Progetto Euploos

Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi

Scheda Catalogo "1321 A"

Apri Immagini Opera
Scheda aggiornata al 02-12-2021
Opera 1321 A


  • autore ignoto cinquecentesco: "questa e lla tterza partte del palmo chon che/ e misuratta e parttitto in 60 minu[tti] [iscrizione tagliata]", a penna sul recto in basso a destra
  • autore ignoto cinquecentesco: "in questo fregio ciera/ inttalgliatto moltti/ bellisimi folgliami", a penna sul recto in alto a sinistra
  • autore ignoto cinquecentesco: "questa fu chavatta a navona sotto una chiesa/ a presa alla chasa della chonttesa di masa", a penna sul recto in alto a sinistra
  • Antonio da Sangallo il Giovane: "lo palmo romane sie partito in minuti 60/ questo sie la tertia parte del palmo/ romano & sie lo palmo antico/ quale e minuti 20/ Questo palmo anticho e lungo due palmi/ di latisognio/ palmo antico", a penna sul recto in basso a destra
  • P. N. Ferri: "1321", a matita blu sul verso al centro

Notizie storiche e critiche

Inv. 1321 A belongs to a corpus of twenty sheets of antique Roman details by an anonymous sixteenth-century Italian draftsman in the circle of Antonio da Sangallo the Younger. It was originally part of Giorgio Vasari’s drawing collection, the so-called "Libro de’ Disegni", at least one volume of which ended up in the collection of the French antiquarian Pierre-Jean Mariette and later in that of Jean-Baptiste Séroux d'Agincourt before being sold to the Uffizi in July 1798 (Ragghianti Collobi 1973; Eadem 1974; Belluzzi 2010). Séroux d’Agincourt reproduced the sheet in his ‘Histoire de l’art par les monumens’ (1823), making it possible to definitely ascribe it to Vasari’s collection; as the French historian noted, "ces études inédites jusqu'à ce moment sont tirées d'un recueil de dessins d'architecture, qui après avoir fait partie de la collection de Vasari et de celle de M. Mariette, passa en 1775 dans la mienne" . Inv. 1321 A, along with the other drawings from the Séroux d’Agincourt acquisition, became the contents of the “cartella 212” described by Luigi Scotti in his 1832 catalogue (See also the catalogue entry for inv. 829 A bis.). Ferri describes the subject of the drawing as follows: "Trabeazione cavata a Navona presso la casa della contessa di Masa", based on the draftsman’s label: "fu chavatta a navona sotto una chiesa/ a preso alla chasa della chonttesa di masa". It seems to be from an Ionic or Corinthian order. It was the scholar Rodolfo Lanciani (1897) who first linked the image to the entablature of the Stadium of Domitian, perhaps from the excavations made in the area (the present day Sant’Agnese in Agone) in 1511, although an entablature similar to the piece depicted has not been found. In comparison to other ancient fragments copied by this draftsman, representations of this entablature are remarkably few. The only definitive image we have found is fol. 7 (upper left) of the Album Oz. 114 in the Kunstbibliothek in Berlin; that anonymous drawing cannot be dated any more precisely than the first half of the sixteenth century . Inscribed above the Berlin image, in a second hand, is “in Roma trovato in agona era d[e]l portico d[e] alexandro pio" (that is, Alexander Severus, the emperor who restored the Stadium of Domitian), which supports Lanciani’s identification. The group of detail drawings in the Kunstbibliothek is one of several similar exemplars now in various collections in Europe ; this particular entablature, however, is not drawn elsewhere. The sheets by this hand frequently bear comments and measurements by Antonio da Sangallo the Younger, in addition to descriptive notes by the draftsman. In the case of inv. 1321 A, Antonio’s notes focus primarily on the unit of measure, converting the scale at bottom right into antique ‘palmi’ from the sixteenth-century Roman ‘palmo’ used by the draftsman in the orthographic drawing at right (the ‘ratio’ between the two is 1:3 ). The final result, two ‘palmi’ of two different sizes, makes the drawing somewhat difficult to understand. The antique ‘palmo’, as compared to the larger ‘piede’, is very rare in Renaissance drawings. Antonio uses it here in order to measure the fragment with an appropriately ancient unit, reflecting the active interest in antique measures on the part of Antonio and other architects and humanists during the period . The third hand on the sheet, which Scaglia calls the “Anonymous North Italian 1 not Fra Giocondo”, executed sixteen other works in the GDSU collection . We unfortunately know very little about this artist as well, other than the fact that his spelling suggests a northern Italian origin. The “Anonymous North Italian”’s note observes the beauty of the antique fragment: “in questo fregio ci era inttagliatto moltti bellisimi folgiami”, and the past tense leads one to wonder if the fragment had since been destroyed. The absence of other notes in this third hand on other sheets by the inv. 1321 A artist, as well as the fact that no drawings by the “Anonymous North Italian” bear any notes by Antonio il Giovane, make it difficult to definitely establish the relationship between the three artists, or even the order in which the notes were added. The drawing, however, clearly passed through the hands of the northern Italian artist: he may have been present in the Sangallo workshop. Inv. 1321 A is particularly interesting for its use of orthogonal representation. Judging from the precision of the execution and the extensive stylus marks, this is a clean copy of another sheet that no longer exists. It is unusual, furthermore, to see a pure orthographic elevation combined with a more volumetric perspective: artists of the period usually preferred one mode over the other, and this is the only such example in this series. The cornices that he draws in inv. 1634 A (GDSU), by contrast, combine sectional profile and the ornamental details in a single flattened representation. It was probably the greater structural complexity of the fragment shown in inv. 1321 A that led the artist to draw it in this manner. Compared with other architectural detail drawings of this period, the inv. 1321 A draftsman stands out for his careful attention to volumetric detail; nevertheless the execution of the chiaroscuro is more directed towards clear articulation of volumes that naturalistic accuracy (for example in the sharp shadowing of the right volute). (Cara Rachele 2012)


