DOI article:
Ashby, Thomas: Sixteenth-century drawings of roman buildings attributed to Andreas Coner
DOI Page / Citation link:https://doi.org/10.11588/diglit.70293#0072
6o
The British School at Rome.
120 (91) a. 'in domo auallisl
This capital was drawn by Fra Giocondo (Uffizi 1882) ' in chassa della
ualle pistilliil
No measurements are given.
b. '/rope 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 e di Santo Matteo Roma.' The only church dedicated to
St. Matthew in Rome in the 16th century was S. Matteo in Merulana
(Armellini, op. cit. 244).
c. 'apud S .maria(m) in nia 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 capitulum tuscianu(m).
I cannot trace this capital.
e. ' rep(er)to apud S . maria(m) libera nos penis infernil
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 of the
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—6—25—570—iv (repro-
duced in plate A) of the British Museum collection, which is attributed
to Michelangelo and accepted as genuine by Berenson (Drawings of
Florentine Painters, ii, pp. 88, 89, No. 1506). The similarity between the
drawings is too close to be accidental, especially having regard to the fact
that the capitals were scattered all over Rome: and it will be clear that
Coner did not copy the so-called Michelangelo. The drawing in the
British Museum is of the same size and style and belongs to the same
sketchbook as those in the Casa Buonarroti, with which it must stand or
fall: so that Berenson's acceptance of the former and tacit rejection (vol. ii,
p. 77 n.) of the latter as genuine works cannot be defended (supra, p. 8).
121. (9iv) 'a s° Sauinal
It is not now extant. Giuliano da Sangallo (Barb. 15) drew this same
The British School at Rome.
120 (91) a. 'in domo auallisl
This capital was drawn by Fra Giocondo (Uffizi 1882) ' in chassa della
ualle pistilliil
No measurements are given.
b. '/rope 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 e di Santo Matteo Roma.' The only church dedicated to
St. Matthew in Rome in the 16th century was S. Matteo in Merulana
(Armellini, op. cit. 244).
c. 'apud S .maria(m) in nia 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 capitulum tuscianu(m).
I cannot trace this capital.
e. ' rep(er)to apud S . maria(m) libera nos penis infernil
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 of the
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—6—25—570—iv (repro-
duced in plate A) of the British Museum collection, which is attributed
to Michelangelo and accepted as genuine by Berenson (Drawings of
Florentine Painters, ii, pp. 88, 89, No. 1506). The similarity between the
drawings is too close to be accidental, especially having regard to the fact
that the capitals were scattered all over Rome: and it will be clear that
Coner did not copy the so-called Michelangelo. The drawing in the
British Museum is of the same size and style and belongs to the same
sketchbook as those in the Casa Buonarroti, with which it must stand or
fall: so that Berenson's acceptance of the former and tacit rejection (vol. ii,
p. 77 n.) of the latter as genuine works cannot be defended (supra, p. 8).
121. (9iv) 'a s° Sauinal
It is not now extant. Giuliano da Sangallo (Barb. 15) drew this same