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Wittkower, for instance, noted the close correspondence of some of the Scholz drawings of the cupola of St. Peter's (especially 49.92.1 and 49.92.20v) with Dupéracs engravings of St. Peter's, concluding, that the entire St. Peter's series represents Dupéracs preparatory work for his engravings on 1564-65 and copies made in his studio. [FN 6: Wittkower, Cupola, p. 107] Tolnay, however, rejected the view that these drawings are either preparatory drawings for Dupéracs engravings of copies after them [FN 7: Tolnay, "Newly Discovered Drawings", p. 66]. Nonetheless, Tolnay has noted that seventeen of the Scholz Drawings are copies from Drawings by Dosio of Michelangelo`s Florentine architectural works (Uffizi Dis. 1930A-1939A and 1941A-1947A) [FN 8: Tolnay, "Newly Discoverd Drawings", p. 65]. Similarly, Wurm observed the close connection of the Scholz drawings of the Palazzo Massimo alle Colonne with other sheets in the Uffizi [FN 9: Wurm, Palazzo Massimo, p. 53]. And, in a study

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of the elaborate Scholz drawings of the Villa Giulia, Frances Land Moore tentatively concluded that the drawings of the Villa Giulia (as well as the Lafreri engravings of it) ultimately derive from earlier drawings made, in part, during the construction of the villa, a body of drawings that included several sheets now in the Royal Institute of British Architects, London. But, since she could not discover a direct, immediate connection between the Scholz sheets and still existing, identifiable drawings, Mrs. Moore suggested that in some cases the Scholz drawings resulted from a conflation of several graphic sources with firsthand measurements executed at the villa itself [FN 10: Moore, "Villa Giulia", p. 192.].