Paper : the Topham Collection as a source for British Neo-Classicism

Adriano Aymonino with Lucy Gwynn and Mirco Modolo Front cover image: Francesco Bartoli, Drawing of decorative in the vaulting of S. Costanza, c. 1720-25 (see cat. no. 25) Inside cover image: Francesco Bartoli, Drawing of an ancient ceiling from the Palatine, 1721 (see cat. no. 15) Paper Palaces: the Topham Collection as a source for British Neo-Classicism

The Verey Gallery, Eton College May - November 2013 Curated by Lucy Gwynn & Adriano Aymonino

Accompanied by the Conference: A Window on Antiquity: the Topham Collection at Eton College, 17th May 2013

Catalogue written by Adriano Aymonino with Lucy Gwynn and Mirco Modolo This catalogue is dedicated to the memory of Louisa M. Connor Bulman Contents

Many people have given their support to the production of both the exhibition Foreword 4 Section 2 16 and this catalogue, and we would like in particular to thank: Lord Waldegrave of North Hill and his antiquarian sources The Tavolozza Foundation

The Humanities Research Institute, the University of Buckingham Introduction 5 Section 3 22 the rationale for the exhibition Robert Adam, the Topham Collection and Country Life Magazine Francesco Bartoli Sir Francis Dashwood Richard Topham & Eton 6 by Lucy Gwynn The Section 4 40 The Topham Collection’s broader influence: Savills (UK) Limited Catalogue Charles Cameron and other Neo-Classical architects and decorators

The authors would also like to thank Frances Sands for the fruitful discussion on the different hands in the Adam drawings; Jeremy Howard and Eleanor Davey for their Cataloguing Notes 8 help and support; Charlotte Villiers and Dennis Wallis for their patience and exquisite Notes 47 contribution in photography and design, Charlotte Villiers for the coordination of the exhibition, Pat McNeaney for his inexhaustible enthusiasm and skill, the Eton College Section 1 10 Buildings Department and Vario Press. Richard Topham and his collection Bibliography 52 Foreword Introduction: Lord Waldegrave of North Hill the rationale for the exhibition

4 ichard Topham was a sort of diffusion of accurate classical artistic his exhibition explores a for the decoration of domestic interiors felt not only in Britain but also throughout 5 one man Dilettanti Society, knowledge, as this Catalogue and the beautiful, extensive, but now is shown through the exhibition and the Europe and amongst later generations of Rdedicating his energy, money Exhibition describes. Used by Adam, Tlargely neglected collection accompanying catalogue. architects and designers. and considerable scholarship to bringing Cameron and many others, the influence of drawings housed at Eton College The great variety of the Topham With this exhibition, therefore, we authentic classical design to in the of the Topham Collection spread far Library since the 1730s. The collection, Collection, and the distinction of the hope to show the important influence early eighteenth century. His painstaking and wide. assembled by Richard Topham (1671- artists involved, could easily sustain a that the Topham Collection had upon the listing of classical remains then in the Today, all those concerned with Eton’s 1730) for private study, was in essence a much larger exhibition and a much longer development of British antiquarianism and palaces of and his skill in employing College Library and other Collections reconstruction on paper of the staggering catalogue. We have chosen, instead, to focus classical taste as part of the wider history of good artists systematically to copy what celebrate Topham’s memory with gratitude; collections of antique sculptures, reliefs, on some of those drawings which have had European neo-classicism. We hope, too, that was listed, later played an important part he showed us how important it is to ensure frescoes, and other classical remains to be the most interesting afterlife: the copies of others will draw pleasure from exploring in Europe’s neo-classical revival. He also that the treasures we own can be seen, found in early eighteenth-century Rome. ancient ceilings and wall elevations done by these intricate, bright and fascinating provided an extremely valuable snapshot of discussed, and used for scholarship and for Some two decades after its deposition at Francesco Bartoli (1675-1733) in the first drawings, as we have while preparing what then existed, where, some of which teaching, and how influential such access Eton, the Topham Collection became one quarter of the eighteenth century. These the exhibition. has sadly since been lost. can be. That is why I am delighted to add of the most important sources for British drawings had a significant and enduring By leaving his albums of drawings, my thanks to all those, from Eton and from taste in classical art and decoration. The impact on British neo-classical style, above along with his library, to Eton with the outside Eton, whose names are gratefully story of how these drawings came to be all through their adoption by Adam and his express provision that Eton should make recorded on page 2, and whose partnership used by Robert Adam (1728-1792), one fellow architect Charles Cameron. Through them available for study, he made Eton, has brought Topham’s achievement back of the greatest of British architects, to their architecture, design and publications, for a time, an important centre for the to life. create a new and highly influential idiom the influence of Topham’s Collection was “All my books, prints and drawings that are kept and placed in my new Richard Topham library, to be delivered to the said Provost and Fellows as soon as they shall have finished and fitted up a safe and convenient repository in their new Library for receiving and keeping them… and my will is that all & Eton learned persons at convenient seasons may have recourse to and reasonable by Lucy Gwynn use of said books, prints and drawings…”.

Will of Richard Topham, proved 2 Nov. 1730.1

6 he construction of the current strong in classical and heritage of and Greece. The He replaced old editions of texts when result of certain conditions made for the 7 Fellows’ Library, paid for largely literature and theology. The last great library that came to Eton had over 1500 they were superseded by more recent maintenance and accessibility of the books, Tby subscription and completed gift of the 1730s, the library of Richard titles, and consisted largely of editions of scholarship, and where only sixteenth or prints and drawings. The arrival of Topham’s in 1729 according to designs by Thomas Topham of Windsor, altered the tenor of classical texts (with an emphasis on the seventeenth century editions existed, he library not only added a sophisticated Rowland (c. 1696-1748), was to some the Library both as a collection of books, most recent or most significant editions), purchased these.4 His catalogue of the scholarly library and art collection to Eton’s extent an act of faith. The College Library and as an institution. and associated literary criticism; printed antique contents of thirty-three Roman holdings, but also initiated a period of around cannot have consisted of more than 2500 Richard Topham had been born in illustrations and catalogues of antique palaces and , compiled in his own fifty years when the College Library was open volumes at the turn of the eighteenth Windsor in 1671, was educated at Eton, remains; ancient histories; numismatics, hand in Italian, shows him systematically to visiting readers. That Topham and his century, but the Fellows of Eton had built matriculated at Trinity College, Oxford in sculpture and architecture; and some ordering drawings of artefacts and marking friends intended his collection to function as themselves a library which could hold a 1689, and was studying at Lincoln’s Inn in English histories and miscellaneous their receipt in England, effectively creating a public reference library for classical studies collection of some 20,000 books.2 It was a 1691. He came from a local family, owned books. In addition, the library included a paper copy of the vast collections of after his death is implied by the gift, four leap that was quickly justified, as the 1730s the manor of Clewer Brocas as well as a nearly 2500 drawings ‘from the antique’ antiquities then in Rome.5 years later, of Lord Burlington’s Fabbriche saw a series of distinguished gifts to the grand house in Peascod Street, Windsor, of statues, cameos, reliefs, murals and When Topham died in 1730, he antiche of Palladio, inscribed ‘in bibliothecam College, including the books of Bishop and was MP for Windsor from 1698 until architectural remains. had revoked his original bequest that his Tophamianam collocandus’. This exhibition Edward Waddington (1670?-1731) and 1713.3 Between the early 1690s until Topham’s approach to collecting library should be gifted to Eton College, is testament to the uses Topham’s collection Provost Henry Godolphin (1648-1733) his death, he assembled an astonishing was enthusiastic, personally committed, due to concerns that Eton would not was put to by the artists and architects of (the instigator of the building project). collection of books, prints, drawings and methodical. His finding aids, or provide the public access he desired. His the eighteenth century, and the impact this These gifts added to a collection which and objects which were focussed almost catalogues, demonstrate that after an initial executors were left to arrange for the library’s brief period of openness at College Library already reflected the academic interests of entirely on the documentation and paper- period in which a clerk listed the books, accommodation, and, in 1736, were finally had on the development of European art Eton’s Fellows over the preceding centuries, based reconstruction of the culture and he updated and added entries himself. able to arrange for its transfer to Eton, as a and design. Measurement: Measurements are given in millimetres. The measurement for height is followed by Cataloguing Notes that for width. Where the measurements of prints are given, the measurement is the size of the plate, rather than the page.

Abbreviations: AC Archives of the Duke of Northumberland, Alnwick Castle, Alnwick ECL Eton College Library, Eton GUL University Library, Glasgow HHL Hall Library, , LWL Lewis Walpole Library, Farmington, CT NAS National Archives of Scotland, Edinburgh RIBA Royal Institute of British Architects, SM Sir John Soane’s Museum, London 8 Only the most relevant literature is reported for each entry; where no literature is 9 reported, this means that the drawing or item has remained unpublished to date. WRL Royal Library, Windsor Castle, Windsor

