
' The Tcry slight disagreements in measurements may be disregarded.
46
The British School at Rome.
88.(670 a, CORONA- ARCHI-COSTANTINI.
(The inscription is hidden by the mount.)
This cornice is placed at the spring of the central arch inside.
b, SPOGLIiE'XPI.
The first order of the Basilica Ulpia (Canina, op, ciL ii. tav. 118.
Fig- 3V The name Spoglia Christi refers to the small church of S. Maria
in Spoglia Christo, later known as S. Maria in Campo Carleo (Martinelli,
Roma ex ethnica sacra {166S), p^, 181, 187), which was destroyed in 1864
(Armellini, Chiese di Roma, 168^). It stood at the S.E. edge of the Forum
of Trajan — Fabriczy (pp. cit. 32) is in error in placing it in the Forum of
Nerva (Hulsen in La Cultura, 1903, 202).
89. (68^ a, 'apudarcem militu{my
This corresponds very closely with 88^, but the measures are
slightly smaller : and it has an extra roll and bead moulding under the
egg and dart moulding, which differentiates it from all those of the Forum
of Trajan shown by. Canina, op. cit. ii. tav. 118. The name arx militum
must refer to the mediaeval Torre delle Milizie or Torre di Nerone, which
stands immediately above the Forum of Trajan on the N.E. It does not
seem to be mentioned by anyone else under this name (cf 65).
b. (Unnamed.)
This is the entablature of the colonnade surrounding the Forum
Transitorium (Le Colonnacce).
Drawings Attributed to Andreas Coner. 47
b, (unnamed.)
This is the entablature of the temple of Minerva in the Forum of
Nerva (C^LninsL^ Bdifizi ii. tav. 107, copied from FsMsidio, I ^uaUro libri deW
ArchitetturUy lib. iv. p. 28, edition of 1581) cf. Lanciani, Laula e gli
uffici del senate rcnnanOy 24 (reprinted from Atti Linceiy xi.).
91. (69) a, * reper{i)a circa p(alatium) titi et uespasiani a{n)no d. 1 5 13.'
This entablature corresponds absolutely with a drawing by Baldassare
Peruzzi {Uffizi 632), cornice di porta in le terme titiane} Peruzzi does not
show the decorations, but indicates a figure of Victory on the front of the
great volute.
b, * sub colu{m)nd traiand'
The plinth of the base of the column of Trajan.
c, * sub colu{fn)na troiana ' [sic]. The cornice of the base of the column
of Trajan (repeated in No. 109d),
92. (69^) a. 'c{orona) Templi de Tibure:
The entablature of the circular temple at Tibur {supra. No. 24). The
inscription {C.LL, xiv. 3573) is carelessly copied : it should run
EL-GELLIOL-F.
b. * ciprona) s{umma) Fulcrum videre^
A detail of the second order of the lower Cortile di Belvedere {supra,
Nos. 43, 45).
93. (70) The back is left blank.
a. * c{orofta) s{ummd) teatri'
The upper cornice of the theatre of Marcellus.
b, ^ pulcri uidere de supra^
The lower order of the upper court of the Belvedere (now Giardino
della Pigna) {supra. No. 44).
' According to Lanciani {Ruins and Excavaiions, 367) it was 'not till near the end of the
l6lh century that the thermae of Trajan began to be wrongly attributed to Titus.
48 The British School at Rome.
94. (74^) ' supra porta(m) flamineam sine populi'
Drawings of this cornice are common — Giuliano da Sangallo Barb, 10,
Skn, 33** ; Baldassare Peruzzi Uffizi 409 ; A. da Sangallo il g^ovane
Uffizi 1 195, 1658 ; Sansovino Uffizi 1953^ (also Uffizi 1850, by an unknown
artist). The cdrnice came no doubt from one of the tombs of the Via
Flaminia — perhaps from the great tomb known as La Meta (under the
church of S. Maria dei Miracoli), cf. Bull Com, 1877, 184 sq.
95. (75^).
A leaf of sketches without measurements.
a. This entablature corresponds closely with one drawn by Dosio
( Uffizi 2038) without any name. The correspondence of all the members is
exact, but the dolphins and tridents shown by Dosio are absent here, while
Dosio does not show the capital.
b. This is the cornice at the impost of the small doors in the pillars
between the. main and the side openings of the arch of Septimius Severus.
c. (under b?) is unknown to me.
d. This entablature is seen in a drawing by Fra Giocondo {Uffizi
1878^), but he gives no measurements nor indications of locality. It may
well be a reminiscence of 89 b,
e. This cornice is unknown to me.
/ ^ ad tiburent!
The cornice of a window or door, which I have not been able to
Drawings Attributed to Andreas Coner. 49
97. (jG") 76 is blank.
* arci titi et uespasianiJ
The cornice beneath the frieze just above the archway. (Canina,
Edifiziy iv. tav. 246).
98. {J7) a, ' in S, marco'
This architrave is no longer to be seen in the church and I know no
other mention of it
b, * c{prond) roto{n)da in domo porcaribus.^
For the house of the Porcari family cf Lanciani, Forma Urbis 21,
Storia degli Scavi^ i. 1 16 j^. I can find no record of this entablature, but it
may have belonged to one of the circular halls of the Baths of Agrippa
-within the area of which their house stood.
The next six drawings (99-104) are all by the later hand.
99. {77"^)
An unnamed entablature (perhaps a mere invention). Like 101 and
103, it is faulty in profile, and if copied from an actual entablature, it is
copied inaccurately. The frieze closely resembles part of that shown in
Vignola, Regola delli cinque ordini d' Architettura^ tav. 26, but the cornice
does not Vignola, however, states that his drawing was composed of
various elements, questa cornice Corintia e cauata da diversi luogki di
Roma^ ma principalmente dalla rotonda^ e dalle tre colonne che so7io nel foro
Romano.
100. (78*) 78 is blank. Three friezes.
a. * Alle Terme dAntonino'
A fragment of this frieze is to be seen in the Frigidarium of the baths
of Caracalla, and also in both the peristyles. The height varies from
52 to 56 cm. : the blocks are of various thicknesses (from 22 to 54 cm.).
The dog is not the only animal represented — in the north peristyle a boar
takes its place; in the south a panther, a lion, and a stag occur as
variations.
b. 'A Tiuoli:
This I have not as yet identified.
c. * In campo Vaccino! The frieze of the temple of Antoninus and
Faustina. (Canina, op. cit. ii. tav. 25.)
E
50 The British School at Rome.
101. (79^)
Cornice (unnamed) — perhaps like 99, an invention of the artist.
Drawings Attributed to Andreas Coner. 51
The cornice recurs, with the same text, in drawing No. 3827 in the
Kunstgewerbemuseum at Berlin (Fig. 4) : but otherwise no record of it
exists, as far as I know.
103. (80)
An unnamed cornice, without measurements. It shows a certain
similarity to the architecture of the Arcus Argentariorum, near S. Giorgio
in Velabro.
104. (80^) a. In Sri. 4.
A cornice no longer extant in the church of SS. Quattro Coronati,
and of which no other record exists.
6. In 5. Gio. Lat.
This cornice is drawn also by Giuliano da Sangallo Barb, \V, * A
Sco. laHi L{ateranoy
It is no longer to be seen either in the church (which was restored in
the 17th century) or in the cloister.
105. (81). Both sides of this leaf are numbered.
a, * tnurata in arco costantini est'
The same cornice was drawn by Giuliano da Sangallo {Barb, 62^
^ Nelarcho di trasi^ murato dentro per ripieno^ cf ib, 12, where it reappears
without any indication of locality), Aristotile da Sangallo {Uffizi 1748,
questa cfwrnice murata neW archo di trasi p(er) ispogla \spoglid\ no{n) seme
se no{n) per ripieno del muro, which explains the fact that it is at present
invisible) and Sansovino(t/]^^/ 195 3"") : also by the * Anonymus Destailleur *
[Kunstgewerbemuseum A, 376, 12), * dentro Carco di costantinol * cette cornice
est muree en hault du dedans de Fare de Constantin que seruy a autre edifice!
An engraving similar to the anonymous one of 84« supra is in our own
collection, * Romae exfomice Constantini!
b, * in domo a uallis!
For the Delia Valle family, see Michaelis,/^Ar^«f// des Inst, 1891, 218,
Lanciani, Storia degli Scavi, \, 121. The base is otherwise unknown.
' The name is a corruption of Arcus Thracii (Fabriczy, op, cit, 32).
E 2
52
The British School at Rome.
c. ^ in carcarara*
The name * carcarara ' or * calcarara ' (i^. a place for burning marble
into lime) belongs to the curved W. end of the Circus Flaminius at the
Piazza Paganica (Lanciani, op, cit, i. 24, ii. 65, Ruins and Excavations^ 453).
This cornice corresponds with one drawn by Baldassare Peruzzi {Uffisi
386, 539^), and described as cornice e colona a lo arco di Camillo in Roma,
In loco dido Camiliano (Hiilsen, Rom. Mitt 1903, S7)-^ I^ was also
engraved by Jacques Provost, Hoc est Romae in arcu Canuliani prope
mineruam (Passavant, Le Peintre-Graveur^ vi. p. 129, No. 20), so that part
of it must have been seen at each of the two places. The arco di Camillo
stood at the west end of the Piazza del Collegio Romano, and must have
been a part of the Iseum or Serapeum.
d, * In domo canpolinis!
This cornice also occurs (drawn, not by GiuHano da Sangallo, to whom
the sketch is generally attributed, but by Antonio da Sangallo the elder,
according to Fabriczy, op, cit, p. iii) in Uffizi 2044, with the legend />/
diasa Jannj cjanpolinj. The collection of Giovanni Ciampolini was
dispersed in 1520 (Lanciani, Bull, Com. 1899, 108).
106. (81)
a, APVD vARCEM • MILITVw.
The cornice corresponds exactly in form with one shown by Fra
Giocondo {Uffizi 2050^) without indication of locality; he has wrongly
calculated it as havinE a total height of p(almi) 2 ofncte) q, whereas it is
Drawings Attributed to Andreas Coner. 53
d, * ante s, nicolau{fn) in carccre tulliani^
The name of the church comes from the state prison of Rome in the
Byzantine period which was situated close by (Lanciani, Ruins and
Excavations, 513). The addition tulliani is of course erroneous. The
cornice was drawn by Baldassare Peruzzi ( Uffizi 486) in carcere tulliano.
That shown in Uffizi 573 by the same artist (J>orta de uno tempo exastilos
a sto nicola in carcere tulliano p{ro)pe t/ieatru{m) marcelli) is, on the other
hand, different.
107. (82)
a. Unnamed.
b. * reperta 7to{n) lunge a teatro mineru{a)e'
The first of these cornices is shown in drawing No. 3826 in the
Kunstgewerbemuseum at Berlin with a precisely similar legend (Fig. 3)
which apparently therefore applies to both, unless the artist has mistaken
Coner's meaning.
I cannot explain theatrum Minervae : it may be the north-eastern>
exedra of the Forum of Augustus, which is close to the temple of Minerva
in the Forum of Nerva.
