¹ Haskell, F., Patrons and Painters (revised edition) (New Haven and London, 1980), 115–19Google Scholar. Massimi's activity in commissioning drawings of antiquities was contemporary with that of Cassiano's younger brother and heir, Carlo Antonio; the latter continued to add to the Museum Chartaceum created by his brother, but his reputation in this sphere seems to have been eclipsed by Massimi's.

² Le pitture antiche delle grotte di Roma e del Sepolcro de' Nasonj disegnate e intagliate … da Pietro Santi Bartoli, e Francesco Bartoli … descritte et illustrate da Gio. Pietro Bellori e Michelangelo Causei de la Chausse (Rome, 1706), 2–5Google Scholar and pls III-VI. In this volume Bartoli and Bellori's 1680 publication of the Tomb of the Nasonii was reprinted together with 24 engravings of paintings and mosaics described by La Chausse. The subsequent editions with an expanded Latin text (1738 and later) included a further nineteen engravings, not all taken from Bartoli originals. For an account of Bartoli and Bellori's work, see Pace, C., ‘Pietro Santi Bartoli: Drawings in Glasgow University Library after Roman paintings and mosaics’, Papers of the British School at Rome 47 (1979), 117–55CrossRefGoogle Scholar; Pomponi, M., ‘Alcune precisiazioni sulla vita e la produzione artistica di Pietro Santi Bartoli’, Storia dell'arte 27 (1992), 196–225Google Scholar. Their publications are conveniently listed following the entry for Bellori in the Dizionario biografico degli Italiani.

³ Michaelis, A., ‘Das Grabmal der Nasonier’, Jahrbuch des Deutschen Archäologischen Instituts 25 (1910), 101–26, at pp. 114–15Google Scholar fols 34–7; ‘Dido and Aeneas’: Engelmann, R., Antike Bilder aus Römischen Handschriften (Leiden, 1909), xxGoogle Scholar.

⁴ Cf. the list of Massimi mosaics with prices, dated October 1738, in Cod. Capponi 281, I: Engelmann, , Antike Bilder (above, n. 3), xxv–viGoogle Scholar; the collection evidently had been transferred from Cardinal Camillo's home at the Quattro Fontane to the Palazzo Massimi alle Colonne. Cod. Capponi 260, II, includes a price list of 1737 for small bronzes, etc.: Cozzo, G. Salvo, I codici Capponiani della Biblioteca Vaticana (Rome, 1897), 351–2Google Scholar. In A Treatise on Ancient Painting (London, 1740), 170Google Scholar, G. Turnbull noted the ‘Adonis’ paintings as ‘lately’ acquired by Mead.

⁵ Glasgow UL, Ms Gen 1496: Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 117–55Google Scholar. For the date of the purchase, see Brown, I.G., ‘Allan Ramsay's rise and reputation’, The Walpole Society 50 (1984), 209–47Google Scholar, especially appendix II (239–40), ‘Allan Ramsay's purchases for Dr. Richard Mead’, where the absence of similar evidence for the painting was noted; Brown (246 n. 101) concurred with the identification of the Glasgow volume as Mead's.

⁶ Museum Meadianum (London, Langford, Covent Garden, 1754/1755), 241Google Scholar: one of several annotated copies in the British Library records the names of both agents and ultimate purchasers. ‘Mr. White’ was perhaps Chesterfield's household retainer of that name: The Letters of the Earl of Chesterfield IV, ed. Mahon, Lord [Philip Henry Stanhope] (London, 1845), 149 and 339–40Google Scholar. For the relatively high price, see Trapp, J.B., ‘Ovid's Tomb’, Journal of the Warburg and Courtauld Institutes 36 (1973), 35–74, at p. 69CrossRefGoogle Scholar. The landscape is that illustrated by Turnbull, , A Curious Collection of Ancient Paintings (London, 1741), 34Google Scholar and pl. 35. For the prices fetched by the other paintings, see below.