For the Adam drawings preserved in the Sir John Soane’s Museum, apart from the relevant The following items have been reproduced in the catalogue with the kind permission of: literature reported in each entry, the reader can also consult the online catalogues of the travel drawings of Robert and James Adam compiled by professor Alan Tait and the drawings Catalogue items 17, 18, 19, 26, 27, 30, 31, 32, 37, 38; Section 3, fig. 3: The from the office of Robert and James Adam compiled bt Dr. Frances Sands (in progress): Trustees of the Sir John Soane’s Museum. Photo credits: 18, 19, 26, 31, 32, 37, www.jeromeonline.co.uk/drawings/index.cfm 38; Section 3, fig. 3 – Ardon Bar-Hama; 27 – Heritage Partners; 30 – Hugh Kelly Catalogue items 16, 29, 39, 40: The Getty Research Institute, Los Angeles For the drawings by Francesco Bartoli preserved in the Topham collection at Eton College Library, the Catalogue refers to Ashby, 1914, the only published catalogue of Catalogue items 8, 9, 11; Section 4, fig. 6: Collection of the Duke of Northumberland the Bartoli drawings at Eton. Ashby used his own numbering system, whilst we have Catalogue item 14, 33: The Earl and Countess of Harewood and Trustees of reverted to the location-specific album and drawing numbers imposed in the eighteenth the Trust century. Ashby’s album numbers correspond to ECL album numbers thus: Catalogue item 20: The Mellerstain Trust Ashby Eton I = ECL Bn4 Ashby Eton II = ECL Bn5 Catalogue item 21: The National Trust Ashby Eton III = ECL Bn6 Section 4, fig. 4: Sir Edward Dashwood Ashby Eton IV = ECL Bn7 Ashby Eton V = ECL Bn8 Catalogue entries were written respectively by: Adriano Aymonino (nos. 3-4, 7-14, Ashby Eton VI (Mahogany Case) = ECL TP 16-21, 26-27, 29-33, 37-40, 42, 45, 47); Lucy Gwynn (nos. 1-2, 5-6); Ashby Eton VII =ECL Bn9 Mirco Modolo (nos. 15, 22-25, 28, 34-36, 41, 43-44, 46) this project never came to fruition. In his and Giovanni Domenico Campiglia (1692 arrangement was supported by ‘finding collecting ambitions, he was following – 1775) (cat. 4), and by artists who later aids’ compiled by Topham himself, which Section 1: ideas he had discussed with fellow collector excelled in other fields, such as the architect are the best evidence of his systematic John Talman (1677-1726), who probably (1685-1748).11 approach (cat. 5, 6). Richard Topham acted as Topham’s first agent for his If Topham’s ‘paper museum’ is not A category in which the Collection is acquisitions in and who later was to unique – others were assembled around particularly rich are the copies of ancient and his collection become the first director of the Society the same time by Talman himself and by ceilings and wall elevations by Francesco of Antiquaries.9 celebrated collectors like Henry Hare, Bartoli, son of the more famous and Topham’s collection of drawings was Lord Coleraine (1693-1749), Thomas talented draughtsman Pietro Santi Bartoli intended to expand and complement the Coke, 1st Earl of (1697-1759) (1635-1700) (cat. 15, 24, 25, 28, 34, 35, texts of his vast library, most of which and Dr Richard Mead (1673-1754) – 36, 41, 44, 46 and figs 5, 7).13 Francesco Fig. 1 Paolo Alessandro Maffei-Domenico de Rossi, was devoted to architecture, archaeology its peculiarity lies in its sheer size and in inherited his father’s studio in 1700 and for Raccolta di Statue Antiche e Moderne, Rome, Stamperia and the classics.10 This included canonical its topographical arrangement.12 While the next three decades he supplied Topham alla Pace, 1704, Plate 83, ‘Curzius’ ECL, Bq.1.8 publications on , such the general approach of antiquarian and other British collectors with copies as Palladio’s Quattro libri dell’architettura publications was to show antiquities of ancient paintings, a genre that gained (1570) (cat. 1) or Desgodets’ more divided either by artistic typology or by increasing popularity in the first half of 10 onsisting of more than 3,000 such as the Society of Antiquaries (1717) recent and accurate Edifices antiques de Rome their subject, the Topham drawings were the century. Although many of Francesco’s 11 drawings, watercolours and and the Society of Dilettanti (1732), (1680) (cat. 2) and almost all the most systematically arranged by location, thus drawings at Eton are unreliable documents, Cprints after antique sculptures being established to promote research in influential antiquarian titles published providing invaluable documentation on being modified copies of his father’s and frescoes in Rome and Italy, the these fields. At the same time, collecting during Topham’s life, from Maffei and the collections in Roman palaces and watercolours or even complete inventions, collection amassed by Richard Topham is antiquities became more and more popular De Rossi’s Raccolta di Statue Antiche e Moderne villas in the first decades of the eighteenth they proved to be a fundamental visual the largest of its kind assembled in Britain. among scholars and members of the ruling (1704) (fig. 1), to Bernard de Montfaucon’s century. Whilst the relief of Marcus Curtius source for British architects of successive Simultaneously, the collection is one of the classes, many of whom had been on their monumental Antiquité expliquée (1719-24) (cat. 4) was presented by Maffei and generations in search of ancient models most significant resources for the history Grand Tour to Italy.8 (fig. 2). De Rossi amongst the famous ancient for their decorative language. of antiquarianism and for the culture and While several of his contemporaries Starting around 1716 and for the sculptures visible in Rome (fig. 1), and On many fronts, the efforts of Richard industry of the Grand Tour in Europe.6 preferred collecting ancient sculptures and next fifteen years, Topham added to his by Montfaucon amongst the examples of Topham and other virtuosi of his generation Richard Topham belonged to a reliefs, Topham concentrated his efforts in existing library a constant flow of drawings Roman vows and devotio (fig. 2), Topham to improve classical scholarship and reform generation of virtuosi and civil servants who, amassing a ‘paper museum’ of copies of produced in and especially in placed it in one of the volumes devoted to the national taste was decisive: with their by education and political inclinations, surviving antiquities then on view in Rome Rome, mainly through the agency of the the Casino Borghese, where the relief was libraries, collections and paper museums perceived and sought to promote a direct – possibly using the famous Museo Cartaceo artist and teacher Francesco Ferdinando displayed. The Collection thereby offered they laid the ground for the revival of comparison between ancient Rome and of Cassiano dal Pozzo as a model. His Imperiali (1679-1740). Through his a unique ‘window’ on contemporary classical antiquity in the architecture, arts the burgeoning society of early eighteenth- intention was to bring Rome to England agents Topham managed to assemble an Rome easily accessible in Topham’s own and culture of the eighteenth century. century Britain.7 The first decades of the by creating a comprehensive resource on extraordinary range of works by some of home and available for those who could Fig. 2 century witnessed a rapid expansion in the remains of classical antiquity for the the best Italian draughtsmen of the first not travel to Italy or who wanted to Bernard de Montfaucon, L’ antiquité expliquée et représentée en figures, 15 vols, , Florentin classical scholarship and antiquarian use of virtuosi and scholars. He may have half of the eighteenth century, including refresh the memory of their Grand Tour. Delaulne ... [et al.], 1719-24, II.1, 1722, plate 94: interest, with several learned societies, intended to publish the drawings, though (1708 – 1787) (cat. 3) The meticulousness of the collection’s ‘Voeux et Devouemens’ ECL, Bi.2.2 Cat. no 1 the Renaissance architects. Claude Perrault (1509-1580) used Desgodetz’ findings as a basis for his I quattro libri dell’architettura belief that the orders could be subject to free Venice, Dominico de’ Franceschi, 1570, pp. interpretation. Desgodets’ meticulous approach 80-81: Survey of the Pantheon in Rome. established a model for the great architectural Literature: Ackerman 1966; Beltramini- surveys of the late eighteenth century: Robert Burns 2009, pp. 328-41. Woods’ Ruins of Palmyra (1753), Julien- David Le Roy’s Ruines de Plus Beaux Monuments ECL, Bq.5.01 de la Grèce (1758), and James ‘Athenian’ Stuart and ’s Antiquities of Athens Richard Topham, not surprisingly, owned a copy (1762-1816). of one of the central texts of the Renaissance, Palladio’s treatise on the architecture of classical antiquity and his own architectural designs. Cat. no. 3 With its concise language, straightforward Pompeo Batoni (1708-1787) descriptions and detailed illustrations the Quattro Endymion on Mount Latmos libri influenced architectural practice across Red chalk on paper Europe. In book IV, Palladio reconstructs 468 x 362 Roman buildings, often deviating from the Undated: c. 1730 12 Cat. no. 1 archaeological evidence of the extant ruins to Inscribed in pen on recto, lower centre: 13 synthesize with his rules of ideal proportion. ‘B.m. 6}..no. 50’; inscribed in pen on verso: ‘Palazzo Albani con lettera A’. Literature: Macandrew 1978, p. 147, no. 20; Cat. no. 2 Bowron-Rishel 2000, p. 471, no. 310; Bowron- Antoine Desgodets (1653-1728) Kerber 2007, pp. 145-46, fig. 124. Les edifices antiques de Rome Paris, Jean Baptiste Coignard, 1682, pp. ECL, Bm6.50 22-23, plate 6: ‘Profil sur la longueur du Pantheon, à Rome’. Pompeo Batoni, one of the young artists Literature: Hermann 1958; Décultot- Bickendorf-Kockel 2010, pp. 120-21, no. 31. employed by Francesco Imperiali to supply drawings for Richard Topham, was destined to Cat. no. 3 ECL, Bq.2.08 become the most successful portrait painter of eighteenth-century Grand Tour travellers. The Desgodets’ survey of Roman buildings, set fifty-three red chalks drawings that he produced in Rome in the early eighteenth century. It Pope Clement XII (1652-1740) to form the a new standard for archaeological precision. for Topham can be considered among the finest later entered the celebrated collection of nucleus of the Capitoline Museums, where it In providing accurate measurements of copies after classical statuary produced in the Cardinal Alessandro Albani (1692-1779) is still preserved today.14 the remains, Desgodets demonstrated that eighteenth century. and was displayed at the palazzo Albani del Following the topographical division of the the classical orders as used by the Romans Drago at the Quattro Fontane, where Batoni collection, most of the drawings in volume Bm6 rarely conformed in their proportions to This exceptionally subtle drawing depicts a copied it. The relief was among the group of are related to the collections in Palazzo Albani Cat. no. 2 the strict rules imposed by and relief that was found on the Aventine Hill antiquities sold by the cardinal in 1733-34 to del Drago at the Quattro Fontane. Cat no. 5 Richard Topham (1671-1731) ECL, Finding aid 1: ‘Catalogue of printed books’ Begun c.1712 Literature: Quarrie 1993, p. 24.

We know that Topham employed a librarian at his house in Windsor (a Mr Vowles, who was later to be employed by Eton as library-keeper, thereby fulfilling one of the College’s obligations under Topham’s will). Nonetheless, Topham added and corrected his own catalogues until the time of his death, implying a keen interest in his collection and its organisation.

Cat. no 5 Cat. no. 6 Cat. no. 6 Richard Topham (1671 - 1731) 14 ECL, Finding aid 2: 15 Cat. no. 4 Hundreds of his drawings, the vast majority ‘Bassi relievi, pitture antiche, gruppi, Giovanni Domenico Campiglia (1692-1775) in black chalk, are still preserved at Eton and statue, busti, vasi, are, &tc in diversi Marcus Curtius leaping into the gulf are easily recognisable for their soft treatment palazzi di Roma’ Black lead pencil on paper and high quality.15 1720s 404 x 554 Literature: Connor 1993, pp. 26-29. Undated: c. 1725 This drawing depicts an ancient high relief, Inscribed in pen on recto, lower centre: ‘Bm 2} which, at the time Campiglia copied it, was This listing by Topham forms the basis of his vol; 2.no. 90’; inscribed in pen on verso, lower fixed to the south façade of the Casino topographical approach to ordering drawn centre: ‘ Borghese. Famoso Curtio in atto Borghese (today Galleria Borghese) in Rome.16 copies of Roman antiquities. He marks with a di precipitarsi col cavallo nella voragine’. The Borghese Curtius was one of the most dash those artefacts of which he has ordered Literature: Connor Bulman 1993, p. 34; fig. admired ancient reliefs in the seventeenth and drawings, and a cross indicates that the drawing 5; Connor Bulman 2002b, pp. 65-67, fig. 9; eighteenth centuries and was included in many had been received. A double cross indic ates that Connor Bulman 2006, p. 329, fig.11. antiquarian publications and guides to Rome the artefact already existed in copy as a print, (figs 1-2). During the refurbishment of the for instance in and Cat. no 4 ECL, Bm2.90 Casino in the 1770s, the relief was brought Pietro Santi Bartoli’s Admiranda Romanarum inside the entrance hall, where it can still be antiquitatum (1693) (cat. 7). The antiquities Campiglia, better known for his prodigious admired today. in each palazzo are listed, sometimes room output as a designer of reproductive prints, was by room, which in turn provides us with a one of the most gifted draftsmen employed by Volumes Bm1, Bm2 and most of Bm3 are record of the astonishing wealth of the art Imperiali to produce copies after the antique devoted to the large collections of antiquities of the collections of eighteenth-century Rome, soon for Richard Topham. Borghese family. to be dispersed by sales and political upheaval. Section 2: Robert Adam and his antiquarian sources