  • Seroux d'Agincourt J. B. L. G. 1823
    Seroux d'Agincourt J. B. L. G., Histoire de l'art par les monuments, depuis sa décadence au IVe siècle jusqu'à son renouvellement au XVIe, Paris, 1823, v. III p. 59, v. VI tav. LVI
  • Ferri P. N. 1885
    Ferri P. N., Indice geografico-analitico dei disegni di architettura civile e militare esistenti nella R. Galleria degli Uffizi in Firenze, Roma, 1885, pp. XXXIX, 206
  • Lanciani R. 1897
    Lanciani R., The ruins & excavations of ancient Rome. A companion book for students and travelers, Boston, 1897, pp. 499-500
  • Bartoli A. 1914-1922
    Bartoli A., I monumenti antichi di Roma nei disegni degli Uffizi di Firenze, Roma, 1914-1922, v. VI p. 34, v. I tav. XCIV fig. 173
  • Ragghianti Collobi L. 1973
    Ragghianti Collobi L., Nuove precisazioni sui disegni di architettura del "Libro" del Vasari, in Critica d'arte, XX, 130, 1973, p. 42, fig. 5
  • Ragghianti Collobi L. 1974
    Ragghianti Collobi L., Il Libro de' disegni del Vasari, Firenze, 1974, v. I p. 103, v. II tav. 159 fig. 303
  • Lotz W. 1979
    Lotz W., Sull’unità di misura nei disegni di architettura del Cinquecento, in Bollettino del Centro Internazionale di Studi di Architettura Andrea Palladio, XXI, 1979, pp. 226-227, fig. 116
  • Günther H. 1988
    Günther H., Das Studium der antiken Architektur in den Zeichnungen der Hochrenaissance, Tübingen, 1988, p. 230 nota 107
  • Lanciani R. 1989-2002
    Lanciani R., , in Malvezzi Campeggi L., Storia degli scavi di Roma e notizie intorno le collezioni romane di antichità, Roma ,1989-2002, v. II p. 260, v. II fig. 177
  • Thoenes C. 1990
    Thoenes C., Zur Frage des Maßstabs in Architekturzeichnungen der Renaissance, in Kummer S./ Satzinger G., Studien zur Künstlerzeichnung, Stuttgart ,1990, p. 53 nota 19
  • Scaglia G. 1995
    Scaglia G., Drawings of "Roma antica" in a Vitruvius edition of the Metropolitan Museum of Art : part III, in Römisches Jahrbuch der Bibliotheca Hertziana, XXX, 1995, pp. 259-260 n. 52, 276 sotto n. 155
  • Andreani F. 2009
    Andreani F., Quaderni dell'arte della città: Roma, Roma, 2009, v. I p. 98 nota 11
  • Belluzzi A. 2010
    Belluzzi A., Il collezionismo dei disegni di architettura nel Cinquecento, in Opus incertum, V, 2010, p. 96 nota 28
  • Davies P. 2014
    Davies P., The Hidden Signature: Scale Keys in Italian Renaissance Architectural Drawings, in Pegasus, XVI, 2014, pp. 143, 148 nota 32, 149 nota 43, ripr. a p. 143
  • Firenze 2019-2020
    Conforti C. et al., I cieli in una stanza. Soffitti lignei a Firenze e a Roma nel Rinascimento, catalogo mostra Firenze, Gallerie degli Uffizi/ Sala Edoardo Detti e Sala del Camino 2019-2020, Firenze 2019, p. 74 sotto il n. 2 (scheda a cura di Modolo M.)
  • Rosenberg P. / Barthélémy-Labeeuw L./ Delcroix M.-L./ Lumetta S. 2019
    Rosenberg P. / Barthélémy-Labeeuw L./ Delcroix M.-L./ Lumetta S., Le libro de dessins d'architecture de Giorgio Vasari de la collection de Pierre Jean Mariette, in , Les dessins italiens de la collection Mariette. Écoles italienne et espagnole, Paris ,2019, p. 1369
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