99 (Fortsetzung)

In the 1550s and 1560s Dosio was often in Rome, and from 1566 to 1576 his activities were fairly centered there. Aside from his tomb monuments of these years, he was engaged not only as a draftsman in a wide-ranging documentation fo ancient monuments and inscriptions as well as modern edifices but also in the sale of his own drawings, and of prints and drawings in his possession [FN 20: See especially Walcher, "Dosio", pp. 201-205, 224-238.]. These activities brought him into contact with the circle of publishers, printers, and sellers of prints and drawings who were involved in the common enterprise of disseminating the image of the ancient and modern Rome throughout Europe. Among Dosio's many projects some were never completed, for instance, his archeological and epigraphical volume, or his survey of ancient and modern buildings in carefully measured drawings for an architectural treatise, but other project reached fruition. In 1561 his plan of Rome was published by Bartolomeo Faleti, in 1565 Bernardo Gamucci`s Libri quattro delle antichità della città di Roma appeared with twenty-four woodcuts based Dosio's drawings, and then in 1569 his fifty views of Rome were published by Giovanni Battista De'Cavalieri in the Urbis Romae aedificorum illustriumque supersunt reliquiae [FN 21: Modern reprint under the title Le antichità di Roma, intro. Franco Borsi (Rome, Edizione Colombo, 1970).]. 

Frenchmen such as Antonio Lafreri and Étienne Dupérac figured prmoninently in this circle of printers and publishers. In fact, Dosio had dealings with Lafreri and his partners Antonio and Francesco Salamanca [FN 22: ...], and an anonymous French draftsman, identified tentatively as Dupérac by Fabriczy, [FN 23: Cornelis von Fabriczy, "Il libro di schizzi d'un pittore olandese nel museo di Stuttgart", Archivo storico dell'arte 6 (1893), p. 114.] provided eight of the preparatory drawings for Dosio's //Urbis Romae//. [FN 24: Walcher, Dosio, p. 204]. Such large publishing enterprises as Lafreri's Speculum Romanae Magnificentiae drew on the work of a number of draftsmen in Rome, some of whom where French [FN 25: See Christian Hülsen, "Das Speculum Romanae Magnificentiae des Antonio Lafreri", Collectanea Variae Doctrinae Leoni S. Olschki (Munich, 1921), pp. 121-170.] And Dosio apparently found a market for his own drawings. He, too, perhaps utilized copyists to increase his output, for he felt is necessary to specify certain of the architectural drawings that he offered for sale to Niccolò Gaddi as "di mia mano" [FN 26: Lettere III, p. 300. For Dosio and Gaddi see especially Valone, Dosio and his patrons, pp. 166-243]. 

Thus it should not be surprising to discover some of the draftsmen of the Scholz Scrapbook at work in this ambit frequented by French artists. This picture agrees with that suggested by the connection of some of the scrapbook drawings with Lafreri`s Speculum and with Dupérac's engravings by Moore and Wittkower [FN 27: Moore, Villa Giulia, p. 191, and Wittkower, Cupola, pp. 101, 102, 103, 107; see also Frommel, Römishce Palastbau, II, p. 6 and III, Pl. 6g and 6h.]. In any event the Scholz copy of Dosio's drawing of the Sant'Apollonia portal cautions against forming conclusions concerning the nationality of the draftsmen of the scrapbook's architectural drawings simply on the basis of the language of the inscriptions, for the draftsman of Scholz 49.92.60 transcribes completely and accurately, even imitating an occasional mannerism of the script in his model [FN 28: Compare in the two drawings the horizontal inscriptions beginning "el vano" and note such pecularities as "i" rather than "I".]