16 lthough the passion for antiquity Antichità di Ercolano esposte (1757-1792) – the system of architecture by introducing ‘the marble tablets, Adam relied extensively the publication of an archaeological work. 17 was strong throughout the eight-volume opus that set off the diffusion true style of antique decoration’.18 on classical ‘narrative’ images available in Inspired by Robert Wood’s Ruins of Palmyra Aeighteenth century in Britain, of the ‘Pompeian taste’ all over Europe.17 Although there were several earlier or antiquarian publications that would have and his model of ‘on-the-spot’ investigation the second half of the century witnessed a Of the generation of architects whose competing attempts at recreating interiors been familiar to Richard Topham – and of ancient monuments, in 1764 Adam renewed enthusiasm for everything Greek work was shaped by this new cultural based on antique examples, notably by indeed many appear in Topham’s library.21 published the Ruins of the of the Emperor and Roman. The unearthing of the remains climate, it was undisputedly Robert Adam William Kent (1685-1748) and by James Above all, the publications produced in Diocletian at Spalatro in Dalmatia (cat. 12). of Herculaneum and Pompeii in 1738 and who aimed at the recreation of antique ‘Athenian’ Stuart (1713-1788), Adam made the seventeenth century by the celebrated 1748 played a fundamental role in driving interiors and decoration in the most original use of details derived from the repertory duo Giovanni Pietro Bellori (1613–1696) a new wave of antiquarian scholarship, an and extensive way. After spending two years of classical antiquity on a scale and with a and Pietro Santi Bartoli (1615-1700) were explosion in collections of antiquities and in Rome, where he assiduously studied, consistency unknown to his predecessors a constant source of inspiration. Images the progressive diffusion of a new classical drew and collected antiquities under the and contemporaries.19 His aim, as he wrote from their Admiranda Romanarum antiquitatum taste. The 1750s saw the publication of guidance of the French architect Charles in a letter to his brother James in 1755, (1693), the most comprehensive collection some of the most important antiquarian Louis Clérisseau (1721-1820), Adam was to outdo rival architects ‘in figures, of illustrations after Roman reliefs and works of the eighteenth century, such as the returned to London in 1758 and set up in bas-reliefs and in ornaments, which, sarcophagi, are ubiquitous in Adam country Comte de Caylus’s Recueil d’antiquités égyptiennes, his office with the intention of putting with any tolerable degree of taste so as and urban houses (see cat. nos 7-8-9). étrusques, grecques, romaines et gauloises (1752- into practice what he had learnt during his to apply them properly, make a building The extent to which antiquarian 1767), Robert Wood’s Ruins of Palmyra Grand Tour. His aim, as he proudly stated appear as different as night from day’.20 For studies and architecture were related in the (1753), Giovan-Battista Piranesi’s Antichità in the Works in Architecture (1773-1779), was ‘figures’ and ‘bas-reliefs’, that is, decorative central decades of the century is evident romane (1756) and the early volumes of the to bring about a ‘revolution’ in the whole panels, grisailles, plasterwork plaques and in the fact that Adam himself embarked on Cat. no. 11 Robert Adam and Giovan Battista Cipriani (1727-1785) Ceiling of the at Syon House Middlesex 1763-1764 Literature: Stillman 1966, p. 98, no. 125; Harris 2001, pp. 75-78; Aymonino forthcoming.

The decoration of the ceiling of the Drawing Room at Syon House was designed by Adam and executed by Cipriani, another of the Italian painters used by Adam to carry out the narrative panels in his interiors. All the figures of the ceiling were based on plates in the first three volumes of theAntichità Cat. no 7 Cat. no 8 d’Ercolano and were personally chosen by Hugh Smithson Percy, who kept his copy of the 18 Cat. no. 7 derived the idea of a ‘topographical’ collection Robert Adam made extensive use of the Admiranda Forum of Nerva in Rome (cat. 7), resurface in offered by the Neapolitan court as a gift to prestigious publication in the adjoining Library 19 Giovanni Pietro Bellori (1613-1696), of drawings after Roman antiquities from this Romanarum antiquitatum throughout his career. several successive Adam’s interiors, such as Home selected personalities and institutions, the book (the dancer in Cat. no. 10 is visible here on Pietro Santi Bartoli (1635-1700) and similar publications that systematically Syon House, which was one of Adam’s earliest House, London, Kenwood House, Hampstead, quickly won fame all over Europe. Beside the the top left figurative medallion). Their Admiranda Romanarum antiquitatum reported the locations of the pieces reproduced. grand commissions, was lavishly refurbished London and Newby Hall, Yorkshire. antiquarian interest, artists and architects found application at Syon was one of the very Rome, Giovanni Giacomo & Domenico de between 1760 and 1768 for one of Adam’s most in the volumes a brand new and fashionable first in Britain and put the villa of the Rossi, 1693, plate 36: ‘Palladis Artes’. faithful patrons, Hugh Smithson Percy, 2nd Earl repertory of antique images for their interiors. Northumberlands firmly at the vanguard of the 101 x 280 Cat. no. 8 and from 1766 1st Duke of Northumberland. Cat. no. 10 These slowly replaced the illustrations of national taste. Adam went on using images from Literature: Petrucci 1964; Pomponi 1992; Robert Adam (1728-1792) At Syon, Adam relied heavily on antiquarian Le antichità di Ercolano esposte, previous publications – especially those found the Antichità d’Ercolano in various other places Aymonino 2010, p. 209, fig. 2. The Dining Room at Syon House, Middlesex in the Bellori and Bartoli books – as the preferred such as Home House, London, or Kenwood publications and especially on the Admiranda to 8 vols, Naples, Regia Stamperia, 1757-1792, 1761-64 source of visual reference to the antique. House, Hampstead, London. create interiors ‘in the antique taste’. While in I, Le pitture antiche d’Ercolano, p. 103, plate 19: ECL, Bp.21.1 Literature: Stillman 1966, p. 65, no. 18; many cases Adam retained Bellori’s iconographic ‘Ballatrice’. Harris 2001, p. 74; Aymonino forthcoming. 322 x 250 interpretation of the ancient reliefs to create Together with Giovanni Pietro Bellori and Literature: Mansi 2008; Décultot- decorative cycles with a consistent subject, more François Perrier’s Icones et segmenta (1645), the Cat. no. 9 Bickendorf-Kockel 2010, pp. 134-35, no. 38. Admiranda Romanarum antiquitatum constituted Andrea Casali (c. 1720/24 – after 1783) often, as in this case, the antique images were the most accessible repertory on antique reliefs Grisaille panel for the Dining Room at Syon used purely for ornamental purposes. In this ECL, Ai.1.01-04 and sarcophagi in print.22 Its success among House, Middlesex panel Casali, a painter who collaborated with antiquarians, Grand Tour travellers and artists Oil on canvas Adam, mixed two different plates from the Published from 1757 by the Reale Accademia throughout the eighteenth century was immense c. 1763 Admiranda to create an original, although quite Ercolanense di Archaeologia, the Antichità and it is ubiquitous in the period’s most Literature: Croft-Murray, 1962-70, II, p. dull, composition. The several plates depicting d’Ercolano provided the educated public with the important libraries. Topham owned this copy 183; Harris 2001, p. 74; Aymonino 2010, the ‘Palladis Artes’ (Works of Minerva) first official images of the recently discovered of the Admiranda and it is very likely that he pp. 209-11, fig. 1; Aymonino forthcoming. from the frieze of the Temple of Minerva in the sites of Herculaneum and Pompeii. Originally Cat. no 9 Cat. no. 12 Robert Adam Ruins of the palace of the Emperor Diocletian at Spalatro in Dalmatia London, the author 1764. Literature: Fleming 1962, pp. 237-40; Stillman 1966, pp. 11-12; Harris 1990, pp. 76-81; Décultot-Bickendorf-Kockel 2010, pp. 139-41.