108. (82^) A drawing by the later hand.
a, * In casa de Sig^ della Valle'
A careful measured drawing of this cornice by Lorenzo Donati exists
in the Uffizi (1842''). Cf. 1882 (Fra Giocondo). In both cases the locality
is given as here.
b. A drawing of this cornice, attributed to Antonio da Sangallo the
elder, exists in the Uffizi (No. 1634) in chasa del chardinale della ualle.
The total height is given as p. i m. 45 (0*391 metre). The bead moulding
at the bottom is omitted by our artist.
109. (83) a. * apud templum mineru{a)e.*
This cornice I have not been able to identify. The reference is no
doubt to the temple of Minerva in the Forum of Nerva.
b. ' sup{ra) portain ecclesi{a)e quatuor sa{nc)tof{um) coronatis [sic].'
This cornice was drawn in this same position (not over the church
door, but over the outer door of the court, according to Fra Giocondc^
54 The British School at Rome.
sopra la porta delta strada che si entra dentro) by Baldassare Peruzzi ( Uffizi
411) Fra Giocondo {Uffizi 1541) Sansovino {Uffizi \(^V)\ but it is no
longer in existence.
c. A cornice which I have not been able to identify.
d. APVD • COLVwM»« • TROI ANAw.
This cornice closely resembles 91r but the measurements differ
slightly.
110. (83^) a, ^ sub porticalem s , in{ariae) n{ovaey
Perhaps a portion of the temple of Venus and Rome.
b, * sub arco sinistra'
This entablature must belong to some triumphal arch or arched gate-
way. I have been unable to identify it.
c, * iusta [sic] s .paulum ' [fuori le mura].
The same cornice is shown by Labacco (C/^^/ 1850) ^ a san pauolo'
It is, so far as I know, no longer extant.
d, * circa s . fnaria{ni) noUam'
a, a.
111. (84) a. * seainda c{orona) s . fnari{a)e rotmid{a)eJ
The entablature of the second order of the Pantheon.
b, * Tabcrnacula s . mari{a)e rotundya)e'
The entablature of the niches of the Pantheon, with a part of the
triangular pediment {supra, QZa),
Drawings Attributed to Andreas Coner. 55
b, * sub eclesia s. urbani'
The church meant must be that at the S.E. end of the Forum of
Trajan (Lanciani, Forma UrbiSy 22) and the architrave represented may
be seen in Canina, Edifizi, ii. tav. 119, Fig. i, who attributes it to the
interior of the temple of Trajan. It was also drawn by Francesco da
Sangallo {Barb. 38^) * apresso a spoglia cristi * and Antonio da Sangallo
the younger {Uffizi 1187) 'spoglia cristi* while Giuliano {Sien. 35'') shows
the whole entablature * aspoglia cristtj I roma' ^
c, (Unnamed) I have not identified.
d, * iusta [sic] s . marcu{my
See supra, 73.
e, * estra\s\c\ s . mautum!
The church of S. Machutus still exists in the Via del Seminario,
between the site of the Porticus Argonautarum, and that of the Iseum.
113. (85) a, ' prepe [sic] arcem militum'
This entablature seems to be that which is attributed to the exterior
of the Basilica Ulpia by Richter and Grifi {Ristauro del Foro Traiano,
tav. IV. F) and to the portico round the Forum by Canina {Edifizi, ii. tav.
118, Fig. 7). In profile it resembles almost exactly one drawn by
Giuliano da Sangallo {Barb. 10) * a pie di Spoglia XPI trouatta di nuovo
che una cosa bilissima roma,'^ and Giambattista da Sangallo {Uffizi 1326),
*a spoglia christo cliauata di terd* : but its measurements are a good
deal smaller.
b. * T . anphiteatri uespasiani*
T. must stand for Tertia, i.e, the third order : but it does not agree
with Canina, Edifizi, iv. tav. 170, Fig. i, which shows no dentils.
c. Cornice and plinth moulding, unnamed.
d. * ultima c{orond) anpkiteatri uespasianiJ
The cornice of the fourth order of the Colosseum.
114. (85^) a. An unidentified entablature.
b. The entablature of the first order of the Colosseum.
^ For the name spoglia cristi see supra^ S%b.
^ Fabriczy {op, cit. 32) is in error in stating that the drawing is without measurements.
56
The British School at Rome.
115. (86^) 86 is blank.
a. Unnamed cornice — unidentified.
b. * apud po(n)tem Sixti'
A cornice seen at the Ponte Sisto, drawn also by Giuliano da San-
gallo Barb, 70^ * A pie di ponte Sisto'
c. ^ antonii'
A cornice designed by Antonio da Sangallo {supra^ p. 6).
d. * in ede [sic] c. adrianiJ
A cornice then in the Palazzo Giraud (cf. supra, 14), but forming
no part of the building itself (as far as a comparison with Letarouilly,
op. cit, ii. PI. 145-149 tends to show).
e. * 5. suelior{um) ' [sic] (for Sauelloruni),
The impost of the arches of the first order of the theatre of
Marcellus.
/ * apud s, m, co{n)solationem!
This cornice is not identical with either of those drawn by Fra
Giocondo {Uffizi 1539, 2050^) and said to have been found near S. Maria
della Consolazione. Cf Lanciani, Storia degli Scavi, ii. 207.
g. Unnamed.
116. (87) 87^ is blank.
a, */. uidereJ
Drawings Attributed to Andreas Coner. 57
c, * apud areu{fn) uespasiani*
This cornice must have been found close to the arch, for it is not any
part of the arch itself
d, * 5. mari{a)e 7iauicul{a)e^
This is the cornice which runs round the apse of S. Maria in
Dominica or della Navicella^ on the Caelian Hill.
e, ' antoniiJ
Cf 115r.
f, * in S, ioan{fi)e in fonte!
The same cornice was drawn by Fra Giocondo {Uffizi 1542^) over one
of the doors — probably the entrance door. It is no longer to be seen
there.
g, * ultima dprond) archi d^onstantini)^
The cornice of the attic of the Arch of Constantine.
A. Unnamed and unidentified.
i. * antonii'
See supra, 115^, 116^.
j\ Unnamed and unidentified.
k. * Setizoni!
Perhaps the cornice of the plinth of the Septizonium. The agree-
ment in form with the drawing in the Uffizi by Fra Giocondo (No. 1540^),
of which Hiilsen {Das Septizonium^ p. 16, Fig. 4) makes use, and with
Serlio, Architettura, [1562] iii. 78D is not very close, though the measure-
ments correspond exactly.
117 (88)
Three unnamed plinths and a cornice. All belong to the lower court
of the Belvedere (see 45).
(a) Is the plinth of the columns of' the lower order {b) of the second
[d) of the third, while {c) is the moulding of the pilasters at the level of
the capitals of the small columns.
* The latter name, according to Marucchi {Basiliques et ^glises de Rome, 218) * ne se
rencontre pas avant le xvi« si^cle; elle a du commencer \ I'^poque oil Leon X a substitu6 la
petite barque en marbre que I'on voit devant la fa9ade \ celle qui s'y trouvait auparavant.
But cf. Landani, Sioria degU Scavi, i. 16, 83 (earliest mention about 1484).
58
The British School at Rome.
118 (88^)
* non lunge a S. Baxilio maneV
The church of S. Basilio stood within the area of the Forum <
Augfustus, close to the * Arco dei Pantani ' (Armellini, op, ciL 146). .
Caryatid bearing a capital on her head — which is very like (though nc
Drawings Attributed to Andreas Coner. S9
kind permission of Dr. Jessen. It bears the legend dirimpetto a san
basilio pi surun canto di casa (cf. Lanciani, Storia degli Scavi^ ii. 238).
For further particulars see Addenda et Corrigenda,
The original appears to be lost, but it was evidently known to
Raffaelle, since it served as a model for the Caryatids of the Stanza
d'Eliodoro. This is proved by the exact correspondence between the
architectural mouldings which surmount the head in both cases. They do
not seem to be identical with those of any extant figure, differing from
those af the Kopat of the Erechtheum (the nearest parallel) by the absence
of the heavy torus immediately above the hair. Nor are they the same as
those of the Caryatid figured by Richter and Grifi, Ristauro del Foro
ZTraiano, tav. iv. E, which itself does not seem to exist at the
present day.
119 (90^) 90 is blank.
a, * In 5. maria maioreJ
This capital is no longer to be seen in the church of S. Maria
Maggiore. It bears some resemblance to the capitals of the lower order
of columns supporting the thirteenth century ciborium over the altar
of All Saints, of which De Angelis gives an illustration {Basilicae
5. Mariae Maioris description Romae, 1621, pp. 86, 87). It seems to
be given by Giuliano da Sangallo Barb, 10 (without any indication of
locality).
b, • apud S . nicholaum in carcere tulliani!
Cf. 10&/, supra.
I have not been able to trace this capital.
c, * penes montem equuor{uni)'
The reference is to the Quirinal (Monte Cavallo).
This pilaster capital is given by Giuliano da Sangallo Barb, 14^'
without indication of locality.
d, Unnamed.
This capital was drawn by Giuliano da Sangallo Barb, 14^, and
lettered * i{n) Trasteveri*
e, * inpcUatio C' S ' Georgii media pars'
The capital is shown on its column supra^ 68r.
60
The British School at Rome.
120 (91) ^' * ^^ domo auallis'
This capital was drawn by Fra Giocondo {Uffizi 1882) * in chassa delta
ualle pistilliiJ
No measurements are given.
b. ^prope S . matheum!
The same capital, but with the decorative portions not indicated, is
perhaps shown in a drawing by Giorgio Vasari the younger (Uffizi 4628)
* questo capitello i di Santo Matteo Ronta^ The only church dedicated to
St. Matthew in Rome in the i6th century was S. Matteo in Merulana
(Armellini, op. cit 244).
c. * apud S . mana(ni) in uia lata!
The church is in the Corso and built upon a part of the Septa.
I cannot trace this capital.
d. * sub una colu{m)nar{um) chapitolii et dicitur capitulutn tuscianu{m).
I cannot trace this capital.
e. * rep{er)to apud S . maria{m) libera nos penis infemi*
This church appears for the first time in a 14th century catalogue of
Roman churches, and continued to exist (though in a restored form) under
the name of S. Maria Liberatrice until the last few years {Papers oft/te
British School at Rome^ i. 10).
The five capitals shown in 119, with 120 a — d (except that b and c
being practically identical in details, though different in size, appear only
once) and 122 a,f, appear in the drawing 1859 — 67—25 — 570 — r (repro-
duced in plate A) of the British Museum collection, which is attributed
Drawings Attributed to Andreas Coner. 6i
capital (upside down and without measurements) in the same place.
(Fabriczy, op, cit 34, wrongly refers to it as a base. )
122. (94) a, * Quarto) pars apud s .prasedem*
Salvestro Peruzzi (Uffizi 661^) gives a drawing of this capital a, S.
Presedia. Compare also a drawing by Antonio da Sangallo the elder (?)
{Uffizi 1597).
b. Unnamed and unidentified.
c. * in p(ulchro) uidere q{uartd) pars'
Probably a detail of the capitals of the small pilasters at the side of
the larger columns of the third order of the lower court. Cf. however 45,
where the height is noted as 27 minuti and the width (half diameter)
as 35.
d. * apud capitolium quarta pars'
Unidentified.
c. ' porticalis anphiteatri sauellorium)*
Capital of the Doric order of the theatre of Marcellus.
f, * circa s .praxedem!