⁷ [Bellori, G.P.], Delli vestigi delle pitture antiche dal buon secolo de' Romani, 63Google Scholar; these notes are the appendix (pp. 56–66) to Nota delli musei, librerie, galerie, et ornamenti di statue e pitture ne' palazzi, nelle case, e ne' giardini di Roma (Rome, 1664Google Scholar: often bound with Lunadoro, G.'s Relatione della Corte di Roma); there is a modern edition edited by Zecca, E. (Rome, 1976)Google Scholar. The building history of the Domus Aurea has been summarized by Peters, W.J.T. and Meyboom, P.G.P., ‘The roots of provincial Roman painting: results of current research in Nero's Domus Aurea’, in Liversidge, J. (ed.), Roman Provincial Wall Painting of the Western Empire (British Archaeological Reports, International Series 140; Oxford, 1982), 33–74Google Scholar, at pp. 33–5. A recent and more detailed survey is that of Ball, L.A., ‘A reappraisal of Nero's Domus Aurea’, in La Follette, L. et al. Rome Papers (Journal of Roman Archaeology Supplement 11) (Ann Arbor, 1994), 183–254Google Scholar.

⁸ van Essen, C.C., La topographie de la Domus Aurea Neronis (Mededelingen van het K. Nederlandse Akademie van Wetenschappen, Afd. Letterkunde N.R. 17, XII (1954)), 387–8 no. 9Google Scholar, and cf. 398. The evidence was surveyed earlier, with specific reference to the seventeenth-century copies of the paintings, by Lanciani, R., ‘Le picturae antiquae cryptarum romanarum’, Bullettino della Commissione Archeologica Comunale di Roma ser. 4, 23 (1895), 165–92, at pp. 174–8Google Scholar; cf. below, n. 15. The identification of the 1668 discovery with a specific part of the Domus Aurea (Dacos, N., La découverte de la Domus Aurea et la formation des grotesques à la Renaissance (London/Leiden, 1969), 141Google Scholar n. 1) is untenable.

⁹ Jordan, H. and Huelsen, C., Topographie der Stadt Rom im Alterthum I, 3 (Berlin, 1907), 322Google Scholar n. 1a, and 278. Cf. below, n. 12.

¹⁰ Le pitture antiche del Sepolcro de' Nasonii nella Via Flaminia … disegnate, et intagliate … da Pietro Santi Bartoli (Rome, 1680), 6Google Scholar.

¹¹ Le pitture antiche (above, n. 2), 2.

¹² In the edited text published by Fea, C., Miscellanea filologica critica e antiquaria I (Rome, 1790), 222–3Google Scholar: identified as the 1668 find by Huelsen, C., ‘Di una pittura antica ritrovata sull'Esquilino nel 1668’, Mitteilungen des Deutschen Archäologischen Instituts (Röm. Abt.) 11 (1896), 213–26Google Scholar, esp. p. 219, where he noted that the de Nobili plot was the later Sinibaldi-Massimi garden, extending from the Colosseum to the ruins of the Baths of Titus.

¹³ See Weege, F., ‘Das Goldene Haus des Nero’, Jahrbuch des Deutschen Archäologischen Instituts 28 (1913), 127–244, at p. 139Google Scholar; Lanciani, R., The Ruins and Excavation of Ancient Rome (London, 1897), 361Google Scholar, associating the de Nobili find with discoveries of 1895 in the Via della Polveriera.

¹⁴ Coarelli, F., ‘Topografia mitriaca di Roma’, in Bianchi, U. (ed.), Mysteria Mithriae (Leiden, 1979), 69–79, esp. pp. 70–1 no. 4Google Scholar. The date and site of the find are noted on Bartoli's preliminary sketch of the painting, which is in one of the two albums of drawings by Pietro Santi and Francesco at Holkham Hall (II, 36 (100): Ashby, T., ‘Drawings of ancient paintings in English collections, II–IV’, Papers of the British School at Rome 8 (1916), 35–54, at p. 43CrossRefGoogle Scholar; Ashby misread ‘agosto’ as ‘genaro’).

¹⁵ Recueil de peintures antiques, imitées fidèlement d'après les desseins coloriés faits par Pietre-Sante Bartoli (Paris, 1757), pl. IGoogle Scholar. The original drawing: Bibliothèque Nationale, Cabinet des Estampes (BN), Gd. 9 b. Rés., fol. 33. A redrawn version was published by Lanciani, , ‘Le picturae antiquae cryptarum romanarum’ (above, n. 8), 176Google Scholar, and shown in his Forma urbis Romae (reprint Rome, 1990)Google Scholar, sheet 30, aligned with the rooms found by de Romanis in 1813, south of the Trajanic hemicycle in front of the end of the western wing of the Domus Aurea. Ball, , ‘A reappraisal of Nero's Domus Aurea’ (above, n. 7), 230Google Scholar, noted the Hadrianic date of these rooms: their connection with the 1668 discovery remains hypothetical.