ECL, Bi.1.18

Published in London in 1764, this impressive grand folio volume demonstrated to the world, and more importantly to his clients, Adam’s familiarity with the remains of antiquity. Of the Cat. no 11 various archaeological publications planned by 20 Adam, including a revised and corrected edition 21 of Desgodets’ Edifices antiques de Rome (see cat. 2), Spalatro is the only one that saw the light. The book was the result of five weeks spent in the Dalmatian town of Spalato (modern day Split) in 1757 at the end of Adam’s Grand Tour. Adam measured the palace in the company of Clérisseau and two collaborators who were to follow him to London, Laurent Benoît Dewez (1731-1812) and Agostino Brunias (c. 1730- 1796). Although the book, with the plates executed in Venice under the supervision of Clérisseau, was almost completed by 1762, its publication was postponed in order to avoid competition with Stuart and Revett’s Antiquities of Athens, the extremely successful survey of Greek monuments published in that same year. Spalatro was originally intended to improve Adam’s burgeoning career but when it came out in 1764 he was already one of the most successful architects of his generation. Cat. no 10 Cat. no 12 Adam may have discovered the copies after the antique by Francesco Bartoli in Section 3: the Topham Collection through one of his early patrons, many of whom were Robert Adam, the Topham old Etonians. It was exactly what he needed to give a distinctive identity to his Collection and Francesco Bartoli style: an easily accessible treasure trove of brightly coloured drawings after ancient decorations. Of all the other collections of drawings after the antique available in England at that time – such as those of the 1st , of the 3rd Earl of Burlington, of Lord Coleraine, or of Dr. Mead – the Topham Collection at Eton was not only the most easily accessible but also contained the most details of f Adam could rely on many for sketches of antique painted ceilings or and plaster ornaments discovered in the 27 22 ancient ceilings and wall decoration. Fig. 3 23 23 publications for the ‘figures’ and the frescoes that could serve this purpose. sixteenth and seventeenth century had Surviving copies of the Bartoli drawings Robert Adam, Sketches for ceiling patterns, SM, Adam 8/12. I‘bas-reliefs’ of his interiors, what In his Roman years of the mid-1750s, disappeared or had been destroyed by in the hands of Agostino Brunias and he lacked at the beginning of his career while busy sketching and assembling a the time of Adam’s residency in Rome Giuseppe Manocchi (c. 1731-1782), were sources on ancient ‘ornaments’ that collection of ‘antique Cornishes, freezes, and the few unearthed in the eighteenth testify that Adam sent some of his most could be used to embellish walls, ceilings Figures, Basreilivs, Vases, Altars’, both century had been in most cases detached skilled collaborators to Eton to produce 26 and carpets in order to give an antique original and casts, Adam also extensively and reduced to fragments. Furthermore, drawings that could be used as a source of consistency to the whole. Referred to copied examples of grotesque decoration access to the recently discovered remains of patterns by the office (cat. 16-17-29-30). Hall, produced in the summer of 1760 original and inventive. It constituted the since the Renaissance as ‘grotesque’, these by (1483-1520) and his pupils Pompeii and Herculaneum was granted to Furthermore, in the collection of the Royal (see cat. 18). In the years immediately ‘legitimate’ ancient model from which decorations were derived from ancient or by Pirro Ligorio (c. 1513-1583) and very few privileged visitors and copies or Institute of British Architects is preserved a following, the Bartoli copies became an his fertile imagination could constantly 24 walls and ceiling designs discovered in the Alessandro Algardi (1598-1654). All drawings were strictly forbidden. Finally, miscellaneous volume that contains further integral part of Adam’s interior design develop new forms and geometric patterns Roman ‘grotte,’ at the end of the fifteenth these artists, in his view, had been able comparatively very few ceilings had been coloured copies, very likely coming from and direct mentions of them appear (fig. 3). century, beginning with Nero’s palace, the to benefit from their study of antique illustrated in antiquarian publications the Adam office.28 in the surviving correspondence of the With the antiquarian publications Domus Aurea. decorations when ‘there was much greater by the late 1750s. It is not surprising, The Bartoli drawings prompted Adam family.29 Colour became increasingly to supply him with ancient ‘figures’ and Adam knew that his success would remains of the grotte, than what are now to therefore, that the few available in print a rapid change in Adam’s decorative important and a flatter, yet more delicate ‘bas-reliefs’ and the Topham Collection depend on his ability to provide a new be seen’ and therefore could be considered were used constantly by Adam, James language. The first evident application of and complex decoration replaced the providing the base for ‘ornaments’, Adam 25 type of decorative language that could be as close to antiquity as one could get. ‘Athenian’ Stuart, James Wyatt (1746- details derived from the Eton copies can be simpler and thicker forms of previous was finally in a position to rise above perceived as ‘truly’ antique. During the early He adopted this approach because 1816) and other British architects of the found in a series of drawings for the Lady ceilings and wall elevations. The way competing architects offering the ‘true years of his practice he searched obsessively most of the ancient Roman frescoes final decades of the century (cat. 13-14). Scarsdale’s Dressing Room at Kedleston Adam employed this source was always style of antique decoration’.30 Harewood House, originally called Gawthorpe Parma between 1720 and 1729, under the £6’ (both nineteenth century) and ‘19 = Hall, was jointly built by John Carr (1723- direction of the antiquarian Francesco Bianchini Drawings from the antique by Brunias and 1807) and Robert Adam for Edwin Lascelles (1662-1729).34 The excavation concentrated two modern, viz. no. 17 and 18, in all 19’ (1712-1795) from 1759. Between 1765 and mainly on the central halls of the Domus Flavia, (twentieth century). 1771 Adam was also in charge of fitting up the heart of the imperial palace, and on part the interior of the ground floor consisting of of the earlier Domus Transitoria of Nero, located Los Angeles, Getty Research Institute, seventeen rooms, including the highly adorned below it. 2002.M.22*, no. 1437 Music Room. The decorative scheme of the ceilings was mirrored, as very often in Adam, A comparison with other Bartoli drawings at See also cat. 29, 39, 40. by the design of the carpet, and was inspired by Eton that have a similar ‘golden’ decoration on the plate in Montfaucon ‘the Baths of Augustus’ the external border, would suggest a possible Of the nineteen drawings contained in this (cat. 13). This is a typical example of Adam provenance from one of the chambers of the unpublished portfolio, fifteen are direct copies relying on printed sources for the ornamental nymphaeum in the Domus Transitoria, known in the of the Francesco Bartoli drawings at Eton. Of scheme of his interiors. eighteenth century as the ‘Baths of Livia’ or the remaining four, two seem to be new creations ‘Baths of Augustus’ (see cat. 41).35 Consequently, based on the Bartoli drawings and two show how Francesco Bartoli’s inscription referring to the ‘Vault details borrowed from the originals were applied Cat. no 15 of the Palace of Titus’, located on the Esquiline to an early interior for Syon House, Middlesex Francesco Bartoli (1675-1733) hill, is very likely wrong. (see cat. 39-40).38 Most of Brunias’ copies Drawing of an ancient ceiling from the Palatine are quarter or half drawn of the original. The Cat. no 13 24 Pencil, pen, watercolour and bodycolour on paper Apart from the copies shown at cat. 16-17, a intention was clearly to create a pattern book, 25 418 x 373 further partial copy of this drawing survives in for which sections were sufficient to be used as 1721 the drawings collection of the Royal Institute a source for decoration. It is likely that Brunias Inscribed in pen on recto, lower left, within of British Architects.36 produced this portfolio in the first half of 1760, the red border: ‘Fran[cis]cus Bartolus. Fecit. soon before applying some of its details to the Cat. no. 13 Anno 1721-’; and on the lower centre: ‘B.n. decoration of the Lady Scarsdale’s Dressing Bernard de Montfaucon (1655-1741) 6.} no. 34’; inscribed in pen on verso, lower Cat. no. 16 Room at Kedleston (see cat. 18). Cat. no 14 L’ antiquité expliquée et représentée en figures, right: ‘Volta del palazzo di Tito’. Adam office, Agostino Brunias (c. 1730-1796) 15 vols, Paris, Florentin Delaulne ... [et al.], Literature: Ashby 1914, Eton III, 34. Section of a ceiling from the Palatine, Brunias’ copy varies from the original in several 1719-1724. after Francesco Bartoli (see cat. no. 15) ways, especially in the treatment of the figures published. Organised according to the Varronian the Palatine (see also cat. 15).31 These, with Supplement III, 1724, plate 58: ‘Peinture a ECL, Bn6.34 Pencil, pen, watercolour and bodycolour on paper and in the colour of the central medallion and model into antiquitates sacrae, publicae, privatae et some few plates of ceilings available in other fresque de la voute d’une chambre des Bains 445 x 380 of the rectangular plaques. This may be because militares, all ancient works of art and objects antiquarian publications, together became one des Augustes a Rome’. The original location of the ceiling depicted in Undated: c. 1760 only the general outline was actually copied in 334 x 426 were divided by themes to explain and illustrate of the preferred sources of inspiration for this vividly coloured drawing can be deduced on Inscribed in pen on recto, lower left: ‘No 14’ situ, to save time, with the details completed Literature: Vaiani 2001; Décultot- different aspects of antique civilisations. Most Adam and other architects of the second half the basis of an almost identical plate published in and ‘Ritrovato nel Palazzo di Tito’. back at the drawings office. 32 Bickendorf-Kockel 2010, pp. 66-69. of the illustrations were copied and re-engraved of the eighteenth century. the third supplement of Montfaucon’s Antiquité from previous antiquarian publications such expliquée (1724), in a chapter devoted to the recent Part of a bound portfolio of 19 drawings In addition to the portfolio at the Getty Montfaucon’s Antiquité expliquée was one of the as those by Bellori and Bartoli. Nevertheless, Cat. no. 14 archaeological discoveries on the Palatine Hill in attributed to Agostino Brunias, labelled on Research Institute, there are also two drawings most successful and influential antiquarian in the third supplement published in 1724, Robert Adam Rome (see also cat. 13).33 the spine ‘Bartolis drawings from antient in the Sir John Soane’s Museum, here attributed publications of the eighteenth century. With Montfaucon published three plates illustrating The Music Room at Harewood House, Yorkshire ceilings etc.’, eighteenth-century binding. to Brunias, which are full copies of the Bartoli more than 1,300 engraved plates it constituted new ceilings that had just been discovered in c. 1765-71 The Farnese Gardens on the Palatine Hill were On page 1 recto several inscriptions in pen drawings at Eton and probably also produced the most comprehensive survey of antiquity ever a contemporary archaeological excavation on Literature: Harris 2001, pp. 149-51, fig. 215. excavated on the orders of Francesco Duke of in different hands: ‘A. 80’ and ‘Roehampton in 1760.39 26 Cat. no 15 Cat. no 17 Cat. no 19 27

Cat. no 16 Cat. no 18 Cat. no 20 Cat. no 17 Inscribed in pencil on recto, top centre: the original Bartoli drawing (cat. 15). This decorative patterns and solutions borrowed from Adam office, Giuseppe Manocchi (c. 1731-1782) ‘Kedleston’; and in pen, lower centre and is indicative of how the Bartoli drawings the Topham collection throughout his career. Drawing of an ancient ceiling from the Palatine, right: ‘Ceiling [sic] for Lady Scarsdale’s prompted the adoption of a more vibrant after Francesco Bartoli (see cat. no. 15) Dressing room at Kedleston, 1760’. palette by Adam and his office. Pen, watercolour, bodycolour within a single Literature: Bolton, 1922, II, Index p. 19; Cat. no. 20 ruled border on paper Bristow, 1986, p. 83. Robert Adam 411 x 408 Cat. no. 19 The Library at Mellerstain House, Berwickshire Undated: c. 1765 SM, Adam 11/44 Adam office, William Hamilton 1770-1771 Literature: Bristow 1996, pp. 82-83, fig. 83. Design for the ceiling of the Library at Mellerstain Literature: Bolton 1922, II, pp. 252-62; House, Berwickshire, as executed with minor King 1991, pp. 160-62; Harris 2001, p. SM, Adam 26/190 was refurbished by Adam for Nathaniel Curzon, 1st Baron Scarsdale alterations 249, fig. 368. Pencil, pen, and watercolour and bodycolour This is one of eight highly finished, coloured (1726-1804) from 1759. Although the Although Mellerstain’s exterior is one of drawings in the hand of Giuseppe Manocchi design was restricted by the earlier refurbishment on paper the first examples of Adam’s castle style, the copied directly from the Francesco Bartoli’s work of Matthew Brettingham (1699-1769), 360 x 631 interiors present his typical language ‘all’antica’. drawings at Eton and today preserved at the and James Paine (1717-1789), Adam nonetheless 1770 The library ceiling, amongst the first elements Soane Museum (see also cat. 30).40 Manocchi managed to create some of his most spectacular Inscribed in pen on recto, lower centre and right: ‘Ceiling [ ] of the Library to be completed, show how the original drawing must have produced this set after his arrival interiors at Kedlseton. sic in England and his employment by Adam in at Mellerstain’ and ‘1770’; and in pencil and its colour scheme (cat. 19) were executed on each medallion within the central almost faithfully. 28 1765. It is possible that the drawings were Lady Scarsdale’s Dressing Room (later the 29 compartment: ‘A’. commissioned to replace the portfolio that Painted Breakfast Room), located in the north- Brunias likely took with him at the moment east family pavilion of the house, is one of the of his departure from the Adam office in 1764 SM, Adam 12/59 Cat. no. 21 earliest examples of Adam’s use of the Bartoli (see cat. 16).41 This shows how Adam continued Robert Adam drawings for interior decoration. In July 1760 to rely on the Bartoli drawings as a source of The decorative pattern derived from the The Etruscan Room, Osterley Park, Middlesex Robert Adam wrote to his brother James: ‘I have inspiration also later in his career. Palatine (cat. 15) was used several times by 1775 done a painted room for him [Sir Nathaniel Adam throughout his career (see also cat. 21). Literature: Harris 2001, pp. 158-79. Compared to the drawing by Brunias (cat. 16), Curzon], which is quite in a new taste and I have At Mellerstain House, built for Hon. George Brunias now employed in painting in size’. A Manocchi’s copy is more faithful to the original Baillie between 1770 and 1778, he retained the Robert Adam began his refurbishment of Cat. no 21 month later he sent five drawings of the room (cat. 15) although modifying three figures in general structure for the central compartment Osterley for the Child family in 1761, a to Kedleston.42 The room was dismantled in the oval medallions. of the ceiling of the library, with alternated task that took twenty years to complete. 1806 but the five drawings – the ceiling and with the introduction of black and terracotta originally a circular mausoleum constructed by rectangular plaques and circular medallions, An Elizabethan building when Adam the room’s four wall elevations – still survive medallions to give to it an ‘Etruscan’ flavour. the emperor Constantine the Great in the mid- Cat. no. 18 but rotated the central curved x-shaped panel started his work, the house was eventually at Kedleston, revealing how Adam relied on fourth century AD for his daughters Costanza, Adam office, Agostino Brunias by fourty-five degrees. This drawing shows how completely transformed to show some of the Brunias’ portfolio of copies after Bartoli (cat. or Constantina, and Elena. Converted into a Record drawing of a ceiling for Lady Scarsdale’s the original abundant grotesque decoration of most lavish interiors ever produced by the Cat. no. 22 16) for the decorative scheme.43 church in 1254, its spectacular mosaics have Dressing Room at Kedleston Hall, , the Bartoli drawings, as seen for instance in the Scottish architect. Church of Santa Costanza attracted the attention of artists and architects unexecuted various schemes for Kedleston Hall (see cat. 4th century AD This unexecuted record drawing is the earliest since the Renaissance, who wrongly considered Pencil, pen and watercolour within a single 18), was progressively abandoned by Adam Two of the most celebrated rooms of the house, Literature: Brandenburg 2004, pp. 69-86. it an ancient ‘Temple of Bacchus’.44 ruled border on paper ceiling design showing colour in the collection in favour of a more restrained and regular use the Tapestry Room (1772) and the Etruscan 346 x 425 of Adam drawings at the Soane Museum. The of ornamental details. At the same time it Room (1775), have ceilings that still show The church of Santa Costanza on the Via 1760 choice of colours is similar to those shown on reveals how Adam continuously went back to decorative schemes based on cat. 15, in this case Nomentana on the outskirts of Rome was Cat. no 22 Cat. no 24 30 Cat. no 26 Cat. no 27 31