This capital occurs in a drawing by Baldassare Peruzzi {Uffizi 570),
next to a cornice marked cui s{a?i)c{t)am prasedem,
123. (94"") * a tibure abet canales 20.'
I can give no further details.
124. (95) a, * a tibure:
This base (which I have not identified) and d (the latter without
indication of locality) appear in drawing No. 3829 of the Kunstgewerbe-
museum (Fig. 6).
b. * /// santo baxilio'
This base belongs to the interior of the cella of the Temple of Mars
Ultor in the Forum of Augustus (Labacco, Libro appartenente a FArchi-
tettura [1552], PI. ii or 13 ;^ Canina, Edifizi, ii, tav. lOi, Fig. 7), and was
seen and drawn in situ not only by Coner, but by Antonio da Sangallo the
elder (?) {Uffizi 1879) I whereas a few years later it had apparently been
* There are two editions, both bearing this date, with the plates differently numbered in each.
62
The British School at Rome.
transferred to the Church of S. Marco, where it was drawn by Aristotile da
Sangallo {Uffisi 1746'), Baldassare Peruzzi (632^,633), Serlio {Archifettura,
[1562] iii. 72 C), Giorgio Vasari the younger {Uffizi 4337^), and also
the later hand in the present album— 130^. It was engraved by the
master who used the monogram G. A. and the calthrop (Nagler, Monogram-
misUny ii. 2679), but he does not indicate the locality.
^flfiL*)
,/ic/^^tj^
Drawings Attributed to Andreas Coner. 63
drawn by Fra Giocondo (JJffizi IS3S), bassade termini chosiattinumyhwt the
irregular fluting is not there noted.
d. * in S. anastasia!
A base extremely like this, but with slightly different measure-
ments, is shown by Giambattista da Sangallo {Uffizi 1804), basa
ionicha a pie del ponte a 4 chapi [Pons Fabricius] l tresteferi, and also
in Uffizi 2103 (by the same hand).
125. (95^) a, * iusta illos s. crucis!
The reference is no doubt ^ to the Santa Croce family, who are
referred to as *nobiHs familia ro(mana) de S. cruce' by Fulvio
{Antiquitaies urbis, f. 84),^ and as * quei di Santa Croce ' in the translation
of Ferrucci (1588), p. 156^ Prospero Santa Croce, who lived near
S. Maria in Publicolis towards the close of the fifteenth century, had a
considerable collection of antiquities mentioned by Fra Giocondo {Cod,
Chatsworth 91^) ; but sixteenth-century writers speak of three members
of the family as possessors of antiques, and it is impossible to say which
of these is meant (Lanciani, Storia degli Scavi, i. 1 18).
b. * in s. bartolomeo insul{a)e'
This drawing shows one of two bases in the Church of S. Bartolommeo,
which support the third column from the entrance on either side of the nave.
They were also drawn by Giuliano da Sangallo (5^rA. 15 — locality not
indicated), and occur in drawing No. 3829 of the Kunstgewerbemuseum
(Fig. 6).
126. (96) a. * in eclesia s. pauW
This base has naturally disappeared, having perished, probably, in the
fire of 1823. It is shown by Giuliano da Sangallo {Barb, 15), Giambattista
da Sangallo ( Uffizi 1 804), Vignola ( Uffizi 1 8 1 2^), Fra Giocondo ( Uffizi 2050),
and also by Piranesi {Magnificenze deW Architettura Romana, tav. ix, i).
b. * in domo canpolinis'
See supray 105 d. The same base was drawn by Sanso vino (t/]^^/ 4337^,
ianni canpolind). It seems to be one of the bases of the cella of the Temple of
Concord (Canina, Edifizi, ii. tav. 36). The style of these drawings of bases
at first sight seemed to me not unlike that of an unknown and very rare
> I owe this suggestion to the Rev. H. E. D. Blakiston.
* The first two leaves of the signature / are both numbered 84 : this is the first of the two.
64
The British School at Rome.
engraver, who generally passes under the name of the Master of 1515.
(Bartsch, Le Peintre-graveur, xiii. p. 408 sqq, ; Passavant, Le Peintre-graveury
V. p. 89. The latter appears to be wrong in his statement that * les fonds
d'architecture qu'il a employes sont presque toujours emprunt6s aux
Edifices de Rome, ce qui pourrait faire croire qu'il a habits cette ville.')
As I am informed by Dr. Hermann Egger of Vienna, his studies of
the architectural works of this master (of which the Kupferstichkabinet of
the Hofbibliothek possesses an almost complete series) lead him to believe
that their origin can be traced back to compositions of the early Renais-
sance, attributable perhaps to a Paduan or Venetian master of about 1460.
No connection can therefore be discovered between these engravings and
the drawings of Coner.
127. (96'') I am unable to identify this base.
128. (97) 97^ is blank.
* Nel giard[ino) del G{ran) D(uc)a!
A drawing by the later hand.
This puteal occurs in a drawing by an unknown artist in the Kunst-
gewerbemuseum (3829) who gives exactly the same text (Fig. 6). Where
it now is I do not know : it does not seem to have remained in the Villa
Medici, and I can find no record of it in Florence.^
129. (98)
Details of the column of Trajan (supra, 91, *, c).
Drawings Attributed to Andreas Coner. 65
Ottaviano Alessandro Medici, who became Pope under the name of Leo XI.
in 1605, and jx)ssessed a fine collection of ancient marbles. His palace
and garden were situated close to the Basilica of Constantine (Lanciani,
Storia degli ScaviyW. 85, 212). The garden of Pietro Paulo Attavati is
unknown to me.
b, * In S. Marco:
See above No. 124 b. The names of the different parts of the base
have been added in pencil by a still later hand.
131. (98)1 Back blank.
a. Unnamed.
Not unlike a base in the Frigidarium of the Baths of Caracalla,
which is 40 cm. in height. The bucrania and the lowest moulding are
shown by Salvestro Peruzzi Uffizi 677, * in la Vig{n)a di Domieniy"
d{e)l Nerol a site which I cannot identify.
b. Unnamed and unidentified.
132. (99)
a. This base is one of a pair existing at the Lateran baptistery, support-
ing the two porphyry columns of the south-east entrance. They are
shown by Francesco da Sangallo Barb, 38^ ^slabasa delle colonne delportico
deltempio dighostantino irofna,^\i\Q!ti Fabriczy {op, ciL 51) wrongly refers
to the Basilica of Constantine.
b. This base was seen in Santa Croce in Gerusalemme by Dosio
{Uffizi 2010), e in la chiesa di S'"^ Croce in Jerusale(ni) sotto a una
colon{n)a di Spoglie un altra simile e sop(r)a a uno chiauico alia dogana
lauorato co{n) estrema dilige{n)tia. It was also drawn by Sansovino (?)
{Uffizi 5^), who gives the same indication of locality, preso achesa d, Santa
Crocie, and Baldassare Peruzzi {Uffizi 550). It is no longer extant, the
church having been modernised in the eighteenth century.
c. This base was drawn by Baldassare Peruzzi {Uffizi 634), basa di
colon{n)a di paL 5 grossa In Casa de leherede di M, melchior baldassino In
Roma, and engraved by Jacques Provost (i 535-7) : Haecest Romae in domo
Marchionis de baldassinis (Robert-Dumesnil, Peintre-graveur fran^ais, viii.
p. 5 ; Nagler, Monogrammisten, iv. 3268, No. 8 ; Passavant, Peintre-graveur,
^ The recurrence of the same number is curious.
66
The British School at Rome.
vi. 129, No. 14); and also by the unknown master who used the mono-
gram G. A. and the calthrop (a plate not cited by Nagler or Passavant, and
without indication of locality). It apparently belonged to the entrance of
the north-western hemicycle of the Forum of Augustus ; Giambattista da
Sangallo {Uffizi 1852), in giving a sketch of this base, or another exactly
like it — for the house of the Baldassini family (built by Antonio da Sangallo
the younger ; now the Palazzo Palma) is No. 8 Via delle Coppelle ; Clausse,
Lcs SangallOy ii. 145 — says, i{n)chasa el prosedenteamonte dtaiiallo seruiua
a s, basilic, and then gives a drawing of the apse of the hemicycle
(Lanciani, Fonpui Urbis^ 22).
d. The only other representation of this base known to me is in drawing
No. I (right halO of the Casa Buonarroti.
133. (6^) 6 is blank.
Bases of fluted Corinthian columns.
a. (unnamed) I hax'e not succeeded in identifpng.
b. * triaf\um^ col9il(m)naf\umS sub capitolio cum canalib{us) 24/
Base of the columns of the Temple of Vespasian.
f\ * ad S. miircum cum cana/ibus 24.*
This must be the base of a considerable building. Cf. supra, 73.
134. (r^ The back is blank.
lUsos of fluted Corinthian columns.
iK *fn\79\um'^ ^i\^u^m)»af\um^ sul* pjj4X/i4} mai^rc,^
Drawings Attributed to Andreas Coner. 67
d, * in te{ni)plo pa{n)teonis'
The bases of the lower order of the interior.
e, * colu{fn)n{a)e metalli in s. iouan{n)e in lateranoJ
Base of one of the bronze Corinthian columns of the Altare del Sacra-
mento (Lanciani> Ruins and Excavations, 344).
/ * in pialatid) car. s, Georgii!
An ancient base, no doubt, which was then to be seen in the Palazzo
della Cancelleria ; for none of the columns of the palace itself are fluted.
135. (8^)' 8 is blank.
'sub capitolio'
This seems to correspond with a base drawn by Baldassare Peruzzi
iUffizi \%6) in capital io,
136. (9)
Bases of unfluted Corinthian columns.
a, * sub colu{m)na porticalis s . in{ariae) rotiindc!
The bases of the columns of the portico of the Pantheon.
b, 'prope arcem militum!
One of the bases of the external granite columns of the Basilica
Ulpia wrongly attributed by Canina to the lower order of the interior
{op, cit. ii, tav. 1 18, Fig. 3).
c, Unnamed and unidentified.
d, * in palatio car . s . Georgia
The base of the column shown supra, 68 r.
e, //. * in eclesia S . Saluatoris!
Which of the eight churches dedicated to the Saviour this might be
we are not told. In S. Salvatore in Lauro the 34 plastered columns of
the nave have bases of travertine of almost exactly the same form as e}
but are a good deal larger — of about the same size as //. It seems quite
possible that, when the church was rebuilt after the fire of 1591, the old
bases served as models for the new.
/. * ad coiu(vt)nam troianaml'
Perhaps from the upper story of the Basilica Ulpia.
^ They have an additional roll moulding alK)ve the upper torus like //.
F 2
68
The British School at Rome.
g, * apud uineam car, 5. Georgia
Perhaps a vineyard attached to the garden of the Palazzo Riario (see
supra^ 51), on the site of which the Palazzo Corsini now stands. No vigna
Riario seems to be otherwise known.
