Drawings Attributed to Andreas Coner.

53

d. 'ante s. nicolau(m) in carcere tullianil
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 (porta de uno tempo exastilos
a sto nicola in carcere tulliano p(ro)pe theatrifyn) inarcelli) is, on the other
hand, different.
107. (82)
a. Unnamed.
b. ' reperta no(n) lunge a teatro inineru(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. (82v) A drawing by the later hand.
a. 'In casa de Sigri 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(d)el
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)tor(uin) 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 Giocondo