Cat. no. 23 The various panels mainly show geometric ECL, Bn7.92 Church of Santa Costanza, details of the patterns with frequent references to the harvest, mosaics on the vault of the ambulatory also present in the monumental porphyry This drawing by Francesco Bartoli reproduces 4th century AD sarcophagus of Constantina, once in Santa one of the panels from the ceiling of Literature: Stern 1958; Amadio 1986, pp. 10- Costanza and now in the Vatican Museums. the ambulatory of Santa Costanza (see cat. 17; Matthiae 1967, I, pp. 3-53, II, nos 1, 3. 23). Bartoli’s geometric scheme is based on a sequence of modular cruciform elements On the inside of the church, the ‘ambulatory’ Cat. no. 24 alternating with octagons. It is likely that this walkway surrounding the whole inner space is Francesco Bartoli watercolour is a simplified version of earlier covered with a ring barrel vault decorated with Drawing of decorative mosaics in the drawings by Francesco’s father, Pietro Santi mosaics. These aroused vast interest among vaulting of S. Costanza Bartoli, who may have actually seen the ancient artists and antiquarians, as demonstrated by Pen and watercolour on paper vault or copied older drawings.46 Insofar as it is a large number of surviving drawings, such 167 x 212 as those by Francesco di Giorgio Martini, Undated: c. 1721-25 typical of the graphic production of Francesco Cat. no 25 Antonio da Sangallo the Elder and Francisco Inscribed in pen on recto, lower centre: Bartoli, this is not a perfectly identical copy d’Hollanda, or by the illustrations in Sebastiano ‘B n. 7.} no. 92’; inscribed in pen on verso, of his father’s work. For example, only the Serlio’s Third Book on Architecture (1540, pl. centre and lower right and left: ‘Fran. Bartoli original red and blue crosses and octagons are 21).45 The mosaics are divided into a series of fece’ and ‘no 22’ and ‘del Palazzo di Augusto’. reproduced, while significant differences in panels that correspond to the spaces between Literature: Ashby 1914, Eton IV, 92; both shape and colour are introduced in the Cat. no 23 the of the internal . Amadio 1986, p. 73, no. 45. decorative details within the octagons. The fact that Francesco Bartoli inscribed the drawing as spaces. The inscription referring to the ‘Palace on the carpet for Mrs Montagu’s Chinese room. coming from ‘the Palace of Augustus’ shows of Augustus’ is again completely false. Adam transformed the rather loose interwoven how unreliable his provenances are. spirals of cat. 25 into an ‘enclosed guilloche’ for A partial copy of this drawing survives in the the external square border of Mrs. Montagu’s A partial copy of this drawing survives in the drawings collection of the Royal Institute of carpet. At the same time he adapted the red drawings collection of the Royal Institute of British Architects.49 crosses and blue octagon of cat. 24 for the 47 British Architects. circular inner border.