137. (9^)
a, * 5. mo{n)te trinitatis'
b, * ad s. fn(ariam) in canpitello'
I can say nothing about either of these.
c, * tertia anphiteatri'
The third order of the Colosseum.
d, * in s. ioan(n)e in fonte'
I was unable to recognise this base as at present existing in the
baptistery of the Lateran.
e, * apud sauellos!
I have not been able to identify this plinth moulding : it does not
belong to any portion of the theatre of Marcellus at present existing.
f, * arci titi et uespasiani'
This is the base moulding of the pedestals.
138. (21^)
A group of capitals, many of them, probably, invented by the artist :
they are very similar to those shown by Giuliano da Sangallo Barb, lo^, ii.
e, is the same as one shown in Uffizi 1604 by Antonio da Sangallo
Drawings Attributed to Andreas Coner. 69
Gallaccini Cod, Sien, S. iv. 3, 6o^ nel coro di San Francesco), destroyed, no
doubt, in the fire of 1655.
140. (14V)
a, b occur in drawing No. i (left half) in the Casa Buonarroti.
c is very like a capital drawn by Antonio da Sangallo the elder [?]
{Uffizi 1598, 1604).
d is perhaps a capital of the third order of the Colosseum. It
resembles closely the sixth capital on the right in the nave of S. Maria in
Cosmedin.
e, ^a santo apostolo!
The drums of several columns similar to this, which were damaged in
the fire of 1702, still exist in the Church of the SS. Apostoli in the chapel
on the left of the high altar. They belonged to the nave of the older
church built by John III. A drawing of one of them by Cherubino
Alberti is described by Lanciani, Monumenti dei Lined, i. 475.
141. (14)
a. * /;/ 5. [Nic/iolaol ^'^ carceire)!
An ancient marble vase, no doubt in use as a holy-water bowl, of
which there is no other record.
b. A heraldic shield.
c. ^a s. c{a)ecilia'
This * cantharus ' still exists in the forecourt of the church.
142. (15") A drawing by the later hand.
* /;/ Roma in casa M, Antonctto delle Medaglie' Antonietto antiquario
da Calapina is several times mentioned by Ligorio {CJ.L. vi. 633*, 644* ;
Cod. Barb, 4412 (formerly xlix. 21) f 26 ; cf Rom, Mitt, 1895, 277, for his
description of the excavations of 1552 in the * stadium ' on the Palatine, in
which Antonietto had a share). The anonymous author of Cod, Barb, Lat,
2016 (formerly xxx. 89), writing at the end of the sixteenth century, gives
the following account of him (f 494): ^ in una casa depinta non a colori
incontro .... degliArcionisnlprincipiodellamontatadiS,Silvestroavtan
dritta, nel cantone delta strada che nolta verso Magnajiapoli [i,e. on the S. W.
slope of the Quirinal, where the small piazza delle Tre Cannelle now is],
70
The British School at Rome.
e nella facciata in calcina taV iscrittione, " Antonius antiquarius, pub.
utilitatis potiusque sui rationem habens eximiorum artificum opera, quae
nimia uetustate exesa, aedificiorumque ruina sepulta, ac uariis urbis
calamitatibus confracta et disiecta pene interierant, ingenti labore effossis
et collectis, ad superiorum temporum gloriam, nostrorumque posterorumque
admirationem et imitationem instaurandis, pro rerum maximarum angustia
fecit, anno Xti nati 1546." ' (See Lanciani in Archivio delta Societd Roniana
di Storia Patriay vi. 226, Storia degli Scavi^ ii. 45, 227.) Antonietto seems
thus to have been a regular dealer in antiques, and to have advertised the
fact upon the facade of his house. The somewhat indifferent Latin of the
inscription should be attributed to its copyist.
The capitals themselves I have been unable to trace. A knowledge
of their subsequent history might have helped me to determine more
accurately the date at which the drawings by the later hand were
executed. As it is, we can only say that they cannot be earlier than 1546
— and indeed, from their style, they appear to be several years later.
143. (15) * inplatea s , m . maiere' [sic].
Cf. Baldassare Peruzzi {Uffizi 447), '' di marnto a Sd Maria tnagiore i
la piaza' \ also Giovanni Rucellai's * Relazione sul Giubileo del 1450'
(published in Archivio della Societd Romafiadi Storia Patria^vj. 569, * itefn
sulla piaza dirimpetto alia porta di viezo uno vaso di porfido d*uno pezzo^
ritratto a modo di tazza in su colonnette^ che il diamitro suo pud essere braccia
4 in 5 ').
Drawings Attributed to Andreas Coner. 71
146.(13)
These are both groups of more or less imaginary designs, such as are
not uncommon among the drawings of the Renaissance. The vase with
the griffins' heads, however, in the upper part of 146 is identical with the
first of a series of twelve designs of vases engraved by Agostino Veneziano
after the antique, with the legend * Sic Romae antiqui sculptores ex aere et
tnartnore faciebanV (Bartsch, Le Peintre-graveur^ xiv, p. 387, No. 541).
147. (19O '9 is blank.
a is the keystone of the arch of Septimius Severus, seen in profile.
^ is a similar view of the keystone of the arch of Titus.
c ' In 5^' Quattro:
This corbel (added by the later hand) is no longer to be seen at the
church.
148. (20O 20 is blank.
a and c show each two views of the same capital. Both resemble closely
(without being identical with) some of the capitals in the nave of S. Maria
in Trastevere. a also resembles Uffizi 1600^ (Antonio da Sangallo the
elder [?]), questo chapitello e in santa maria in trasteuere in terra.
b. * in tibure!
It resembles a capital drawn by the * Anonymus Destailleur,* a St,
pietre in tioli {Kunstgewerbemuseum A 376, 20^). The same capital
seems to be shown by Piranesi, Magnificenze deW Architettura Romaua
tav. XX, who describes it as * in villa Card, Alexandri Albani extra portam
Salariam^
c is also very like the ' capitello d. santo apostolo' of Uffizi 1598^
(Antonio da Sangallo the elder [?]). Compare also SerliOjArcAitettura, lib. iv
[1562] 38^ P.
d. * a S, pau/o,*
One of the capitals of the older church, no doubt. It is shown by
Sansovino {Uffizi ^^27) without any indication of locality.
149, 150. (22^, 22) are similar to 146, 147, though 150 must be an
actual window, for the measurements are given.
72
The British School at Rome.
151. (23) a. * in S. petro in uaticano'
One of the capitals of the nave of the old basilica : cf. Uffizi 32
(Antonio da Sangallo the youngQT) ^ di Santo pietro,' 1804^ (Giambattista
da Sangallo) * questo chapitello sie I Sanpietro e sono e piu begli di roma!
b, * ad S, ioan(n)e ift laterano^
A very similar capital is shown by Piranesi, Magnificenze delV
Architettura Rotnana^ tav. xvi, and located in vinea Jacobi Ingami ad
Circum Maximum,
c, *A San Gio, Laterano!
The drawing of this capital is an addition by the later hand.
d, ^ a S, paulo!
(Cf. 148^, supra,)
152. (23^) This and the next three drawings are by the later hand.
* Nella Chiesa di S, Lorenzo fuor delle mura!
The capitals from which this drawing is taken are to be seen upon
the first column on each side of the choir (they were added to the original
basilica, with the triumphal arch, by Pelagius II), but the representation is
not very exact. Matz-Duhn, 3447.
153. (24O
* Dreto a Campidogliol i.e. * dietro al behind, the Capitol.
An inexact drawing, intended perhaps to represent the capitals of the
Forum TransitorJum. It would, however, resemble even more closely
Drawings Attributed to Andreas Coner. 73
156. (26'') a-f. Various friezes, unnamed.
e is the internal frieze of the Temple of Saturn.
/ is the frieze of the second order of the Basilica Ulpia. It is
shown by Giuliano da Sangallo Barb, \& without indication of
locality.
^ is a representation of the decoration of the Biga of the Vatican
C Helbig, Fiihrer^ i, No. 33), which at this period must still have been in
S. Marco — more accurate than that in the Wolfegg sketchbook of Giulio
Romano f. 22 {Rom, Mitt, 1901, p. 226, and tf viii).
157. (26) a-c. Various friezes, by the later hand.
158. (27) Back blank.
A drawing by the later hand. It is not at all unlike a frieze repre-
sented by Vignola {Regola delli cinque ordini d' Architettura tav. 19), of
which another part may be represented in the album of Pierre Jacques
(recently published by M. Salomon Reinach) PL 5, where the griffin is in a
slightly different position and a candelabrum appears instead of a vase.
Compare also a relief in one of the houses of the Delia Valle family
ijahrbuch des Inst, 1891, p. 237, No. 178 ; Clarac, ii, PI. 193, No. 54
= Reinach 81, i), which is not, however, identical with this.
The griffin is shown also in a drawing by Antonio da Sangallo the
younger (JJffizi 1208''). See also Vat, 3439, 46.
159. (28^)
A fantastic drawing in the Renaissance manner.
160. (28)
Cf 158 (which, however, represents a slightly different original), also
Canina, Edifiziy ii, tav. 118, Fig. I (a frieze attributed to the library to the
north of the Basilica Ulpia). The same motive (but not by the same
hand) appears in drawing No. 3686 in the Kunstgewerbemuseum.
161. (29^ 30), 161 A. (30^) 29 is blank.
For the helmets compare Giuliano da Sangallo Sien, 38, 38^, 39^, 40.1
* Similar drawings are described by Passavant, Rafael, ii. 591, gg, hh, as existing at Holkhara
Hall (not by Raphael himselO- See supra, 105 c.
74
The British School at Rome.
162.(31)
The motives in the upper part of the plate I have not been able to
identify. The two in the lower portion are, Dr. Egger informs me,
undoubtedly taken from paintings in the portion of the Golden House of
Nero which was buried beneath the Baths of Trajan, though it is
impossible to identify them with certainty with any of the plates in Mirri
and Carletti's Antic/ie Camere delle Tertne di Tito (Rome, 1776). This,
however, is not surprising, having regard to the difficulties of drawing roof
decorations at a great height and by artificial light.
163. (31"^^) 'I These are both fantastic subjects, perhaps of the
164. (33) Back blank/ artist's own invention.
165. (34) Back blank.
A design copied from a mosaic pavement.
APPENDIX I.
THE INVENTORY OF THE PROPERTY OF ANDREAS CONER.
Archivio di Stato, Rome. Vol, 414. Reg. lac, Apocellus,
C. 148.
Die Veneris octava Novembris 1527.
Inventarium bonorum quondam Andreae Conerii repertorum in ejus
hereditate per D. Blasium Schuryker^ exequutorem testamenti.
In domo D. Angeli Saurii
Due materazie, duo linteamina usata, due camisiae usatae, una
coperta de tela alba, et cappa de panno nigro, par unum caligarum et
gipponus.^ Presentibus D. Jo. Euskirchen procuratore contradictarum,
et D. Jo. de Ritiis alias Bulgaro clerico Firmanae diocesis testibus.
In domo D. Jo. Sander notarii Rote^
Duae capsae una clavis clausa et ferrata, altera sera referte libris.
