315 = A.IX / 1, S. 315

[…]

The annotians generally provide precise information on the location of the monuments and on building details, especially materials, in a formulaic manner not unlike some of the annotations on the drawings in the Berlin Codex Destailleur 'D', which record many of the monuments within the walls of Rome as well as some in the Campagna, and are annotated in a mixture of French and Italian [Figs 11 and 12].

Kommentar: Das Nebeneinander von Italienisch und Französisch in den Anmerkungen des Berliner Codex Destailleur D als "mixture" = Mischung zu beschreiben, ist irreführend, handelt es sich doch durchgehend eindeutig um die Versuche der französischsprachigen Zeichner, Italienisch zu schreiben, d.h. sie "vermischen" nicht beide Sprachen, sondern "färben" ihre Anmerkungen mit französischen Elementen. Das Wort "Mischung" suggeriert eher, es gäbe sowohl französische als auch italienische Anmerkungen, die dann vermutlich von verschiedenen Händen stammten. Diese Darstellung wäre jedoch falsch.

[…]

The systematic recording of the monuments and the detailed annotations in the two keyed series of c. 1570 suggest they were executed as part of a larger project and not solely for the draughtsman. Despite the similarity to Ligorio's drawing conventions, there is no evidence to suggest that the Anonymous Portuguese was working for Ligorio, who left Rome for Ferrara in 1568. Dosio was compiling material for his treatise on architecture in the early 1570s, but we have no indication that he was enlisting collaborators either (Valone 1984, p. 114), although the similarities between his drawings of details of the Pantheon and those of 139/140 might suggest contact. A more intriguing possibility is that the draughtsman was working on the great project described in a letter of 1569 by Dosio's friend and collaborator Guglielmo della Porta (fl. 1534–d. 1577) (see p. 30) to record all the ancient buildings in Rome and its vicinity (Fairbairn 1998, II, p. 544f.). He specifically states that this will be a collaborative effort, with the work shared out among the many experts in Rome and that it would be finished in a short time. Although we have no firm evidence that the project even began, it is tempting to regard both the Codex Destailleur 'D' and the present drawings as parts of it, the latter executed at the time of Guglielmo's letter. Such projects ultimately go back to the scheme to draw reconstructions of all monuments of ancient Rome projected by Raphael in his famous letter to Leo X, usually dated 1519 (Golzio 1971, p. 84f.). It may also be worth noting that Philibert de l'Orme's Architecture (fol. 131), which describes his own collaboration with other craftsmen to measure and draw ancient remains, was first published in 157 (Nesselrath 1997).

Kommentar: Es mag Campbell "tempting" erscheinen, den Codex Destailleur D als Teil des von Porta skizzierten Projekts zu sehen – jedoch gibt es im Codex selbst keinen Anhaltspunkt, der eine Datierung nach 1550 erzwingt – oder diese auch nur erlaubt.