Cat. no. 25 Cat. no. 26 Francesco Bartoli Adam office hand Cat. no. 27 Drawing of decorative mosaics in the Preliminary design for a carpet for Mrs. Montagu’s Adam office hand vaulting of S. Costanza House, 23 Hill Street Design for a carpet for Mrs. Montagu’s House, Pen, watercolour and bodycolour on paper Pencil, pen and watercolour on paper 23 Hill Street 161 x 221 452 x 415 Pen, watercolour and bodycolour on paper Undated: c. 1720-25 Undated: c. 1766 461 x 405 Inscribed in pen on recto, lower centre: ‘B Inscribed in pen on recto, lower centre: Undated: c. 1766 n. 7.} no. 93’; inscribed in pen on verso, ‘Carpet for Mrs. Montagu’. Inscribed in pen on recto, lower centre: Literature: Stillman 1966, p. 99, cat. 129; ‘Carpet for Mrs. Montagu’. lower right: ‘Fran[ces]co Bartoli fece’ and ‘del Cat. no 28 Cat. no 30 32 Palazzo di Augusto’ and ‘no 22’. King 1991, pp. 309-12, fig. 435; Pullins Literature: Bolton, II, p. 319, Stillman 1966, 33 Literature: Ashby 1914, Eton IV, 92; 2008, p. 401, note 3. p. 99, cat. 129; Beard 1978, p. 61, cat. 26; Amadio 1986, p. 74, no. 47. King 1991, pp. 309-12, fig. 436; Baird 2003, SM, Adam 17/167 p. 45, fig. 4; Pullins 2008, p. 401, note 3. ECL, Bn7.93 Robert Adam was asked by Mrs Montagu, the SM, Adam 17/166 This drawing reproduces a different panel of ‘Queen’ of the Bluestocking circle, to refurbish the mosaic ceiling of the ambulatory of Santa her Chinese room in 23 Hill Street in 1766. In the final colourful design Adam retained Costanza. A series of circular fields, encircled Adapting to a taste that was alien to him, he the cross and octagons, this time complete, by interweaving coloured bands, depict multiple reduced the amount of chinoiserie in the room, for the circular border, while the guilloche in images of Erotes and Psychai. The remaining spaces, creating substantially matching classical ceiling the external border was replaced by continuous in the shape of octagons with concave sides, and carpet with ‘Chinese’ scenes inserted in swags. The decorative details derived from feature birds and animals. roundels and panels. Bartoli were mixed with several other sources, including Chinese subjects in the four oval As in the case of cat. 24, this watercolour Although in this case there are no surviving medallions to match the general theme of the reproduces elements of drawings by Pietro copies by Brunias or Manocchi of Francesco room. In this way, by a strange twist of fate, Santi Bartoli.48 The degree to which Francesco’s Bartoli’s drawings from the vault of Santa mosaic patterns for a Paleochristian mausoleum version diverges from the original mosaic is even Costanza, Adam or one of his collaborators in Rome, which had been given a new but more evident here. Considerable freedom and must have seen and copied them at Eton. In spurious ‘Augustan’ pedigree by Francesco artistic licence has been used in the distribution fact, details which appear only in the Eton Bartoli, ended up in a room devoted to the of the figures in the circular and octagonal renditions of the celebrated mosaics resurface Chinese taste in fashionable Georgian London. Cat. no 29 Cat. no 31 Cat. no. 29 Brunias retained the essential appearance of Adam office, Agostino Brunias Francesco Bartoli’s drawing (cat. 28), with radial Section of an ancient ceiling, after Francesco figures distributed around a central medallion, Bartoli (see cat. 28) but freely modified other elements to create an Pencil, pen, watercolour and bodycolour on paper original composition. 445 x 380 Undated: c. 1760 Inscribed in pen on recto, lower left: ‘nella Cat. no. 32 Villa Adriana’. Adam office, William Hamilton Design for the ceiling of the Saloon of Harewood Los Angeles, Getty Research Institute, House, Yorkshire, as executed 2002.M.22*, no. 7 Pen and watercolour on paper 446 x 622 See also cat. 16, 39, 40 1767 Inscribed in pen on recto, top centre and This is one of the fifteen copies by Agostino lower right: ‘Design of a ceiling for the Saloon Brunias after the Bartoli drawings at Eton at Gawthrop House. The Seat of Edwin collected in a portfolio now at the Getty Lascelles Esquire / 36.6 by 24.6’ and ‘1767’. Research Institute. 34 Cat. no 32 Cat. no 33 Literature: Bolton, 1922, Volume II, Index 35 p. 16; Stillman, 1966, pp. 85, 100, no. 131; Here, as in cat. 16, Brunias copied only a Harris 2001, p. 140, note 28. Cat. no. 28 while the others carry different attributes. These quarter of the original drawing but in this today preserved at the Soane Museum (see were seen in Stucco & Gilt, & the Figures Francesco Bartoli latter four figures are also found in two of case he remained almost completely faithful cat. 17). Again, Manocchi introduced minor & c painted / for Lord Melcombe’s Garden SM, Adam 11/152 Drawing of an ancient ceiling Pietro Santi Bartoli’s pencil sketches in the to the original details. modifications to the original (cat. 28): although Building’ and ‘1762’. Pen, watercolour and bodycolour on paper Thomas Coke collection at Holkham Hall.50 the general decorative elements are the same, Literature: Bolton 1922, II, Index p. 39. Between 1765 and 1771, Adam was in charge 393 x 357 Manocchi’s radial figures differ from Bartoli’s Cat. no. 30 of fitting up the interiors of the ground Undated: c. 1721-25 Differences between the figures by the father and are in different positions. SM, Adam 11/89 Adam office, Giuseppe Manocchi floor rooms of Harewood House, originally Inscribed in pen on recto, lower centre: and the son suggest that this ceiling is most Drawing of an ancient ceiling, after Francesco called Gawthorpe Hall, for Edwin Lascelles ‘Bn. 6} no. 3’; inscribed in pen on verso, likely a fanciful composition created by Bartoli (see cat. 28) Cat. no. 31 Adam was employed in 1762 by George Bubb (see cat. 14). From the late 1760s, elements lower left and right: ‘T’ and ‘Bartoli’ and Francesco on the basis of his father’s drawings. Pen, watercolour and bodycolour within a Adam office, Agostino Brunias Dodington (1691-1762), Baron Melcombe of from the Bartoli drawings frequently resurface ‘Villa Hadriani’. This is the case for several other drawings in double ruled border on paper. Finished design for the ceilings for a garden Melcombe Regis, to design a garden pavilion for individually in Adam’s original compositions, Literature: Ashby 1914, Eton III, 3. the Topham Collection (see for instance cat. 416 x 464 pavilion for La Trappe (later Brandenburg his house in Hammersmith, La Trappe, located having become, by this date, an integral part 35). The inscription which gives the origin of Undated: c. 1765 House), Hammersmith, Middlesex, unexecuted beside the River Thames. The pavilion was never of the office’s ornamental vocabulary. Here the ECL, Bn6.3 the ceiling to the ‘Hadrian Villa’ is therefore Literature: Tait 2008, cat. 88, p. 132-33. Pen and watercolour on paper executed, perhaps because of Melcombe’s death connection with the Bartoli original is looser, almost certainly wrong. 338 x 342 in 1762, but several drawings executed by the but it remains very likely that Adam derived This drawing by Francesco Bartoli reproduces a SM, Adam 26/180 1762 Adam office are still preserved in the Soane from cat. 28 the composition of the central frescoed ceiling of unknown origin. The central Apart from the copies shown at cat. 29-30, two Inscribed in pen on recto, top centre and Museum (SM, Adam, 19/22-26; 11/87-89). circular compartment: a central medallion with medallion shows a female figure encircled by further partial copies of this drawing survive in This is one of the eight coloured drawings lower right: ‘Design of a Ceiling for the radial panels encircled by other medallions, in eight additional female figures in the radial the drawings collection of the Royal Institute by Giuseppe Manocchi directly copied from Circular Room / N.B. This ceiling would The ceiling, which was intended for the circular this case rosettes. Adam then used the same compartments. Four of them hold up a cloth, of British Architects.51 the Francesco Bartoli’s drawings at Eton, answer extremely well, if the mouldings room of the pavilion, shows how Adam and panels to create a uniform decoration in the cove. Cat. no. 33 This drawing depicts a painted wall punctuated Robert Adam by four Doric half columns attached to piers Ceiling of the Saloon of Harewood House, dividing the space into three sections. The Yorkshire central section is occupied by a female herm 1767 flanked by two peacocks, whilst the left panel Literature: Stillman 1966, p. 85, no. 81; depicts a satyr with a little Eros and a goat. The Harris 2001, pp. 139-40, fig. 201. right panel has a drunken Silenus supported by a satyr and accompanied by a panther – giving The aspect of Adam’s Saloon was changed a Bacchic character to the whole composition. during the refurbishment of the room by Sir There are strong suspicions that this Charles Barry (1795-1860) in 1843-1850. The composition was invented by Francesco Bartoli, room was turned into a library, with bookcases once again relying on his father’s drawings: replacing screens of columns in the alcoves. the two couples of figures on the side panels Although Adam’s decoration of the ceiling are in fact found also in earlier drawings by remained untouched, the current colouring Cat. no 36 Pietro Santi Bartoli reproducing metal plaques 58 is not original. on ancient furniture. These drawings were certainly known to Francesco, since copies in the Baths of Constantine on the Quirinal Hill foliage. The figure in the centre, , is still his hand are preserved in the Thomas Coke 59 Cat. no 34 Cat. no. 34 – an excavation that gained considerable fame preserved in Palazzo Rospigliosi today (see cat. collection at Holkham Hall. 36 Francesco Bartoli at the beginning of the eighteenth century.53 43-44). Two painted panels at the sides contain 37 The inscribed provenance from the ‘Palace of Drawing of an ancient wall elevation from the Together with the frescoes from the imperial narrative scenes: the panel on the left, still Augustus’ on the Palatine is almost certainly ‘Baths of Constantine’ domus on the Palatine (see cat. 15, 41), this is the preserved in Palazzo Altemps in Rome, depicts spurious. Pencil, pen, watercolour and bodycolour archaeological site most extensively represented a naked hero crowning himself with the palm on paper. among the Bartoli drawings in the Topham of victory.56 On the right is depicted a scene 393 x 502 Collection. of libation with a priestess and two women.57 Cat. no. 36 1711 Francesco Bartoli Inscribed in pen on recto, lower centre In this case, the Bartoli drawing seems to Drawing of an ancient ornamental panel from and right: ‘B.n 7} no. 39’ and ‘in aedibus be a first-hand rendition of a contemporary Cat. no. 35 the ‘Sette Sale’ Rospiliosi, e Balneis Constantini M. Repert. archaeological find – as the inscription Francesco Bartoli Pen watercolour and bodycolour on paper 1711’; inscribed in pen on verso, lower left: testifies. Some doubts about the accuracy of Drawing of an ancient wall elevation 252 x 368 ‘No. 2’. the representation emerge, however, in light Pencil, pen, watercolour and bodycolour Undated: c. 1720-25 Literature: Ashby 1914, Eton IV, 39; of a comparison with a drawing of the same on paper Inscribed in pen on recto, within the red Connor Bulman 1998b, pp. 65-66; Connor wall elevation in Francesco’s hand, in the 287 x 408 border, lower left and right: ‘Fran[ces] Bulman 1999, p. 207; Connor Bulman Thomas Coke collection at Holkham Hall.54 Undated: c. 1710-25 co Bartoli’; and lower centre: ‘B.n. 5} no. 2001a, pp. 343-344. The wall elevation was destroyed shortly after Inscribed in pen on recto, lower centre: ‘B.n 26’; inscribed in pen on verso, lower left: its discovery but parts of it were detached 7} no. 95’; inscribed in pen on verso, lower ‘un ornamento del Palazzo di Tito’; and in Cat. no 35 ECL, Bn7.39 and retained.55 right: Fran[ces]co Bartoli Fece’ and ‘del pencil, lower right: ‘RT VI’. Palazzo di Augusto’ and ‘16’ and ‘No 22’. Literature: Ashby 1914, Eton II, 26; De This wall painting was discovered during the The drawing represents a wall punctuated Literature: Ashby 1914, Eton IV, 95. Lachenal 2000, pp. 634, 669. excavations for the expansion of the Palazzo by slender architectonic structures framing Rospigliosi in 1709,52 in a domus on the site of representations of gods encircled by scrolling ECL, Bn7.95 ECL, Bn5.26 In this drawing of a decorative panel, two Inscribed in pencil on recto, lower left: ‘Sion’; in cat. 37, where the figures and the scrolling The two plates show that Adam and Brunias winged half-figured centaurs accompanied inscribed in pen on verso, top right: ‘Sion’. foliage derive from cat. 34 but with decorative retained the colours of the original drawings by by two Erotes are arranged symmetrically on elements borrowed from the central panel in cat. Francesco Bartoli for most of the details (cat. a brown background. For this composition SM, Adam 27/75 35. Other elements, such as the dogs flanking 34, 35, 36). The actual decorative elements and Francesco likely copied a near identical pencil Both undated: c. 1760. an amphora in the panels in the dado of both the figurative panels of the closet were almost sketch by Pietro Santi Bartoli today preserved Literature: Harris 2001, p. 83, cat. 37 and 38, derived from the central panel certainly executed, as at Kedleston, by Agostino at Holkham Hall.60 The caption on the pencil fig. 123 (cat. 38). of the frieze in cat. 35 while the central panel Brunias, who then recorded the whole scheme sketch explains that the panel was part of a long in the upper register of the wall in cat. 37, with in his volume, therefore joining together in frieze including scenes of a battle against the Eclectically combining details from Francesco winged centaurs and Erotes, is almost a literal the same pages the sources of his decorative Amazons.61 These drawings document frescoes Bartoli’s drawings of ancient wall elevations copy of cat. 36. These two drawings show very language and one of the first examples of their belonging to a luxurious domus discovered in and decorative panels (cat. 34, 35, 36), in these clearly how Adam and Brunias made free and practical execution, the ‘closet’ at Syon House. 1683 on the Oppian Hill in the area of the designs Adam crafted one of his first interiors inventive use of the Bartoli originals, as a source so-called Sette Sale, thought in the eighteenth in the ‘true style of antique decoration’.64 The of inspiration rather than a constrictive model. Elevations of the Syon ‘closet’ were later century to be part of the palace of the emperor ‘closet’ (actually a small cabinet) at the top of published by Michelangelo Pergolesi, another Titus.62 one of the towers at Syon House was ‘fitted, decorator who worked for Adam at Syon, in painted and ornamented after ye antique; being Cat. no. 39 & 40 his Designs for various Ornaments (plates 64 and In this case, the inscribed provenance from the first essay in that Taste executed in Engl[an]d Adam office, Agostino Brunias 70). A collection of plates published serially the ‘Palace of Titus’ derives directly from the w[hic]h has since so universally prevailed in Design for the wall elevations of the closet at the in London between 1777 and 1801, it served Cat. no 37 38 Pietro Santi drawing. this Kingdom’.65 The ‘closet’ has long gone, top of one of the towers at Syon House, Middlesex as a pattern book for neo-classical decorators.67 39 possibly destroyed during nineteenth-century Cat. no 39 Pencil, pen, watercolour and gouache on paper. A partial copy of this drawing survives in the refurbishment works on the house, but the Sir Both 445 x 380 drawings collection of the Royal Institute of John Soane’s Museum still preserves two wall Cat. 39: Inscribed in pen on recto, British Architects.63 elevations, here attributed to Agostino Brunias lower left: ‘No. 17’. (cat. 37, 38).66 Cat. 40: Inscribed in pen on recto, lower left: ‘No. 18’. Cat. no. 37 & 38 To produce an original and inventive decorative Adam office, Agostino Brunias scheme, Adam dismissed the architectural Both undated: c. 1760 Design for the wall elevations of the closet at the structure shown in the original antique wall top of one of the towers at Syon House, Middlesex, elevations (cat. 34, 35), but retained and Los Angeles, Getty Research Institute, probably as executed freely reinterpreted many of the fanciful 2002.M.22*, nos 17-18 Pencil, pen and watercolour within a single details introduced by Francesco Bartoli. For ruled border on paper instance, the two herms shown in the lateral See also cat. 16, 29. panels of the closet wall in cat. 38 derive Cat. 37: 497 x 364 from the central figure drawn by Bartoli in While the two wall elevations of the square Inscribed in pen and pencil on recto cat. 35, but with elements (such as the peacock closet at Syon House preserved in the Soane with various dimensions. feathers, the foliage, or the pedestals on which Museum are monochrome (cat. 37-38), two the herms rests) derived from decorative finished drawings by Agostino Brunias in the SM, Adam 27/74 elements encircling the main figures in cat. volume held at the Getty Research Institute 34. The same is true for the vertical panel at depict the same elevations in full colour, likely Cat. no 38 Cat. 38: 488 x 360 the centre of cat. 38 and flanking the window Cat. no 40 reporting what was actually executed. Of the generation of architects that architectural circles was a treatise that he Topham Collection constituting the bulk followed Adam, one who must have relied published in London in 1772 in English of a set of images which became influential Section 4: on the Bartoli drawings as a source for his and French: The Baths of the Romans explained in shaping the European taste of the final decorative language is prolific James Wyatt and illustrated. Intended as a new edition of decades of the eighteenth century. (1746-1813). The archives of the Duke Lord Burlington’s Fabbriche Antiche disegnate To highlight the thinly veiled recycling The Topham Collection’s broader of Northumberland at Alnwick Castle da Andrea Palladio, published in London in of images in Cameron’s book is more than still hold a drawing in his hand that is a 1730, the Baths was the result of careful mere scholarly gossip: it offers a major Influence: Charles Cameron and faithful copy of one of the antique ceilings measurement and analysis of the ancient insight into the importance of the Topham at Eton (figs 6-7),69 while the influence of thermal complexes that Cameron had Collection in architecture and design. other Neo-Classical Architects the Bartoli drawings on Wyatt is clearly carried out in person during his stay in Although the influence of the Topham discernible in many of the ceilings and Rome and near Naples in 1768. The book Collection, through the Bartoli drawings and Decorators decorative schemes that he produced in had more success on the continent than in in particular, was vast, the collection was the 1770s and 1780s – a subject that has Britain – a new edition was issued in 1775 known only to a select group of antiquarians, not received scholarly attention so far.70 – both as a serious antiquarian study in its architects and designers. It was through this A set of copies of the Bartoli own right and as a source for neo-classical group of interpreters and not as a direct drawings is still preserved in the collection decoration, given the numerous images source in its own right that the influence of the Royal Institute of British Architects. depicting ancient ceilings and details of of the collection was felt. Cameron’s Baths 40 dam and his collaborators Hannan (1720-1772) to decorate his Consisting of forty-two black and white wall elevations. In fact, the Baths provided exemplified this paradox: repackaged and 41 were not the only ones to draw house with an eclectic mixture of references pen drawings (most of which replicate in more images of ancient ceilings than any unacknowledged, the Bartoli drawings Ainspiration from Francesco to antiquity and copies of the most detail only a quarter-section of each of previous publication. found a wide audience of devotees who Bartoli’s drawings of ancient ceilings in renowned frescoes by Raphael, Annibale the Bartoli ceilings), this set was produced Although Cameron produced drawings could not, for all their interest in the designs, the Topham Collection. The accessibility Carracci (1560-1609) and Guido Reni after 1766, as the watermarks on the paper with precise and minute measurements, trace their provenance. In demonstrating of the drawings at Eton attracted several (1575-1642). The classical past and the show.71 Although the draughtsman still demonstrating that he did survey several the link between the antique originals, the other architects and painters in search Roman-Bolognese school were paired to needs to be identified, this set is further ruins of Roman baths, the book was a drawings assembled by Richard Topham, of decorative schemes for their interiors create a ‘temple of the arts’ devoted to proof of the success of the Eton drawings product of compromise, which largely and the architecture that they inspired, ‘all’antica’. Although the example of Adam the classicistic taste. In the Red Drawing as sources of antique decorative patterns. reused the plans and elevations given in plates this exhibition has sought to provide one and his highly successful office must have Room and in the Tapestry Room, the The architect of this generation published in Lord Burlington’s Fabbriche more account of how the language of classicism been a powerful incentive, especially for ceilings, painted by Hannan in the late to make the most extensive use of the than forty years before.73 Furthermore, the was revived in the eighteenth century, the generation of architects who followed 1750s or early 1760s, were very faithfully Eton drawings, although without ever greatest majority of Cameron’s illustrations released from the page through the work in his steps, there is at least one example transcribed from two of the most elaborate acknowledging it, is without doubt Charles depicting ceilings and decorative elements of Robert Adam and others at the forefront of the use of the collection unrelated to Bartoli drawings at Eton (figs 4-5).68 Sir Cameron (1745-1812). Cameron is were closely copied from the Bartoli of a new classical tradition. Frescoes and Adam’s and perhaps even predating it. Francis’ interest in classical antiquity was celebrated for his efforts at the behest of drawings at Eton, while a few were copied stuccoes that once adorned the houses of This was Park, profound and long lasting. As an Old Catherine II of Russia at Tsarskoe Selo, from previous publications, a fact that has the Romans and their emperors were thus , home of the notorious Etonian and a founding member of the Sophia and Pavlovsk, near St Petersburg, so far escaped close examination (see cat. given new life over more than one and a half Sir Francis Dashwood (1708-1781). Society of Dilettanti, he must have been and for his impact on subsequent Russian 41-47). Therefore, what was presented by a millennium later in the houses and villas Dashwood, who had travelled extensively gratified that a major source on antique neo-classical architecture.72 But the work Cameron as body of original illustrations of eighteenth-century Europe. in Italy, employed the painters Giuseppe decoration was within easy reach in the that earned him the largest reputation was in fact for the most part a miscellaneous Maria Borgnis (1701-1761) and William library of his old school. among European antiquarian and assemblage of secondary material, with the 1721 (see cat. 15). The fame of the nymphaeum, known in the eighteenth century as the ‘Baths of Livia’ or ‘Baths of Augustus’, is testified by the numerous surviving drawings and engravings that reproduce it.75 The Topham Collection includes several drawings that represent the front and the architectural plan of the nymphaeum’s fountain, as well as the frescoes of the ceilings of the nearby chambers.76 Some of the original were detached on the orders of the Farnese family and moved first to Parma and then to Naples, where they are still preserved in the National Archaeological 77 Cat. no 41 Museum. Others, such as this vault, were visible during the second half of the eighteenth century and are still in situ.78 Later, part of the building was re-buried and only at the beginning Fig. 4 Fig. 6 of the twentieth century did the excavations of The Red Drawing Room, West Wycombe, James Wyatt (attr.), Drawing of an ancient ceiling after Francesco Bartoli, pen 42 Buckinghamshire, c. 1760 and watercolour on paper, 495 x 495, c. 1789-90, Giacomo Boni allow the attribution of this vault 43 AC, Picture Catalogue, 03442 to the Neronian nymphaeum.79

