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 Roinae antiqui sculptures ex acre et
marmore faciebant' (Bartsch, Le Peintre-graveur, xiv, p. 387, No. 541).
147. (ipv) 19 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 S" Quattro.'
This corbel (added by the later hand) is no longer to be seen at the
church.

148. (20v) 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 i6oov (Antonio da Sangallo the
elder [?]), questo chapitello e in santa maria in trasteuere in terra.
b. 'in tiburel
It resembles a capital drawn by the ' Anonymus Destailleur,' a St.
pietre in tioli (Kunstgewerbemuseum A 376, 20v). The same capital
seems to be shown by Piranesi, Magnificence dell' Arcliitettura Romana
tav. xx, who describes it as ' in villa Card. Alexandra Albani extra portain
Salariaml
c is also very like the ' cap itello d. santo apostolo' of Uffizi I598v
(Antonio da Sangallo the elder [?]). Compare also Sexlio, Architettura, lib. iv
[1562] 38v P.
d. 'a S. paulol
One of the capitals of the older church, no doubt. It is shown by
Sansovino (Uffizi 4327) without any indication of locality.
149, 150. (22v, 22) are similar to 146, 147, though 150 must be an
actual window, for the measurements are given.