In capsa habente seram fuerunt libri infrascripti
Dictionarium Grecum Guarini.* Callidii^ \sic\ Ptolomei Ma0rjfiaTtKfj(:
<n/irraf€ft)9 in greco et pergameno. Leo de Balneolis^ liber latinus
in Astrologia. Cornucopia Sipontini.^ Bartholomeus ^ de proprietatibus
rerum in pergameno scriptus. Opus Jo. Verneri.^ Geographia Ptolomei
* Probably the same name as Schweycker, /*<»/*. Quartahchrift Sui->pl. xii, 138. He appears
as witness to another document (c. 150) as * artium et medicinae doctor.'
* A * pourpoint ' (French) or waistcoat.
' * Joannes Sander de Nordhusen palatii causarum apostolici notarius,' Canon of Erfurt
in the diucese of Mainz, is mentioned more than once in the Liber Confraiernitatis B, Marie
de UrU or dell* Anima (Rome, Typ. Propaganda Fide, 1875, pp. 117, 256), of the hospital of
which he was provisor. Cf. Nagl. Urkundliches zur Gesckichte der Anima in Rom, {Rom,
Qtiarfa/seA ri// Suppl, xii. p. 241^^., 72). He is buried in the church (Forcella, Iscrixioni delle
ihiese di Roma^ vol. iii, p. 453, No. 1098). His house, close by, was perhaps designed by
Bramante (Letarouilly, Edifices de Rome moderne, iii. 667).
* Varinus Phavorinus ( Brunet iv. 598).
' Not printed till 1538 (Brunet iv. 947).
* I have not been able to identify this author.
' The Cornucopia linguae latinae of Nicolaus Perottus (Brunet iv, 505).
' Bartholomeus de Glanvilla Anglicus (Brunet ii, 1619).
* Possibly Verini (Brunet v, 11381^.).
76
Appendix I.
in latino^ greco scripta in papiro. Aesopus grecus in littera Aldi.-
Euclides latinus. Epitome ^ Jo. de Monte regio. Grapaldus * de partibus
aedium. Dictionarium Jani Lascaris^ grecum scriptum manu. Virgilius
cum commento. Dioscorides grecus impressus.® Elegantie ^ Laurentii
Vallae. Mechanical Pappi Alexandrini greca scripta in papiro. Opuscula
Nicolai Leonicj.^ Chronica Eusebii latina. Hieronis ^^ Jlvu^iLaTtKa greca
scripta manu. Excerpta latina. Opusculum Amerucii ^^ \_sic\ philosophi
grecum cum figuris mathematicis. Epigrammata graeca. A. Gellius
Moretus \sic\ Manilius. Docimius ^*^ auctor Grecus in Mathematica scriptus
manu. Polygonorum mensuratio cum aliis libellus grecus scriptus in
papiro. Hieronis ^^ introductiones geometricae graece scriptae. Julius
Pollux. Menelaus ^* grecus scriptus. Lucianus grecus. Suetonius Aldi.
Augustinus Ricius ^^ de motu octavae spherae. Statius scriptus. Ety mologica
Greca. Archimedes ^^ Grecus scriptus et cum fragmentis. Apsyrthius^^
de Medicina veterinorum grecus, scriptus in pergameno, que recepit
D. Blasius exequutor vigore testamenti. Strabo latinus. Petrarcha
vulgare. Tabula Cebetis Vita Homeri, greci ambo. Elegantie ^^ Thome
magistri grecae. Serra parva. Duae serae. Saqus canabinus.
In alia capsa confixa clavis
Opera Jo. Pici Mirandulani.^^ Argonautica Apollonii. Aristoteles
de animalibus ex interpretatione Theodori. Suidas. Musica Ptolomei
greca scripta. Fasciculus temporum. Blondus^ de Roma instaurata.
Raphael -^ Volaterranus commentariorum urbanorum. Historia Josephi
latina. Chronica Sigeberti.^- Proverbia Erasmi.^ Vegetius de re militari.
Plautus, Budeus de Asse, Juvenalis, Justinus, Lucanus, Pollux, Valerius
* The words in italics are erased in the original.
2 The edition of 1505 (Brunet i, 84).
' Epitome in Ptolemaei magnam compositioncm (not printed till 1543 (?) ;
* Brunet ii, [710.
* Never printed, appartiuUy*
An Aldine edition.
Brunet iii, 1855).
Appendix L
77
Victruvius \si€\. Strabo grecus. Cleomedes ^ greens script us. Institutiones
grece grammatices. Julius Firmicus- Astronomicorum. Valerias Flaccus.
Ftolomei liber ^\aQf}^aTtKr\^ avmal^^m^ in littera greca moderna noo
ligatus. conculcatus pedibus Barbarorum. Cato de re rustica scriptus manu.
Theodorinus^ de radialibas impressionibus scriptus manu cum libello greco
Georgii* Wpo^KhUH wept tptSi. Astrarium latinum scriptum, Hippo-
cratis de Astrologia medicorum. Chirurgia Albucasis^ scripta in per-
gameno, quam cepit exequutor testamenti D. Blasius. Plinius cum
Comelio Celso simul ligati. Thiicydides cum correctionibus latin is.
Opera Cam pan i.'^ Historia Calinit" Index Plinianus. Summa Aritmetice
et geometriae vulgari, Odyssea Homeri. Cornelius Tacitus, Acta
Concilii Constantiensis. Canones Astrolabii latini scripti. Commentum
in Nicomachum ^ grecum scriptum. Historia vulgaris Marci Poll Veneti
scripta. Ouaedam Jo. Coclaei " scripta. Apictus scriptus. Pindarus Grecus.
Calepinus.^^ Homerus. Ludus scaccortim. Orationes Ciceronis in littera
Aldi in tribus voluminibusJ* Grammatica Theodori Gazae.^- Martial is,
Paulus Middelburgensis^^ de numero atomorum. Apicius^* de re Coquinaria.
Irotemata ^^ Chrysolorae, Theoria ""^ planetarum Purbachii. Boetius
scriptus. Epistole Ciceronis. Comoediae Aristophaois. Commentarii
Caesaris scripti. Decades Titi Livii in 4''^ voluminibus. Aritmetica
vulgaris alias summa Aritmetice fratris Liicae. Riccardus Cervinus ^^ de
annis solaribus. Calcidius *^ diaconus. Euclides Latinus. Presentibus
D. Jo. Euskirchen predicto Philippo Aldehen et Guntero Dipel clerico
Moguntin. diocesis et D. Jo. Sander notario, qui apertis capsis discessit
testibus, Apicius scriptus, quern habuit exequutor \sic\ presentibus
quibus supra testibus excepto D* Jo. Sander, qui apertis capsis et
expositis libris discessit \sic\ cum non videret aliud esse quam libros,
* A l^tin translation, Cleomedes, De conlemplatione orbium excelsorum di^sputaUo, Brixiae,
1490, is recorded by Hain *54So (cf. Copingcr's additions), Brunei ii, ico.
'^ lulius Fimiictis de Naiivitaiibus (Hain *7i2l \ Brunet ii, J 270).
* Apparently unknown.
* Georgius Gemistus (?) (Brunei ii, 1526).
* The work of an Arab; published with some editions of Guido di CauHaco (llaiii 4S10, 4813 ;
Copinger 1550 ; Brunet i, 200, 1384).
* Brunet i, 1521.
' Unknown — unless it is some work by Vincenzo Gilmeta, who appears in a collection
cTi\i%\ed Fiifrettd di cosr fun/e nobiiissime^ Venice, 1508 (Brunet li, 1266)*
' Nicomachus Gerasenus, author of a treatise on arithmetic, printed in 1 538 (Brunet iv, 70),
* A writer on music and religious controversialist (Brunet ii, 117).
*" Ambro&ius Calepinus, the author of a Latin dictionary^ printed, under the title of
Camycoptae, in 1502 (Brunet i, 1474).
1519. The entry originally ran, * Tertia pars
of
orationum Ciceronis in
" Edition
linera Aldi/
** Main 7500.
*' This work (printed in Rome in 1518) is thus described by Brunet (iv, 455) : * Opuscule dans
Icnuel Vauteur donne des calculs curieux sur les r^sultats possible du pret a inl^rtts, et oil il
prcconise le Montde-Piet^, nouvellemcnt cftahli a Rome.' His tombstone is in S. Maria dcl-
I Anima (f'orcella, lurizioni d^fU (hUsc di Rotfta^ vol. iii, p. 451, No. I092)v
** Fir*t published in 1542 by IlummeltxTj;.
^ Hain 5015, 5016; Gitpinger 1604 * Brunet i, 1892.
*• Theorice Planetanim (Hain *13595» * 13596, 13597 ; Copinger 4994 ; Brvinet iv, 978).
'' Apparently unknown,
•• Perhaps the commentary and translation of the Timaeus of Plato by Chalcidius, published in
IMs in 1520 (Brunet iv, 703).
liitlii
78
Appendix I.
Eadem die
D. Jo. Euskirchen procurator contradictarum reddidit prefatis
D. Angelo et Blasio exequutoribus computum se pro D. Andrea
exposuisse.
Primo pro alimentis ipsius in infirmitate et duarum mulierum que
ejus curam habuerunt videlicet Catharine Lipsiensis et Antonine
Salutiensis ducatos quatuor auri largos, presentibus dictis mulieribus
attestantibus esse verum, quia fuerunt presentes quando deposuit eos
in pluribus vicibus ducatos 4.
Item ducatos duos similes pro ejus sepultura et portatura ad
sepulcrum, presente me et Quirino Galler et D. Hermann© Crol ^
. . . ducatos 2.
Item in presentia D. Blasii solvit D. Catharinae pro suo salario
ducatos duos similes, ducatos 2, quia servivit de die et de nocte per
dies octo et . . . ducatos 2.
Antonine unum ducatum similem qui servivit de die et per primam
noctem . . . ducatum i.
Item Julios duos pro pensione unius materazii
et coperte et portatura earundem et reportatura in domum Angeli et
extra eam . . . Jul. 2.
Dictum. Jo. de Riciis alias Bulgaro declaravit se in infirmitate
ejusdem D. Andreae exposuisse ad Julios septem in lignis, vino, pane
et aliis, presentibus dictis duabus mulieribus et facientibus fidem quod
idem Jo. emit de suis pecuniis unam somam lignorum et portavit
panem et vinum et suo judicio credere quod non exposuerit minus quam
dixit, attentis temporibus et caritate rerum . . . Jul. 7.
Que dicti exequutores admiserunt et promiserunt solvere de primis
pecuniis redigendis ex hereditate. Actum in domo D. Angeli Saurii,
Presentibus Jo. Bernal de Cita rodorico et quoad factum Jo. Ricii,
presente Jo. Euskirchen et quoad factum Jo. Euskirchen, presente
Jo. Ricio cum dicto Jo. Bernal testibus.
Die 21 Novcmbris fuit vcnditum suprascriptum argentum pro juliis
Appendix I. 79
Heroidum Ovidii. Tibullus. Duo curtini de ferro, unus magnus unus
mediocris, alius parvus. Una regula ferrea. Alia regula ferrea. Unum
pugnale. Virga argentea. Un pezo d'oro in scatuletta de Othono data
D. Jo. Euskirchen portanda ad domum D. Jo. Sander ad alia bona.^
Actum in dicta camera presentibus eodem d. Jo. et d. Jacobo Schutz
preposito Velunen.^ testibus. Et ego notarius habui collectanea ipsius in
Epig. greca, et exequutor habuit pugnale.
