Everything we know, or at least think we know, about Vitruvius derives from de Architectura.1 The outlines of an authorial figure emerge from passing references to relationships, events, and circumstances.2 Vitruvius’s persona truly takes shape, however, through the character foils depicted in brief narratives throughout the text: in Book 10, Callias temporarily unseats the architectus Diognetus from his rightful position at Rhodes by showcasing a design for a (functionally unsound) war machine on a grand scale (10.16.3–8); in Book 7, the painter Apaturius of Alabanda beguiles the populace of Tralles with flashy, yet flawed, paintings before a mathematician intervenes (7.5.5–7); and in the preface to Book 2, the architectus

中文翻译：

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Vitruvius on Vermilion: Faberius 的家居装饰和谩骂传统

关于维特鲁威，我们所知道的，或者至少我们认为所知道的一切都来自于 de Architectura。1 作者人物的轮廓是从对关系、事件和环境的传递引用中浮现出来的。 2 然而，维特鲁威的人格真正成形，是通过角色的衬托在整个文本中以简短的叙述进行描述：在第 10 卷中，卡利亚斯通过展示一个（功能上不健全的）战争机器的设计，暂时将建筑师迪奥涅图斯从他在罗德岛的合法职位上撤下（10.16.3-8）；在第 7 卷中，阿拉班达的画家阿帕图留斯在数学家介入之前用浮华但有缺陷的画来迷惑特拉勒斯的民众（7.5.5-7）；在第 2 卷的前言中，建筑师