¹⁶ H. Whitehouse, ‘Pietro Santi Bartoli's pitture antiche miniate: drawings of Roman paintings and mosaics in Paris, London, and Windsor’, (forthcoming); the RIBA drawings were published previously by Harris, J. in the Catalogue of the Drawings Collections of the Royal Institute of British Architects B (London, 1972), 58–9Google Scholar.

¹⁷ Huelsen, , ‘Di una pittura antica’ (above, n. 12), 219Google Scholar. The location ‘prope sacram viam’ quoted by Michaelis, , ‘Das Grabmal der Nasonier’ (above, n. 3), 115Google Scholar, seems to have been extrapolated incorrectly from the expanded text of the Le pitture antiche (above, n. 2), 2.

¹⁸ Sear, F.B., Roman Wall and Vault Mosaics (Mitteilungen des Deutschen Archäologischen Instituts Ergänzungsheft 23) (Heidelberg, 1977), 20–8Google Scholar, with examples in the Domus Aurea, 90–3.

¹⁹ The mosaic is illustrated here, Fig. 13; for the copies, see Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 138Google Scholar, no. 35. It is not now represented in the Caylus-RIBA set but is likely to have formed part of it. Unlike the ‘Adonis’ pictures, the mosaic did not enter the Massimi collection (pace Lanciani, , ‘Le picturae antiquae cryptarum romanarum’ (above, n. 8), 175)Google Scholar: significantly, no mention is made of its whereabouts by La Chausse, in Le pitture antiche (above, n. 2), 2Google Scholar. For two fragmentary survivors from the 1668 find, see below, pp. 233–4 and n. 43.

²⁰ Ashby, T., ‘Drawings of ancient paintings in English collections, I’ Papers of the British School at Rome 7 (1914), 1–62CrossRefGoogle Scholar, at p. 15. Lanciani, , ‘Le picturae antiquae cryptarum romanarum’ (above, n. 8), 166 and 177Google Scholar, also cited in this connection a figure panel recorded in Biblioteca Apostolica Vaticana [hereafter BAV] Cod. Barberini Lat. 4333, fols 48–9: these are two black chalk sketches with colour notes, the second probably traced from the first, which seem to be the work of P.S. Bartoli and bear the inscription ‘Disegno di pitture antiche trovate in una stanza vicino al Coliseo l'anno 1670’. This seems likely to be a separate find, possibly in the Domus Aurea; the picture, a faun presenting a goat to a nymph, was later published by Turnbull, Treatise on Ancient Painting (above, n. 4), pl. 19.

²¹ Lanciani, , ‘Le picturae antiquae cryptarum romanarum’ (above, n. 8), 174–81Google Scholar.

²² Lanciani, , ‘Le picturae antiquae cryptarum romanarum’ (above, n. 8), 175–6Google Scholar; followed by Ashby, , ‘Drawings of ancient paintings I’ (above, n. 20), 14–15Google Scholar. The three fragmentary Nilotic mosaics from the Massimi collection in Madrid (Museo Arqueológico Nacional 3605–7) are closely related in style and colouring, and seem to derive from the same, probably quite large, pavement. The pictures in the niches more likely belonged to the familiar genre of fish mosaics — cf. the ‘pesci, e mostri marini’ cited in Le pitture antiche (above, n. 2), 2.

²³ Huelsen, , ‘Di una pittura antica’ (above, n. 12), 213–26Google Scholar; additional to the material there cited is the drawing in the Glasgow/Massimi volume: Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 141Google Scholar no. 47. A set of drawings of the individual buildings shown in the picture was executed for Cassiano dal Pozzo's Museum Chartaceum: Windsor RL 11408–17.

²⁴ Huelsen, , ‘Di una pittura antica’ (above, n. 12), 214Google Scholar.

²⁵ Michaelis, , ‘Das Grabmal der Nasonier’ (above, n. 3), 115Google Scholar.

²⁶ BAV Cod. Capponi 260, fols 45v–46r: hence the fact that Bellori did not mention it when referring to the other three of the ‘Adonis’ set ‘tra le pitture che rimangono nella Bibliotheca del Cardinale Massimi’ (Sepolcro de' Nasonii (above, n. 10), 6).