Eadem die
Ego ^ notarius per attestationem d. Jacobi Schutz et Ursuline Venete
feci fidem dicto D. exequutori quod feci dicto quondam Andree expensas
hostie* per tempus quod ibi fuimus, fuimus autem per mensem circa ubi
exposui pro persona ejus ad ducatos septem cum dimidio et amplius, et
quia ipsi fuerunt in nostra societate et viderunt et nobiscum vixerunt et
tantundem tetigerunt unumquemque ipsorum expendere. Fuit etiam
nobiscum D. Jo. Baptista de Robcrtis et D. Hermannus Croll qui idem
sciunt.
Amplius idem quondam Andreas vixit expensis meis a medio Julio
usque ad xxiiij Septembris exceptis aliquot x diebus quibus habuit panem,
vinum et carnes in palatio. Sciunt mei familiares Jo. Trunnilus qui adhuc
presens est et Antonina tunc mea ancilla et duo qui discesserunt Nicolaus
et Jo. Hugonii. Pro conditione temporum que fuerunt credo recte deberi
septem ducatos per mensem, salva moderatione ; obtuli ei facere fidem ad
omne eorum beneplacitum.
* The words * data D. Jo. Euskirchen ' have been added later.
« Belluno?
' The whole document is in the handwriting of Jacobus Apocellus. He was, according to
the inscription on his tombstone in S. Maria dell' Anima (Forcella cit. No. iioi), a native of
Speyer, and learned in Greek, Hebrew^ and Latin. He died in 1550.
* Ostia.
APPENDIX II.
COMPARISON BETWEEN CERTAIN DRAWINGS ATTRIBUTED TO
MICHELANGELO AND THOSE OF CONER.
British Museum —
1859-6-25-549 (Berenson 1492) Red chalk 5JX Scinches No certain correspond-
ence.
1859-6-25-560-1 (Berenson 1506) ditto iijx8i inches Coner 76
V ... ... .T. See Plate A
a = Coner 119a
(Berenson 1505) ditto ditto
*= „
119/»
'^= »
122^
'/= ,,
IWc
e= „
119</
f= „
119/-
i= :
120^
120d
«■= »
120a
y = »
122/
See Plate B
a = Coner 880
*= ,,
92<i
«^= «
89a (archi-
trave only)
d= „
89^ (archi-
trave only)
^-^^^i-.
i
%
^
\...
^,
PI./
/
r
X .'.-,.s:
IS
-<-
%
HICMOG RiUJiSWPHrE^IJVfiSft
^T»
f. r. r^ rj f>
/>
i
... '■ - ? -SS^"
<1 ''
il- 1 J7 r i: :: an
CI r? »^1 r n » o c
.a' DC n a'r. r K u O :
O O
o ^
r- '■•
r- -
d#4^
Appendix II.
8i
Casa Buonarroh\, Florence (continued)—
ditto (right half) (Alinari 1004)
a = Coner 123
(left half
reverse)
124^;
1246
124^/
\2bd
\2ba
126^
131/^
132/1
132/^
a = Coner 138/"
c =
if=
e —
/ =
// =
J =
k
c =
e =
/ =
138//
117.
116A
117«
im
138;
^ Not determin-
able
; =
J =
/ =
m =
(right half
reverse)
Cornice 22 No. 2 (left halO (Alinari 1002)
(right halO (Alinari 1003)
ditto
ditto
(reverse
left half)
(reverse
right half)
Cornice 23 No. 3 (Alinari 1016)
(left half (Alinari 1035)
reverse)
(right half
reverse)
116;
uw
(base only)
«=Conerlie^
b= „ 116^
c= „ 116^
ii= „ 68^
^ = „ 68a
ditto ditto rt= Coner 84a
= Coner77
(Basilica Aeniilia)
a = Coner 112a
b= „ 113c-
(cornice)
e= „ 113r
(plinth moulding)
//= Coner 113//
a = Coner 49a
b^ „ 49^
ditto * ditto a = Coner 81^
^= n 82
r = „ 83/r
//= „ 83//
^= . 76
a = Coner 81a
^ = „ SZfi
c = „ 83//
/I = Coner 76
(capital)
^= » 7d
' The two halves have been photographed together in this case.
82
Appendix 111.
Casa Buonarroti^ Florence (continued) —
Cornice 23 No. 4 (left halQ (Alinari 1005)
(right half) (Alinari 1007)
(left half
reverse)
(right half
reverse)
Cornice 24 No. 5
Cornice 24 No. 7
Cornice 58 No. 8
Cornice 58 Na 9
Cornice 58 No. 10
ditto ditto a = Coner 109^
(in profile
^= „ B6
c Not determin-
able
</ 3= Coner 90a
<i=Coner73a
^- „ 74
c = „ 109<:
d= „ 109a
a=Conerl09^
b^ „ 110^
c = „ lift/
(shown as if plain)
</= Coner lll^
e = (architrave
unidentified)
a = Coner 72a
b= ,, lib
^ - „ lib
d^ „ 78^
iijx 17 ins. c = Coner 96
(cap only)
Analogy not
traceable
1 1^ X 8^ ins. Not determinable
Pen and
ink
(Berenson 1457)
(Berenson 1458)
(Berenson 1459)
Pen and
ink, sepia
shading
Red chalk
1 14 X 17 ins. a =Coner 32^
^= „ S2a
r= „ 53?
'^l Not identifi-
er able
ditto 1 ij X 8| ins. Base profiles, not
certainly iden-
tifiable
ditto 1 1 ^ X 8^ ins. Base profiles, not
84
Appendix IV.
re : di Giulio 3° per ingegno d'Antonio da sangallo instaurato.^ Hoggi
la Sta. di N.S. Pio 4° che non lascia di fare cosa di eterna memoria, della
sede app** hauendo considerate il luogo, ha con I'opera di m. Pirro Ligurio,
in questi tempi architetto famoso, aggiuto a detto edifitio certe parti in
quattro cantonate con due loggi di piii, et un altro corridore pari al
vecchio, et dalla Parte uerso Tramontana per testa, e da quelle uerso il
mezzo giorno ancora, ha fatto poggi dritti capacissimi ornati di Statue
antiche, et ridottolo in forma di Teatro, lungo canne 65 J e largo 33^ che si
giudica una delle piu belle, et notabil cose che siano state fatte dalle
antiche in qua, et si puote chiamar, I'Atrio del piacere, doue facendouisi
festa alcuna, facilmente possano stare LX"^^ persone e piu, con comodita
d'entrar et uscire ciascuno a suo piacere, senza scomodo d'altri. Di che
ne ha dato, et dara alii posted, uero testimonio, la bellissima giostra, fatta in
questo Carneuale dell* Anno 1565 per consecratione del luogo, et per
honorare le Nozze dell' Illmo Conte Aniballe Alt*emps et 111™* S"
Ortensia Borromea, quale in altri fogli si h posta in luce.*
A separate account of this tournament exists, entitled Descrittione de
la Giostra fatta daV illmo et eccmo Sign or Conte Annibale Alta emps et da
altri sig7iori et cavalieri in Roma Nel Teatro di Belvedere ; il Camevale de
Panno MDLXV, In Roma per Antonio Blado impressor Camerale; and
contains a similar but smaller plan of the lower court. The description
given (ff. B. ii. sqq,) is as follows : —
* E questo luogo, un Cortile nel Vaticano tra'l Palazzo del Papa, e '1
giardino di Belvedere, di lunghezza 66 canne, e di larghezza 32. Da 1* un
de' capi verso tramontana, ha una scala,* nominata da Bramate famoso
Architetto che ne fu Tinventore : Questa cominciando dal piano del Cortile
se ne va dritta sagliendo con dolcissimi scalini di Treuertino sino a la
meti de la salita doue sbocca in un piano, che adomo di piedistalli, e di
statue, e di balaustri, ha in faccia una vaghissima fontana. Da le bande di
detta scala, sono scaglioni medesimamente di Treuertino k guisa di sedili,
quali no sono di minor comoditi, che siano di vaghezza k quel luogo per
goaer questi simili spectacoli, Dal detto piano si diuide la scala in due
Appendix IV. 85
* Da la Banda destraha il corridore, che va fino a le stanze di Beluedere,
cominciato da Giulio secondo, e finite da Paulo III, il quale e di quattr'
ordini ^ il primo Dorico, il secondo lonico, il terzo Corinto, e '1 quarto
composto. Da la qual bada destra h anco la porta principale, per onde
s'entra nel Cortile per di fuor di Palazzo. lo dico destra, per rispctto
d*esso Palazzo, e di Torre Borgia in particolare, da la quale io intendo
che s'habbia sennpre a pigliar la veduta in questo ragionamento. Da la
sinistra, ha un corrispondente h Taltro corridore, fatto da N. Signore Pio
Quarto.* II quale, e con questo, e con altri accompagnamenti, Y ha di
maniera accomodato, ed adornato, che gli si puo ben dar nome di Theatro.
Nel quale oltre k le comoditi, e di loggie, e di finestre, e di scale : furono
fatti molti palchi, et particolarmete da Tun de capi, nel piano de la fontana,
e da Taltro sopra il semicircolo. Et da Tuna, e I'altra banda infiniti altri
sopra i cornicioni, e sotto gli archi d'ambedue gli ordini de Puno, e Taltro
corridore :
Ordinandoli peri g modo, che la piazza, e le loggie attorno k lei,
restarono libere, per seruitio solo de' caualieri e de le genti loro. Et perche
nel mezzo di detta piazza era una gran conca antica,^ accommodata per
farci una fontana, doue, prima haueuano deliberato di tramutarla ne
r angolo destro de le scale di Beluedere, per accompagnarla con un' altra poi
ne Taltro angolo sinistro ; si risoluerono per hora di leuar anco questo
impedimento dal campo. Et cosi la fecero sotterrare vicino al medesimo
angolo destro, doue ancora si sta, hauendo anco fatto leuar tutte le pietre,
che vi erano per la fabrica del medesimo luogo, ed appurarlo con arena, e
con breccia per modo, che da tutte le parti era ugualissimo, e spedito. . . .
C. I. *deputado alquati gentil' huomini Romani, che hauessero cura di
accommodarle (le gentildonne di Roma) e di far che non solo non stessero
fra esse huomini, ma che non potessero manco passare per la porta donde
esse entrauano al detto loco, la qual porta era una nuouamente fatta k man
destra di Torre Borgia.' The spectators are said to have numbered about
30,000.
' S>ce 43* 45* This is the corridor on the E. in the wing where are now the Galleria
Lapidaria and the Museo Chiaranionti.
* This is the western wing : it is shown in the views of the Teatro (p. 83 supra) as having
only two orders ; but now has four, corresponding to the E. corridor.
• This is roughly indicated by Coner supra, 26.
ADDENDA ET CORRIGENDA.
P. 10, L 20, — It Ls to be noticed that the artist of tKe Berlin drawings has twice miscopied the
legends attached to Coner^s drawings, In 3826^ he has reptrtur (?) aput S. marnim for
rtptrta apttd S. marcum (78a}* and in 3827/^ antomnj for antonii (116^).
