23 = A.IX / 1, S. 23

The two older men [Fra Giovanni Giocondo und Giuliano da Sangallo – B.K.] seem to have lived long enough to transmit to Raphael a passion for the study of ancient architecture, leading to a collaboration with the humanist Fabio Calvo (c. 1440–1527) on a translation of Vitruvius into Italian, intended for publication, which surpassed that of Giocondo in its interpretation of the notoriously difficult text. [FN 64: Fontana/Morachiello 1975; Pagliara 1984–1986, p. 41; Nesselrath 1993, pp. 171–4.]. Leo X also commissioned Raphael to make a graphic reconstruction of all the buildings of ancient Rome. The project is announced in the famous letter from Raphael to Leo X, traditionally dated to 1519 but possibly from as early as 1514. [FN 65: The letter exists in two drafts a year apart: Golzio 1971 pp. 82–92. See Nesselrath 1986 for the best commentary on the letter. The earlier dating, challenging the traditional date of 1519 for the first draft, was proposed by Shearman (1977, p. 137f.) and is supported by Nesselrath (1986).] In it, Raphael laments the deconstruction of the monuments of the ancient Rome in order to build the new [FN 66: Golzio 1971, pp. 82–4.], and then discusses the reconstruction project [FN 67: Golzio 1971, p. 84.]  He goes into surprisingly technical detail on how to measure an individual building, in order to produce drawings in plan, elevation and section of each monument in orthogonal projection [FN 68: Golzio 1971, pp. 87–90.]. While allowing that perspectival drawings may also have their uses for aesthetic reasons, he categorizes perspective as the 'mode of the painter', as opposed to that of th architect, the orthogonal system, which must have primacy [FN 69: Golzius 1971, p. 91.]. The enthusiams for the use of [=> S. 24]