²⁷ See, for instance, the eponymous mosaic from the House of the Drinking Contest at Antioch, and a discussion of this device: Levi, D., Antioch Mosaic Pavements (Princeton, 1947), I, 156ff., 607Google Scholar, and II, pl. 30. Little, A.M.G., Decor, Drama and Design in Roman Paintings (Washington D.C., 1977), 13Google Scholar, has noted that the decorative detail of side and central curtains, one of the theatrically-derived motifs of the Fourth Style, has a long subsequent history. The impressive drapery of the ‘Adonis’ pictures was imitated in a copy of ‘The Rape of Hylas’ (with a strong compositional similarity to ‘Adonis/Bacchus’), Cod. Capponi 285, no. 20: Engelmann, , Antike Bilder (above, n. 3), xxGoogle Scholar and pl. 19.2.

²⁸ Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 139–40Google Scholar nos. 38–41; BN Gd. 9 b Rés., fols 37, 38 = Caylus, Recueil de peintures (above, n. 15), pls V and VI, and RIBA Bartoli Album, fol. 28 (1) and (2) (RIBA Catalogue B (above, n. 16), 59 and fig. 40; Pomponi, , ‘Alcune precisiazioni sulla vita e la produzione artistica’ (above, n. 2), 211Google Scholar fig. 6).

²⁹ Windsor RL 11419(2)–11422, in volume 196 (earlier A.31; Michaelis XIII). For the attribution, see Whitehouse, H., ‘Copies of Roman paintings and mosaics in the Paper Museum’, in Cassiano dal Pozzo's Paper Museum I (Quaderni Puteani 2/I) (Milan, 1992), 105–21, at pp. 108–9Google Scholar.

³⁰ Holkham I, 34, 43–44, 64: Ashby, , ‘Drawings of ancient paintings II-IV’ (above, n. 14), 38–9Google Scholar. Although the majority of the Holkham copies are undoubtedly by Francesco, a few — these four among them, I would suggest — may be attributed more plausibly to his father, whose work displays a more refined style and colouring.

³¹ Gabinetto Nazionale delle Stampe (Villa Farnesina), inv. 130.177, 179, 181: Engelmann, , Antike Bilder (above, n. 3), x–xiGoogle Scholar, pls XIII.5, XIV.3, XIV.1.

³² Cf. Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 130Google Scholar, on Pietro Santi's ‘mannerisms’.

³³ Her right hip and the trunk of the myrtle tree, her left shoulder and arm, the upper part of her sceptre and parts of the dress and right foot of the attendant at the right have all been restored. Although the picture has been cleaned and consolidated for the new display, it was not removed from the wooden box in which it is encased, so it has not been possible to inspect the back.

³⁴ Windsor RL 11422 substitutes red for pink in the clothing of the left-hand figure and a yellow mantle for blue-white on the right.

³⁵ The volume was described briefly by Blunt, A., ‘Don Vincenzo Vittoria’, Burlington Magaazine 109 (1967), 31–2Google Scholar, and its contents were earlier listed by Michaelis, , ‘Das Grabmal der Nasonier’ (above, n. 3), 111–22Google Scholar; the folio numbers from 16/17 on have been changed since his list was compiled in 1877, and the drawings are referred to in the present article by their Royal Library inventory numbers.

³⁶ Windsor RL 9596–9: Michaelis, , ‘Das Grabmal der Nasonier’ (above, n. 3), 114–15Google Scholar fols 34–7.

³⁷ Windsor RL 9664–5, 9668–9 and 9681 (Michaelis, , ‘Das Grabmal der Nasonier’ (above, n. 3), 120–1Google Scholar fols 86, 89 and 99) in this volume are also finished pen and ink and wash drawings, closely comparable in style to those of the ‘Adonis’ pictures: the works shown in them are mosaics in the Massimi collection — together with the ‘Adonis’ quartet they may represent some project to illustrate the collection.

³⁸ Windsor RL 9673: Michaelis, , ‘Das Grabmal der Nasonier’ (above, n. 3), 121Google Scholar fol. 95. The colour notes have been largely trimmed away.

³⁹ RL 9585: Michaelis, , ‘Das Grabmal der Nasonier’ (above, n. 3), 113 fol. 24Google Scholar; cf. Ashby, , ‘Drawings of ancient paintings I’ (above, n. 20), 46Google Scholar, and Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 140Google Scholar no. 42, with references to other copies; that in the Topham collection at Eton is illustrated in Mielsch, H., ‘Zur stadtrömischen Malerei des 4. Jahrhunderts n. Chr.’, Mitteilungen des Deutschen Archäologischen Instituts (Röm. Abt.) 85 (1978), 151–207Google Scholar, esp. pp. 164–5 and pl. 86.1.

