61 the architect who had made a drawing of the ancient capital: her husband Francesco Capriani, known as Francesco da Volterra. In the most thorough study of Diana Scultori published to date, Evelyn Lincoln observed: “Diana’s print differed quite a bit from the model-bookish profiles of the classical orders previously in circulation”10 – which is all the more remarkable, given that the study is, after all, dedicated to those who study architecture. Instead, it seems to be about establishing a reputation for her new Roman household and publicising Francesco’s skill as an architect, an enterprise that tied in with her own artistic aspirations, which are evident in the intricacy and ornamentation of the engraving. Thus, the signatures and inscriptions provide not only information about the artist’s origin and relationships but also about the use and function of the prints.11 Moreover, signing their prints allowed engravers to take credit for their work that otherwise might go unrecognised – which routinely happened to Diana’s father when working as part of a larger workshop.12 Keenly aware of this risk, Diana signed her prints. Her business acumen is also evident in her decision to request a papal privilege to protect Fig. 1 DIANA SCULTOR I Volute of a Composite Capital, 1576 Engraving, 303 ×440 mm, Rome, Biblioteca Alessandrina, inv. no. Rari 293/38
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