The comparison of the original vault with the drawing by Francesco Bartoli, the direct source for Cameron (see cat. 42), reveals some relevant differences: its value as documentary evidence, as so often with Francesco Bartoli’s drawings, should therefore be questioned.80

A partial copy of this drawing survives in Cat. no 42 the collection of the Royal Institute of British Architects.81 Cat. no. 41 Literature: Ashby 1914, Eton VI, 14; Bastet Francesco Bartoli 1971, p. 154; Miranda 2000, p. 224. Drawing of an ancient ceiling from the Palatine Pen and watercolour on paper ECL, TP 14 Cat. no. 42 385 x 743 Charles Cameron (1745-1812) 1721 This large drawing depicts the vault inside one The Baths of the Romans explained and illustrated Inscribed in pen on recto, lower centre: ‘No XIV’. of the chambers of a Neronian nymphaeum in the London, George Scott, 1772, plate 55: Fig. 5 Fig. 7 ‘Vaulted ceiling at the Palace of Augustus’ Francesco Bartoli, Drawing of an ancient ceiling, pen, watercolour and Francesco Bartoli, Drawing of an ancient ceiling, pen, watercolour and Formerly inscribed: ‘Una volta arcata trovata Domus Transitoria, discovered during excavations 74 bodycolour on paper, 393 x 357, c. 1721-25, ECL, Bn6.21 bodycolour on paper, 393 x 357, c. 1721-25, ECL, Bn6.36. nel Monte Palatino, 1721’ . at the Farnese Gardens on the Palatine Hill in 330 x 668 Cat. no. 43 Cat. no. 44 ECL, Bn7.62 Cat. no. 45 Fragment of an ancient wall from Francesco Bartoli Charles Cameron the ‘Baths of Constantine’ Drawing of an ancient fresco from the The preservation of the original ancient fresco The Baths of the Romans explained and illustrated Palazzo Rospigliosi, Coldiretti Collection. ‘Baths of Constantine’ from the ‘Baths of Constantine’ (cat. 43) allows London, George Scott, 1772, plate 43: ‘At Literature: Napoleone 2000, p. 55; Connor Pen and watercolour on paper a close analysis of Francesco Bartoli’s working the Baths of Constantine’ Bulman 1999, p. 210, n. 36. 290 x 215 method. Although the fresco appears to be 304 x 202 Undated: c. 1711 heavily restored, it is very likely that Bartoli Literature: Harris 1990, pp. 136-39; Salmon Inscribed in pen on recto, lower centre: introduced many decorative details to ‘improve’ 1993; Shvidkovsky 1996, pp. 21-25; Colvin This ancient fresco representing Apollo holding ‘Fran[cis]cus Bartolus. Fecit’ and ‘Bn7.} no. the original image. The luxuriant scrolling 2008, pp. 211-13. a bow and arrow constituted the central part 62’; inscribed in pen on verso, lower right: ‘in branches where the Apollo rests on the drawing of the larger wall elevation depicted at cat. aed. Rospigliosi’. appear much reduced in the original, and the ECL, Bi.1.1 34. It was detached from the wall in 1709 by Literature: Ashby 1914, Eton IV, 62; vegetable festoons and the slender pilaster to Francesco Bartoli at the time of its discovery Connor Bulman 1999, p. 207. which they are attached are completely absent. The extent to which Cameron relied on the in the domus below the site of the Baths of Bartoli drawings at Eton is easily recognisable Constantine, where today is Palazzo Rospigliosi. when comparing the fanciful decoration of The fresco, along with other fragments from the foliage, flowers and peacock feathers framing same site, was displayed in Palazzo Rospigliosi Apollo visible in Bartoli (cat. 44) and copied by from 1710 and can still be seen there.83 The Cameron, with the original fragment preserved red border visible on the fresco was added for in the eighteenth century, as today, in Palazzo 44 decorative purposes after its detachment. This Rospigliosi (Cat. no. 43). 45 may have been done by Francesco Bartoli, who – emulating his father – used the same device Cat. no. 46 in many of his watercolours. Francesco Bartoli Drawing of an ancient fresco from the The fresco was reproduced by Francesco Bartoli ‘Baths of Constantine’ (cat. 44) and engraved several times. It was Pencil, pen and watercolour on paper first published, from a drawing by Camillo 283 x 225 Paderni faithful to the original fresco, in George Undated: c. 1711 Cat. no 43 Turnbull’s Treatise on ancient painting (1740) and Inscribed in pen on recto, lower centre: A curious collection of ancient paintings (1741).84 ‘Fran[cis]cus Bartolus. fecit’ and ‘Bn7.} no. 66’; inscribed in pen on verso, lower right: ‘in Literature: Harris 1990, pp. 136-39; Salmon Of the forty plates depicting ancient ceilings Later Charles Cameron, for his Baths of the aedibus Rospigliosi’. 1993; Shvidkovsky 1996, pp. 21-25; Colvin and details of wall elevations, thirty-three were, Romans (1772), merely made a copy of Bartoli’s Literature: Ashby 1914, Eton IV, 66. 2008, pp. 211-13. like cat. 42, 45 and 47, faithfully copied by watercolour without referring directly to the Cameron from the Francesco Bartoli drawings original fresco (cat. 45). Finally, Marco Carloni, ECL, Bn7.66 ECL, Bi.1.1 at Eton, while the remaining seven were copied despite having clearly seen the original fragment, or based on previous publications.82 produced a very unfaithful plate for his Antiche This circular drawing depicts a Psyche sitting on Cameron’s Baths of the Romans offered both a pitture dei Bagni di Costantino (1780), perhaps due a flowering branch holding a drum in her hand. serious study of the remains of the Roman This plate, the largest published by Cameron, to the poor state of conservation of the fresco Like cat. 44, it may depict one of the original baths and a corpus of decorative images after the was faithfully copied from Bartoli’s vault at that date.85 fragments of frescos detached in 1709 (cat. antique easily accessible to neo-classical architects decoration from the Palatine but printed 34, 43). Assuming that this was not invented and decorators. in reverse. Cat. no 44 by Francesco Bartoli, the original is now lost. Cat. no.47 Charles Cameron Notes The Baths of the Romans explained and illustrated London, 1772, plate 48: ‘At the Baths of Constantine’ 281 x 202 Literature: Harris 1990, pp. 136-39; Salmon 1993; Shvidkovsky 1996, pp. 21-25; Colvin 2008, pp. 211-13.