⁴⁰ Windsor RL 9589: Michaelis, , ‘Das Grabmal der Nasonier’ (above, n. 3) 114Google Scholar fol. 28; Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 140Google Scholar no. 45.

⁴¹ Pace, ‘Pietro Santi Bartoli’ (above, n. 2), 140–1Google Scholar no. 46, with a note of the coloured drawings of this wall at Eton (Topham Bn. 6, III 27, signed by Francesco Bartoli, and Baddeley Codex fol. CIX: Ashby, , ‘Drawings of ancient paintings I’ (above, n. 20), 34Google Scholar, and ‘Drawings of ancient paintings II-IV’ (above, n. 14), 50).

⁴² BN Gd. 9 b Rés., fol. 35 (Caylus, Recueil de peintures (above, n. 15), pl. III) shows a detail from the damaged wall, while fols 34, 36, 44–6 (= pls II, IV and XII-IV) show compartments from the end wall, the latter three plates being placed out of sequence presumably because Caylus mistakenly read the caption on the first — ‘altra pittura nella medema stanza …’ — as referring to the 1683 ‘Sette Sale’ discovery which precedes them in his arrangement; RIBA album fols 24 and 29 (2) show further details from the end wall. The drawings of these details in the collection at Holkham (vol. II, 38, 42, 50 and 62: Ashby, , ‘Drawings of ancient paintings II-IV’ (above, n. 14) 44, 47Google Scholar) seem to be the preparatory sketches and once may have formed a group with those in the Vittoria volume; it is likely that they are by Pietro Santi, and not Francesco, Bartoli, as suggested by Ashby, (‘Drawings of ancient paintings II-IV’ (above, n. 14), 35Google Scholar).

⁴³ Matz, F. and von Duhn, F., Antike Bildwerke in Rom mit Ausschluss der Grösseren Sammlungen III (Leipzig, 1882), 238–9Google Scholar. The two fragments have been illustrated by Mielsch, H., ‘Funde und Forschungen zur Wandmalerei der Prinzipatszeit von 1945 bis 1975, mit einem Nachtrag 1980’, Aufstieg und Niedergang der Römischen Welt II, 12/2 (1981), 157–264Google Scholar, at 223 and pls XXVI.38–9, together with the drawing of the wall in the Baddeley Codex, pl. XXVII.40.

⁴⁴ Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 130–1Google Scholar.

⁴⁵ Huelsen, , ‘Di una pittura antica’ (above, n. 12), 217–18Google Scholar, rightly noted that the order of drawings in the Windsor Nettuno volume was possibly significant, the 1668 discoveries appearing as a group, with the Apollo mosaic in the midst of the piecemeal copies of the harbour landscape, which are followed by the ‘Adonis’ pictures. Another potentially significant order, however, may be obtained from the drawings' inventory numbers in the Museum Chartaceum, which seems to yield a chronological sequence of accession: the harbour landscape (Dal Pozzo nos. 623–34), the Mithraic painting found in August 1668 (no. 635 — see above, p. 221 and n. 14) and the Apollo mosaic (no. 636). The Adonis pictures are later — nos. 697–700; unlike the others, these are almost certainly Bartoli's work (above, n. 29), and it is conceivable that they were acquired in 1674 as a quid pro quo for the loan of the watercolours of the Palestrina mosaic and other items from the Paper Museum, which he copied for the Massimi album (Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 151–3Google Scholar nos. 110–24; cf. p. 131).

⁴⁶ Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 138–9 no. 36Google Scholar.

⁴⁷ Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 139Google Scholar no. 37, with a list of other drawings.

⁴⁸ RIBA fol. 27 (2) (RIBA Catalogue B (above, n. 16), 59).

⁴⁹ Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 140Google Scholar nos. 43–4. Eton Topham Bn. II, 27, captioned ‘Del Palazzo di Tito’, may show another wall from the same room: Ashby, , ‘Drawings of ancient paintings I’ (above, n. 20), 21Google Scholar and pl. IX.

⁵⁰ Hinks, R.P., Catalogue of Greek Etruscan and Roman Paintings in the British Museum (London, 1933), 47–52Google Scholar no. 72.

⁵¹ Museum Meadianum (above, n. 6), 241.

