Progetto Euploos

Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi

Scheda Catalogo "2104 A"

Apri Immagini Opera
Scheda aggiornata al 28-11-2019
Opera 2104 A
  • inv. 2104 A
  • Cordini Antonio detto Antonio da Sangallo il Giovane (1484/ 1546)
  • cerchia
  • Pianta e sezione di colonna con iscrizione greca
  • Tecnica e materia: penna e inchiostro, inchiostro diluito, stilo su carta
  • Misure: 433 x 278 mm
  • Stemmi, emblemi, marchi: timbro a inchiostro di collezione: Reale Galleria degli Uffizi (Lugt 930) sul recto in basso a sinistra


  • autore ignoto di epoca antica (di mano dell'artista ?): "[IG, v. XIV, n. 1390]", a penna sul recto al centro
  • autore ignoto cinquecentesco: "B/ questa ella/ piantta di/ quella sen/ gmatta B", a penna sul recto in basso a destra
  • autore ignoto cinquecentesco: "A/ questa ella/ piantta di/ quella sen/ gmatta/ A", a penna sul recto in basso a destra
  • autore ignoto cinquecentesco: "B", a penna sul recto in basso a destra
  • autore ignoto cinquecentesco: "A", a penna sul recto in basso a sinistra
  • P. N. Ferri: "2104", a matita blu sul verso in centro
  • P. N. Ferri: "autore della serie/ 1612-", a matita sul recto in basso a destra
  • autore ignoto ottocentesco: "38", a matita sul recto in alto a sinistra
  • autore ignoto di epoca antica: "38", a matita sul recto in basso a destra

Notizie storiche e critiche

Inv. 2104 A, by an anonymous sixteenth-century Italian draftsman in the circle of Antonio da Sangallo the Younger, depicts one of the two cipollino columns originally from the now-destroyed Temple of Proserpina within the Triopion of Herodes Atticus between mile II and III of the Via Appia Antica, and which are now in the Museo Nazionale di Napoli . It is closely related to inv. 2105 A by the same artist, whose drawings were previously catalogued under two authors: Antonio da Sangallo the Elder and Pietro Rosselli . The provenance of the drawing cannot be identified with any certainty. A large number of the sheets by this hand can probably be considered as originally part of the Vasari-Mariette Album, part of Vasari’s famous "Libro de’ Disegni", which entered the Uffizi collection in late July 1798 . Based on its subject matter, inv. 2104 A probably did not belong to the series within the ‘Libro’, which Luigi Scotti described in 1832 as “N° 24 Disegni di Cornicioni, Capitelli, Basi, il tutto disegnato a Roma dai monumenti antichi” . The excellent condition of the large sheet, showing no signs of having been folded to fit into a volume, and lacking the obvious traces of glue that characterize the sheets with Vasarian provenance, is a further suggestion that the sheet reached the GDSU by way of a different source. The drawing was probably included in the large sale of eight volumes of architectural drawings by Gaspero Pitti Gaddi to the Reale Galleria degli Uffizi in 1778 . The handwriting allows us to discard both Antonio da Sangallo the Elder and Pietro Rosselli as the artist . As was observed by Lotz, drawings by this hand also appear in the collection of the Casa Buonarroti and the Graphische Sammlung Albertina, connecting our draftsman to Michelangelo’s workshop as well as Antonio’s . The latter’s metrical annotations on inv. 2104 A (and most of the sheets by this hand), link them more strongly to him, but the identification of a specific name will necessitate the discovery of additional documentation. The other sheets in the collection date to the second quarter of the sixteenth century before Antonio’s death in 1546; the dating for inv. 2104 A must be similar. Pasquale Nerino Ferri describes the subject as “una colonna di Erode Attico [...], esistente in Napoli” (card catalogue). The three drawings on the sheet are two elevations with wash, of each side of the column, and a schematic plan of the column shaft. The column’s inscription is accurately transcribed in full within the elevation drawings . Herodes Atticus was a Greek-born Roman senator and philosopher the Triopion, a complex of temples and memorial monuments, on land once belonging to his wife, Annia Regilla. The site on the Via Appia is the same where the Emperor Maxentius would later construct his Roman villa, near the tomb of Cecilia Metella . The two cipollino column shafts shown in invv. 2104 A and 2105 A are the only remnants of the Temple of Proserpina, a small round ‘tempietto’ with a Corinthian portico in antis, destroyed sometime during the papacy of Paul III Farnese (1534-1549), at which time the massive shafts were transported to the Vigna Farnese in Trastevere . As recorded by Winckelmann , they were transferred from the Palazzo Farnese to the Museo di Portici in Naples in September 1761. The columns were known by the first decade of the 1500s: their inscriptions were recorded in the later Florentine and Veronese versions of Fra Giocondo’s silloge . Though the inscriptions on the columns were often recorded, the number of known measured drawings of the columns themselves is quite small. The only other drawings so far identified are those by Pirro Ligorio, who attempted a reconstruction of the Temple of Proserpina on fol. 75 r./v. of the Codex VIII B 10 in Naples, of which a partial copy exists in the Codex Ursinianus fol. 31 r. . Ligorio’s drawing of the columns is accompanied by a plan and reconstructed elevation of the temple; it is clear that he records the column shafts and their inscriptions as the primary extant evidence of the ancient structure. Ligorio describes the temple as “molto ruinato” and “affatto guasto [...] pochi anni fa” . In contrast, invv. 2104 A and 2105 A are exclusively records of the columns as architectural objects, measured and accurate down to the archaicizing style of the lettering in which the inscriptions were cut. The draftsman makes no mention of the columns’ original location, suggesting that the drawings were probably made after the columns were acquired by the Farnese. It also seems likely that the similar pair of measured column shafts in invv. 2106 A and 2107 A were recorded during the same period; they probably depict other ancient columns in the Farnese collection. Greek inscriptions are extremely uncommon in the drawings of Antonio da Sangallo il Giovane and his workshop; Antonio himself seems to have had virtually no knowledge of the language . The rationale for such careful drawing of these otherwise mundane column shafts must have been the rarity in Rome of similar objects. The language would also have been reminiscent of Vitruvius, who frequently used Greek-language terminology for architectural forms and details. Nothing in the drawing suggests that the draftsman knew the Greek language; it is in fact more probable, considering the typical education of an architect or surveyor and the lack of the draftsman’s typical explanatory captions in Italian, that the inscription was copied without understanding its meaning. (Cara Rachele 2012)


  • 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. XL, 100
  • Davies P. 2014
    Davies P., The Hidden Signature: Scale Keys in Italian Renaissance Architectural Drawings, in Pegasus, XVI, 2014, p. 148 nota 32
  • Petrioli Tofani A. 2014
    Petrioli Tofani A., L'inventario settecentesco dei disegni degli Uffizi di Giuseppe Pelli Bencivenni. Trascrizione e commento, Firenze, 2014, v. IV p. 1566
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