P, la, No, 23A. — It is hardly necessar>' to slate thai Maxtntiufi IniiU two hcroa in his son*s
honour, and that the one here mentioned is that situated in the Forum, in contradistinction
to that {6. 9 supra\ on the Via Appia.
P« 24, I. 22, — It should be noticed that Francesco d'01anda*s representation of the arcades at the
buck of the Nicchione does not agree with what wc know of the condition of the Cortile
di Belvedere at the time. It may, therefore, l)e to a certain extent fanciful. Baron
voD Geymiiller informs me that a plan of the Niccliione by a French architect (circa
1530-1540) is to be found in voK xii (according to Michaelis' list in AmietU Marblts in
Great Britain, 717-721 : the volume is entitled Mosaui Anticki^ vol. ii, and numbered
P. 248) of the Windsor drawings^ f. ijg ; on the verso is the beginning of the arcades of
ihc Cortile di Belvedere drawn in perspective, and on f. 142, 144, 145 are other plans —
possibly slTjdics by Bramante for the Vatican,
P, 34» No. 48. — Professor Michaelis has been good enough to infonn me that the engraving of ihc
Mcnologium ruiticiim V'allense cited by him occurs in the Munich copy (the volume is
lettered Arch. 248, and the plates are not numbered) of the Specuium Urbu Romae, It
bears the signature KonnE Ctaudij DttchctH formis.
P. JS, No. 67a. — It Ls noteworihy that Coner drew nothing on the Palaiine : the name paiaiium
matHi appears only here and 134^7, in both cases serving to indicate the position of the
temple of Castor and Pollux.
P. 43t No, 79. — The cornice represented in ihis drawing is not reproduced by the artist of drawing
No. ^iizj in the Kunstgewertx-'museum. The statement in the text is due to a confusion
with No. 116^.
P. 58, No, 118. ^The question of the relation between the three drawings of the Caryatid, which
in the text are all referred to the same original, is a somewhat difficult one. There is
little doubt as to the identity of the Caryatid drawn by Giuliano da Sangallo and by the
unknown author of the Kunstgewerbemuseurn drawing» though there is a slight difference
in their method of representing the hair at the sides and back of the head. But the
Caryatid drawn by Coner differs from these (i) in the absence of the roll of hair l)elow
the reel -and- but ton moulding, and the consequent enlargement of the egg and-darl
moulding ; (2) in the simpler arTangemem of the bair» without the knotted tress or
* forelock ' over the centre of the forehead. On the other hand, both the indication of
the site and the measurements as given by Coner agree closely with those of the Berlin
drawing (Giuliano da Sangallo gives neither). Dr. Htilsen informs me that the detailed
measurements of the latter are given in dita and minuti (i2tb and I44tb parts) of a foot»
which corresponds somewhat roughly to the ancient Roman foot (o"295 niitre)» A
comparison of a drawing on the same leaf of the base given by Coner in No, 136^ (that
of the columns of the pt:>rtico of the Pantheon) shows that a dito is equivalent to rather
more than 3 minuti of the braccio tiorentino, so that the detail measurements bring the
fool out at 0*35 metre <ir more ; ' but the width of the intercolumniations of the portico Ls
* This seems so excessive tliat Mr- Siuart Jones suggests that the Caryatid drawn by Coner
may be slightly larger than the other*
Mk
88
Addenda et Corrigenda.
given as 12 feet (the central one as 20 feet), and this would make the oot hardly
0*27 m^tre. The artist, whoever he may be, appears only to have copied some original
which is not known to me : for upon the same leaf he has drawings of the capital of the
pilasters of the Basilica Aemilia and of its Doric entablature, the former of which is
entitled * firuluario,' the latter * cornice di Farabino * — both corruptions of the name Foro
Boario (often applied to the ruins of this building by sixteenth-century artists — see
Lanciani, Storia degli Scaviy i. 94). But it cannot be assumed that the differences between
his representation of the Caryatid and that of Coner are due to carelessness on his part,
for Giuliano da Sangallo's drawing possesses, as we have seen, precisely the same
characteristics. It is a curious fact, however, that both Giuliano da Sangallo and Coner
show the same kind of plinth, and, further, that while the former has, immediately below
the front view of the figure, another view in profile, Coner places immediately below the
plinth a moulding which suggests the top of the capital of the head beneath. (The heads
in profile, which are drawn in pencil on the lower part of the leaf, are on a larger scale.)
But these considerations can hardly outweigh the differences already noted. We must,
therefore, suppose either that Coner has in this case rendered his subject with far less
accuracy than is usually the case, or that boih these Caryatids belonged to the same
building (probably some part of the Forum of Augustus) : and there seems to be no reason
why so slight a difference in type should make the latter theory an impossible one.
p. 59, 1. 4 sqq. — This paragraph applies only to the Caryatid drawn by Coner.
P. 61, No. 123. — Dr. Egger informs me that this capital probably belongs to the villa of Hadrian
near Tibur ; and the expression * a tibure ' may have this meaning in other cases.
Appendix I, p. 75 sqq. — Mr. W. M. Voynich has been kind enough to give me additional
information as to some of the less-known works mentioned in the inventory, which I
reproduce below : —
* Opus Jo. Vemeri ' — possibly Johannes de Vernay, 1473 (Hain 16014).
* Hieronis nyctf/id^Tiica.' There are many sixteenth-century editions of Hero's
* Opusculum Amerucii philosophi grecum cum figuris mathematicis.* Georgius
Amyrutzius (called Georgius philosophus), a Byzantine theologian, who died
about the year 1465.
* Etymologica Greca* — the *ETi;/ioXo7iicbi' /i^7a, 1499 (Ilain 6691).
* Fasciculus temporum' — the author is Werner Rolewinck (Hain 6914-6946).
'Summa Aritmetice et geometriae vulgari' — the author is Pietro Borgo (Hain
3659-3662).
* Acta Concilii Constantiensis.' See Hain 5608-9.
INDEXES.
I.— INDEX OF LOCALITIES.
The Fi^tres in Ordinary Type refer to the Pages of the Text, those in Heavy Type
to the Draiuings.
S. Adriano, Church of, 180a
AdrUno di Conieto, Cardinal, Palace of, 14,
116/
Aemilia, Rasilica, 77
Aeolus, Temple of (so-called), 6. 9
Aerarium romanum (so-called), 23^
S. Agnese, Temple of Bacchus (so-called) near,
see Constantia, mausoleum of
S. Agnese, Tomb beyond Church of, 8^, 75
Alhani. Villa, 1483
Alexandrinae, Thermae, 83^, b
S. Anastasia, Church of, 124^
S. Angelo, Castel, 96
S. Angelo in Pescheria, Church of, 63^
Antonietto delle Medaglie, House of, 142
Antoninus. Haths of, see Caracalla, Baths of
Antoninus and Faustina, Temple of, lOOf
Antonio antiquario, House of, 142
Apollo, Temple of (so-called, near Lake
Avemus), 193
SS. Apostoli, Church of, 140^
Arcivescovo di Fiorenza, House of the, 180a
Argentariorum, A reus, 60, 103
Argonautarum, Porticus, 112^
Arx Militum. 653, 89a, 106a, 113a, 1363
Attavati, Giardino, 130a
Attius Insteius Tertullus, House of, 16
Augustus, Forum of, 51a, 107, 118, 1243,
132^
Augustus, Obelisk of, in the Campus Martius,
69^
B
Bacchus, Temple of (so-called), 20
Baldassini, Casa, 82, 132r
S. Bartolommeo, Church of, 1253
S Basilio, Church of, 118, 1243, 132r
S. Bastiano, see S. Sebastiano
S. Biagio. Church of, 11
Bibulus, M. l*oplicius, Tomb of, 26
Belvedere, 25, 43-46, 78, 923, 933,
117
S. Blaxii, see S. Biagio, Church of
116a,
Caecilia Metella. Tomb of, 57, 69f
Caesa*-, 01)clisk of, see Caligula, Obelisk of
Caesar, Temple of (so-called), 15
Caligula, Obelisk of, 68</
Camigliano (or Camillo), Arco di, 873, 105<"
Campo Vaccino, see Antoninus and Faustina,
Temple of
Campus Martius, see Augustus, Obelisk of
Cancelleria, Palazzo della, 513, 6&:, 83<?, 119^
134/, 136^; i6
Canpolinis, Domus, see Ciampolini, Casa
Capitol, 23^^, 673, 8a/, 120/, 122^, 135, 153
Capua, Tomb at, 21a
Caput bovis, see Domitian, Obelisk of
Caracalla, Baths of, 22, 100a, 131a
Carcarara, 105^
Carceri Vecchie (Tomb at Capua), 21a
Cardinale di Cometo, Palazzo del, 14> Vihd
go
Index of Localities.
Cardinale di S. Giorgio, Palazzo del, see Can-
celleria, Palazz > della
Cardinale di S. Giorgio, Vigna del, 186f
Cassino, Villa of Varro at, 19a
Castor and Pollux, Temple of, 67a, 85, ld4ia
Castnim S. Angeli, see S. Angelo, Castel
S. Cecilia, Church of, 141r
SS. Celso e Giuliano, Church of, 18
Cestius, Pyramid of, 55
Ciampolini, Casa, 105^. 126^
Colosseum, 2-5, 89-41, 118*, d, 114^, 187r,
140^
Concord, Temple of, 126*
Constantia, Mausoleum of, 20
Constantine, Arch of, siS, 87a, 88a, 105a,
116^
ConsUntine, Basilica of, 16, 59, ISOa
Corvini, Tempio de (so-called), 26
S. Costanza, Church of, 20
S. Croce in Gerusalemme, Church of, 182*,
i8ai
S. Croce, Casa di, 125a
D
Del Nero, Vigna, see Nero, Vigna del
Delia Valle, see Valle. Casa ddla
Diocletian, Baths of, 8
Di S. Croce, see S. Croce, Casa di
Domitian, Amphitheatre of, j<^ Colosseum
Domitian, Arch of (so-called), 52
Domitian, Obelisk of, 69<:
Domus A urea Neronis, 162
S. Georgii, Palatium Cardinal is, see Cancel
leria, Palazzo della
S. Germano ( = Cassino), 19*
S. Giliae (see Sibillae, Templum), 19*
S Giovanni in Laterano, 104*. 184^, 144*, <=
151*. c
Giraud, Palazzo, 14, ll&Z
Gran Duca, Giardino del (Villa Medici), 128
H
Hadrian, Arch of (so-called), 52
Hercules, Temple of, at Tibur, 102
Horologium Vallense, 47, 48
I
lanus Quadrifi-ons (so-called), 58
Ingami, Vignn, 151*
S. loannes in fonte, see Lateran (Baptistery)
Iseum, 105^-, 112^
S. Isidoro, Piazza di, 155
Lamentmneus, Pons, see Nomentano, Ponte
Lateran (Baptistery), 68*, 116/, 182tf, 187./,
\Ud
Lateran (Basilica), see S. Giovanni in Laterano
Latina, Via, 27-80
S. Laurentinas, Church of, 84^
Liciniani, Horti, 15
S. Lorenzo in Borgo, Church of, 84^
S. Lorenzo fuori Ic mura, 84^. 152
Index of Localities.