⁵² A sketch of the picture in black chalk, partly inked in, appears on the verso of ‘Phaedra and Hippolytus’ on fol. XLIX of the Glasgow/Massimi volume: Pace, , ‘Pietro Santi Bartoli’ (above, n. 2), 140Google Scholar. There are some small differences of detail between this and the finished copy, fol. XLVI. For a detailed analysis of the composition, see H.Joyce, ‘Grasping at shadows: ancient paintings in Renaissance and Baroque Rome’, The Art Bulletin 74 (1992), 219–46, esp. pp. 240–3Google Scholar.

⁵³ de Romanis, A., Le antiche Camere Esquiline dette comunemente delle Terme di Tito (Rome, 1822), 51–3Google Scholar and pl. II, fig. 2; F. Guidobaldi, ‘Pavimenti in opus sectile di Roma e dell'area romana: proposte per una classificazione e criteri di datazione’, in Pensabene, P. (ed.), Marmi antichi, problemi d'impiego di restauro e d'identificazione (Rome, 1985), 172–233Google Scholar, esp. p. 189, and cf. p. 217.

⁵⁴ For a brief characterization of wall-paintings in the Domus Aurea, see Barbet, A., La peinture murale romaine (Paris, 1985), 191–2Google Scholar; the stylistic features are discussed in greater detail by Peters, and Meyboom, , in ‘The roots of provincial Roman painting’ (above, n. 7), 39–67Google Scholar. The material remains substantially unpublished.

⁵⁵ Mirri, L. and Carletti, G., Le antiche camere delle Terme di Tito e le loro pitture (Rome, 1776)Google Scholar, pl. 13 (‘Bacchus’, central panel in the vault of the ‘Camera rossa’); pls 6–8, 21, 38–9, 41, 45 and 59, intercolumnar drapery on various walls and vaults.

⁵⁶ Huelsen, , ‘Di una pittura antica’ (above, n. 12), 219Google Scholar.

⁵⁷ Ostrow, S.E., ‘The topography of Puteoli and Baiae on the eight glass flasks’, Puteoli. Studi di Storia Antica 3 (1979), 77–140Google Scholar, at pp. 87–9 and 130–7.

⁵⁸ An Augustan date (Joyce, , ‘Grasping at shadows’ (above, n. 52), 239Google Scholar n. 124) seems unlikely, unless the building underwent many subsequent modifications. Mielsch, , ‘Funde und Forschungen zur Wandmalerei’ (above, n. 43), 223Google Scholar, has suggested a Severan date for the scheme in room V, Fig. 16 here (but cf. the Constantinian date suggested for that in room VII, Fig. 14 here: Mielsch, , ‘Zur stadtrömischen Malerei des 4. Jahrhunderts n. Chr’ (above, n. 39), 164–5)Google Scholar.

⁵⁹ For the influence of his art criticism, see Haskell, , Patrons and Painters (above, n. 1), 158–61Google Scholar; the review of extant works in the introduction to the Sepolcro de' Nasonii (above, n. 10), 5–6, encapsulates Bellori's view of Roman painting.

⁶⁰ See, for example, du Bos, J.B., Réflexions critiques sur la poésie et sur la peinture (Paris, 1719), 353Google Scholar.

⁶¹ Sepolcro de' Nasonii (above, n. 10), 5.

⁶² Du Bos, , Réflexions critiques (above, n. 60), 346Google Scholar. The use of garlic as a mordant is well known, but this application is unusual.

⁶³ Bellori, , Delli vestigi delle pitture antiche (above, n. 7), 62Google Scholar.

⁶⁴ Sepolcro de' Nasonii (above, n. 10), 6.

⁶⁵ Turnbull, , Curious Collection (above, n. 6), 7Google Scholar.

⁶⁶ Turnbull, , Treatise on Ancient Painting (above, n. 4), 170Google Scholar.

⁶⁷ Wright, E., Some Observations Made in Travelling through France, Italy, &c in the Years 1720, 1721, and 1722 I (London, 1730), 360–1Google Scholar.

⁶⁸ Bellori, , Delli vestigi delle pitture antiche (above, n. 7), 58Google Scholar; for the drawing, see Dacos, , La découverte de la Domus Aurea (above, n. 8), 14–15Google Scholar, figs 7–8.

⁶⁹ Le pitture antiche (above, n. 2), 1. For the decline in visits to these ruins in the seventeenth century, as evidenced by graffiti, see Dacos, , La découverte de la Domus Aurea (above, n. 8), 141Google Scholar.