91
S. Maria in Campo Carleo, 88^
S. Maria della Consolazione, Church of, 111^
S. Maria in Cosmedin, Church of, 140^
S. Maria in Domnica, see S. Maria della
Navicella
S. Maria libera nos penis infemi (S. Maria
Liberatrice), Church of, 120^
S. Maria Maggiore, Church of, 119a, 143
S Maria sopra Minerva, Church of, 87^
S. Maria della Navicella, Church of, 116</
S. Maria Nuova, Church of, llOfl, d
S. Maria Rotonda, see Pantheon
S. Maria in Spoglia Christo, Church of, 88^,
112^, 113a
S. Maria in Trastevere, Church of, 188/',
148a. r
S. Maria in Via Lata, Church of, 120^
S. Matteo, Church of, 120*
S. Mauto, Church of, 112^
Maxentius, Circus of, 6, 9, 69f
Medici, Villa, 128
Mercennatis, Palatium, ste Maecenatis, Palatium
Militiarum, Hostium, see Arx Militum
Milizie, Torre delle, see Arx Militum
Minerva, Temple of (in the Forum Transi-
torium), 90*, 109a
Minerva Medica, Temple of (so-called), 16
Minervae, Theatrum (so-called), 107
Mons Aureus, see S. Pietro in Montorio, Church
of
Mons Equuorum, see Qairinal Hill
Mulvitts, Pons (Ponte MoUe), 112^
N
Nero, Golden House of, 162
Nero, Vigna del, 131a
Nerva, Forum of, see Transitorium, Forum
Ncrvae imp., palatium (so-called), see Augustus,
Forum of
S. Nicola in Carcere, Church of, 106^, 119*,
141a
Nomentano, Ponte, %A, 76
O
Octavia, Portico of, 63^
Ostia, 4, 79
Pads, Templum, see Constantine, Basilica of
Palatium maius, see Castor and Pollux, Temple
of
Palma, Palazzo, 82, 132^
Pantheon, 13, 36-38, 61-63*, 66a, 86, 111,
134^, 136a
S. Paolo fuori le mura. Church of, 110^, 126a,
148^, 161^
S. Pietro in Montorio, Church of (* templet to di
Bramante' at), 21*, 33, 34, 66^
S. Pietro in Vaticano, Church of, 17, 31, 71*,
79, 90a, 116*, 161a
S. Pietro (at Tivoli), 148*
Plauiii, Tomb of the, 49
Popolo, Porta del, 94
Porcari, Casa, 98*
Porta Scura (at Tivoli), 102
Portogallo, Arco di, 62
S. Prassede, Church of, 66, 68a, 8&f, 122a,/
Fulcrum videre, see Belvedere
Quattro Capi, Ponte dei, \2Ad
SS. Quattro Coronati, Church of, 104a, 109*,
147r
Quirinal Hill, \\%c
Romulus, Heroon of (in the Forum), 23*
Romulus, Heroon of (on the Via Appia), 6, 9
S. Sabina, Church of, 121
Sacrae urbis, Templum (so-called), 23*
S. Salvatore, Church of, 136^, h
Saturn, Temple of, 166^
Savelli, Palazzo, and Savellorum, Amphi-
theatrum, see Marcellus, Theatre of
S. Sebastiano, Church of (on the Via Appia),
9,67
Septa, 120r
Septimius Severus, Arch of, 64, 96*, 144r,
147a
Septizonium, 7, 116^
Serapeum, 106^
Sibillae, Templum (so-called), near Lake
Avernus, 19*
Siena, Church of S. Francesco at, 139*
Sisto, Ponte, 116*
Solis Aureliani [?], Templum, 64<i, 81
Solis et lunae, Templa (so-called), 23a
Spoglia Christi, 88*, 112*, 113a
S. Statii, Platea, see S. Eustachio, Piazza di
92
Index of Localities.
Termini antoniane, see Caracalla, Baths of
Theatrum Capitolii, 23^
Theatnim Minervae, 107
Tibur, 95/ 100^, 102, 128. 124a, 148^
Tibur, Temple of Vesta (so-called) at, 24^, 82,
92a
Titi et Vespasiani, Palatium, see Titus, Baths
of
1 itus, Arch of, 66, 97, 116f , 184 , 187/ 144^.
147^
Titus, Baths of, 91a, 154
Tivoli, see Tibur
Trajan, Column of, 69a, 91^, r, 109//, 129,
184^, 186/
Trajan, Forum of, 65^, 88^. 89a, \\2h, 118a,
184^, 186^,/ 156/ 160
Transitorium, Forum, 89^, 90^, 109a, 158
Traslevere, 119//
S. Triniti dei Monti, Church of, 187a
Turcionim, Domus, 78
U, V
Valle, Casa della, 47, 48, 105^. 106^, 108.
120a, 158
Varro, M. Terentius, Villa of, 19a
Vatican Museum, Biga in the, \W^
Vatican Obelisk, 6&/
Vatican Palace, see Belvedere
Venus and Rome, Temple of, 28a, 64*, UOa, d
Vespasian, Amphitheatre of, see Colosseum
Vespasian, Baths of (so-called), 154
Vespasian, Temple of, 67^ 188/^, 158
Vesta, Temple of (so-called), at Rome, 24a
Vesta, Temple of (so called), at Tibur, 24-^,
82,92a
Ulpia, Basilica, 88*. 89a, 112/i, 118a, 184^.
186*,/ 156/ 160
S. Urbano, Church of, 112*
II.— INDEX OF PERSONS MENTIONED IN
THE TEXT.'
The Figures refer to the Pages of the Text,
Adam, James, I
Adam, Robert, i
Adriano di Corneto, Cardinal, i6
Albani, Cardinal Alessandro, i
Albertini, Francesco, 39
Albici, Hieronimo di, 32
Aldehen, Philippus, 77
Anonimo Gaddiano, 15 n. 1, 19
Anonyinus Magliabecchianus, 18
Antonetto delle Medaglie ( = Antonietto anti-
quario), lO, 69
Antonina Salutinensis, 78
Apocellus, Jacobus, 75, 79
Bemal, Joannes, 78
Bramante, 6 (see reflf. in loc, )
Catharina Lipsiensis, 78
Coner, Andreas, 3 sqq., 32, 33, 75 sqq,
Corneto, Cardinale di, su Adriano di Corneto,
Cardinal
Croll, Hermannus, 78, 79
I>ipel, Guntenis, 77
Eoskirchen, Joannes, 7S sqq*
Caller, Quirinus, 78
George III (of England), King, i
Giocondo, Fra, 28
S. Giorgio, Cardinale di, 35
Gxassis, Paride de, 19
Hugonius, Joannes, 79
Hugonius, Nicolas, 79
John III, Pope, 69
Laelius Podager, 18 n. 3, 40
Leo XI, Pope, 65
(Ottaviano Alessandro Medici)
Montane, G. B., i
Nicolas V, Pope, 26
Pelagius II, Pope, 72
Pius II, Pope, 68
Pucci, Alessandro, 33
Pozzo, Cassiano dal, i
Kiario, Raffaele, Cardinal, 35
Ricius, or de Ritib, Joannes, 75 sqq,
Robertis, Joannes Baptbta de, 79
Rucellai, Bernardo, 3, 4, 32, 33, 36
Rucellai, Giovanni, 70
Sander, Joannes, 75 sqq,
Sangallo, Antonio da, the younger, 6, 43, 44,
56. 57.
Saurius, Angelus, 4 n. I, 75
Schuryker, Blasius, 75 sqq,
Schutz, lacobus, 79
Soane, Sir John, I
Trunnilus, loannes, 79
Ursulina Veneta, 79
* The Names of Authors of Books and MSS. belonging to Andreas Coner, which occur only
in the inventory of his goods (App. I.)* are not indexed.
III.— INDEX OF DRAWINGS BY OTHER ARTISTS
(INCLUDING EARLY OR RARE ENGRAVINGS i) CITED IN
THE TEXT.
DRAWINGS BY UNKNOWN ARTISTS ARE CLASSIFIED ACCORDING TO
THE LIBRARIES IN WHICH THEY ARE PRESERVED.
The Figures in Ordinary Type refer to the Pages of the Text^ those in Heai.>y Type
to the Drawings,
Agostino Veneziano. Bartsch, No. 541, 146
Alberti, Cherabino. Cod, Borgo S. Sepotcro,
140^
Angelis, De. Basilicae S. Mariae Maioris
descriptio, pp. 86, 87, 119a
* Anonymus Destailleur.* Berlin, Kunstgrivtr-
be museum, A 376, 12, 105a ; 20^ 148^
Berlin, Kunstgewerbemuseum, Drawings by
unknown artists. A 376, 37, 52 ; 3826,
3827, 3829, (figs. 3. 4. 6) see App.
IIL
Donati, Lorenzo. Uffiii, 1842^, 108a
Dosio, Giovanni Antonio. Ufizi^ 2010, 180a,
182^ ; 2038, 95a ; 2039, 21 b ; 2041, 2042.
84 ; 2528," 52 ; 2559, 25 ; 4316, 144</
Engravings by an unknown master, Ma,
105a
Gallaccini. Cod, Sien. S. iv. 3, 60^, 189^
Giocondo, Fra. Cod, Chatsworth, 91*, 124«/
Uffiti, 1535. 124*: ; 1539. 116/; I540^ 11^6 ;
1541. 87^ 109* ; I542^ 116/; 1692, 84^ ;
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Name.
Brought forward
Oxenham, Rev. F. N
Paul,;. D
Pawson, A. H
Peckover, A. ^
Penrose, Miss Emily
Peterhouse, Master of
Phelps, Rev. L. R
Phillimore, Prof. J. S
Pickering, T. E. (2 years)
Pogson-Smith, W. G
Pollock, Sir F., Bart
Poole, R. L
Prothero, G. W
Purser, Prof. L. C
Ramsay, Prof. G. G.
Ramsay, Prof. W. M
Rawlins, F. H. ..
Reid, ProfJ. S
Rendall,M. J
Ricardo, Mrs.
Richards, H. J
Robinson, Very Rev. J. Armitage (Dean of West-
minster)
Rodd, Sir Rennell, K.C.M.G
Rotton, Sir J. F., Kt. K.C.
Rushforth, G. McN
Rustafjaell, R. de
Rutson, Mrs. A
St. John's College, Oxford, President of
Sanday, Rev. Prof.
Shipley, A. E
Shoobridge, L.
Smith, A. H.
Squire, W. Barclay
Stanton, Rev. Prof.
Strong, Mrs. S. A
Swete, Rev. Prof.
Thurnam, Dr. R
Tilley, A
Trinity College, Oxford, President of
Tuckett, J. J.
Verrall, A. W
Wace, Mrs.
Wace, A. J. B. (Donation to Library)
Waldstein, Dr. C
Walker, Rev. E. M
Warr, Mrs. G. C. W
Watson, Miss
Watson, G. A.
Watson, Mrs. G. A.
Webb, B. H
Wells,]
Whitley, E.
Carried forward
Subscription.
Donation.
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443
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