ECL, Bi.1.1

As in cat. 42 and 45, Cameron’s copy of the Bartoli drawing, as for the vast majority of his decorative plates, is almost completely faithful to the original.

46 1 Will proved Nov. 2 1730. Prerogative Court of Canterbury 319, Auber. 13 On Francesco Bartoli see Ridley 2001; Connor Bulman 1999; 47 Connor Bulman 2001a; Connor Bulman 2001b; Almagno 2007. 2 Birley 1970, p. 34. Cat. no 46 On Pietro Santi Bartoli see Pomponi 1992; Whitehouse 2005; 3 Austen-Leigh 1936, p. 202. Carpita 2006; Modolo 2010; Modolo, forthcoming; Whitehouse, forthcoming. 4 Quarrie 1993.

5 Connor 1993, pp. 26-28. 14 An earlier, c. 1720, far inferior drawing of the same relief by Sempronio Subissati (c. 1680-1758) is in ECL, Bm6.24. See 6 On the Topham Collection see esp. Ashby 1904 and the articles by Connor Bulman 1998a, p. 55, cat. 30; Bowron-Kerber 2007, Louisa Connor Bulman mentioned in the bibliography. p. 203, note 20. 7 On this see esp. Ayres 1997; specifically in relation to Topham see 15 Connor Bulman 2008, p. 289. On Campiglia see Quieto 1984; Connor Bulman 1998a; Bowron- Rishel 2000, pp. 484-86. 8 A good overview is Scott 2003, esp. pp. 53-84. 16 See Haskell-Penny 1981, pp. 191-93, no. 27. 9 Scott 2003, pp. 59-60; Connor Bulman 2008, esp. pp. 291-97.

10 On Topham’s library see Quarrie 1993. 17 On eighteenth-century antiquarian circles and publications good overviews are Haskell-Penny 1981; Harris 1990, esp. pp. 49-54; 11 On the fifty-three extremely fine red chalk drawings by Batoni in Scott 2003; Décultot-Bickendorf-Kockel 2010. the Topham Collection see Macandrew 1978. On Campiglia see Quieto 1984 and Connor Bulman 2002a. 18 Adam 1773-79, p. 3 and p. 5, note C. On Adam’s Grand Tour 12 On early eighteenth-century collections of drawings after the see Fleming 1962, esp. pp. 109-244; Ingamells 1997, pp. 5-8; Tait Cat. no 45 Cat. no 47 antique see esp. Connor Bulman 1998a; Connor Bulman 2002b. 2008, esp. pp. 45-123. 19 See for instance the Presence Chamber at Kensington Palace Adam in Rome where the drawings in the college are reported as 34 On the excavations on the Farnese Gardens (1720-1729) derived from a Bartoli drawing at Eton: ECL, TP 15. The drawing (1724) or the parlour at Rousham, Oxfordshire (1738), both by ‘exceedingly fine’ (NAS, GD 18/4952, partly published in Connor see: Bianchini 1738; Paris 1998, pp. 73, 79, 81; Tomei 1999, had been copied by Brunias in his portfolio: Los Angeles, Willam Kent, or the interiors at Kedleston Hall, Norfolk, Spencer Bulman 2001a, p. 346 and note 38 and in Harris 2001, p. 335, pp. 273-330; Lanciani 1989-2000, VI, pp. 29-35; Miranda 2000, Getty Research Institute, 2002.M.22*, no. 11. The same drawing House, London, Wimbledon House, Surrey, and Nuneham Park, note 31). The painter Giovanni Battista Cipriani, while working for pp. 109-25. On Francesco Bianchini see: Miranda 2000, was used by Adam and Brunias in 1761-1762 as inspiration for Oxfordshire, all designed by James ‘Athenian’ Stuart between Adam at Syon House (see cat. 11), went on 5 July 1765 to ‘Eaton pp. 21-108; Kockel 2005. the ceiling of the Dining Room at Kedleston: see SM, Adam 1758-1759: for Kent see Croft-Murray 1962-70, II, pp. 234-35, [sic] to examine the Antique paintings there’, with the steward 11/53 and Harris 1987, pp. 32-33, cat. 17. It was also copied by 35 See ECL, TP 13, TP 14 (see cat. 41), TP 15. and fig. 41; Sicca 1986, pp. 137, 142-44; Cornforth 2004, of the earl of Northumberland (AC, SY U/1/41, 5 July 1765, Manocchi years later: SM, Adam 26/169 (published in pp. 137-88 and figs 174-175. For Stuart see Bryant 2006; partially published in Harris 2001, p. 335, note 31). 36 RIBA, VOL 78 (unfoliated): see Catalogue RIBA 1968-89, Bristow 1996, pp. 82-83, fig. 85 and Rowan 2003, p. 22, cat. 13). Hewlings 2006. Adam acknowledged his debt towards Kent 30 See above p. 16 vol. A, pp. 17-18. 44 Venuti 1763, p. 91. and especially towards Stuart for having introduced ‘grotesque 45 31 37 The Agostino Brunias volume preserved at the Getty Research See Amadio 1986. About three-quarters of the mosaic tiles visible paintings’ to England: Adam 1773-79, p. 5, note C. Montfaucon 1719-24, Supplement III, 1724, plates 58-59-60. Institute is unpublished. A digital version is accessible on the today are the result of an extensive restoration carried out in the 32 20 Fleming 1962, p. 169. Cat. 13 was used as a source of inspiration by Adam on several website of the Getty Research Institute Library. second half of the nineteenth century: Matthiae 1988. Mosaics occasions, for instance for the destroyed ceiling of the Chinese on the central were destroyed in 1620 by the cardinal 21 38 A comprehensive study on the use of antiquarian publications Room at Mrs. Montagu’s House, 23 Hill Street, London (SM, The fifteen drawings directly copied from the Francesco Bartoli Fabrizio Veralli, as their iconographical content was judged by Adam and in general by artists and architects in the eighteenth Adam 11/200; see Harris 2001, p. 6, fig. 2; Pullins 2008, at Eton are: Los Angeles, Getty Research Institute, 2002.M.22*, obscene: De Lachenal 2000, pp. 662-63. century is still lacking. See Beard 1978, p. 7; Bristow 1996, pp. pp. 401-02, figs. 40, 43) or for the unexecuted ceiling for no. 1 (copied from ECL, Bn6.20); 2 (ECL, Bn6.17); 3 (ECL, 46 For Pietro Santi Bartoli’s drawings see GUL, ms GEN 1496, 78-91; Harris 2001, p. 4; Aymonino 2010; Aymonino 2013. Mrs Sargent’s Dressing Room at 15 Downing Street, London Bn6.7); 4 (ECL, Bn6.44); 6 (ECL, Bn6.52); 7 (ECL, Bn6.3); f. 77 (Pace 1979, n. 60; Amadio 1986, p. 60, no. 31); RIBA, (SM, Adam 11/104). See also cat. 14. James ‘Athenian’ Stuart 8 (ECL, Bn6.32); 9 (ECL, Bn6.8.1); 10 (ECL, Bn6.2); 11 22 In the Admiranda Pietro Santi Bartoli reproduced in reverse a VOS 81, f. 15 (Catalogue RIBA 1968-89, vol. B, p. 59, n. 15). used the same plate for the ceiling of Lady Spencer’s Dressing (ECL, TP 15); 12 (ECL, Bn6.1); 13 (ECL, Bn6.5); 14 number of Perrier’s illustrations while the same time adding a 48 Room at Spencer House, London (see Hewlings 2006, (ECL, Bn6.34); 15 (ECL, Bn6.8.2); 19 (ECL, Bn6.49). 47 RIBA, VOL 78 (unfoliated): see Catalogue RIBA 1968-89, 49 whole new body of illustrations. See Aymonino 2013, esp. p. 475, pp. 212-13, fig. 5-32) or for the ceiling of the Gilt Room in The two likely invented by Brunias are nos 5 and 16. The two vol. A, pp. 17-18. and note 1. The Admiranda had been published earlier in an undated Rathfarnham Castle, County Dublin, Eire (see Bryant 2006, wall elevations are nos 17-18. edition but the 1693 edition was by far the most widely diffused. 48 GUL, ms GEN 1496, f. 78 (Pace 1979, n. 61; Amadio 1986, p. 303, fig. 6-54). For the use of a different printed source, see 39 SM, Adam 26/182 (copied from ECL, Bn6.8.1); SM, p. 60, no. 33); RIBA, VOS 81, f. 15 (Catalogue RIBA 1968-89, 23 Robert Adam’s or William Chambers’ use of Bellori-Bartoli 1697 Harris 2001, p. 335, note 32. Adam 26/185 (ECL, Bn6.20). vol. B, p. 59, n. 15). (reprinted 1727), pl. 16, respectively for the ceiling of the 24 Stillman 1966, pp. 32, 35-36. 40 49 Yellow Drawing Room at Harewood House, Yorkshire SM, Adam 26/168 (copied from ECL, Bn6.8.1); SM, RIBA, VOL 78 (unfoliated): see Catalogue RIBA 1968-89, 25 Adam 1773-79, p. 5, note E. (SM, Adam 11/160-161, see Harris 2001, pp. 140-41, Adam 26/169 (ECL, TP 15); SM, Adam 26/179 vol. A, pp. 17-18. figs 203-04); and orf the ceiling of Parkstead, Roheampton (ECL, Bn6.20); SM, Adam 26/180 (ECL, Bn6.3); 50 HHL, II, ff. 53-54 (Ashby 1916, Holkham II, 53-54). Until now 26 On the discovery and preservation of ancient frescoes and plaster (see Bristow 1996, p. 86, figs 89-90). SM, Adam 26/181 (ECL, Bn6.52); SM, Adam 26/187 these sketches have been attributed to Francesco Bartoli (Connor decoration from the sixteenth to the first half of the eighteenth (ECL, Bn6.44); SM, Adam 26/189 (ECL, Bn6.19); 33 Bulman 1999, p. 206), but for stylistic and calligraphic reasons century see: Lanciani 1989-2000, vols V-VI; De Vos 1990; Paris Montfaucon 1719-24, Supplement III, 1724, pl. 59. It is likely SM, Adam 26/190 (ECL, Bn6.34). they can be undoubtedly assigned to Pietro Santi Bartoli. 1998; Connor Bulman 1999; De Lachenal 2000. that the Montfaucon plate was based on this or a similar drawing 41 by Francesco Bartoli. Montfaucon specifies in fact that Francesco I am indebted to Frances Sands for the date of Brunias’ 51 RIBA, VOL 78 (unfoliated): see Catalogue RIBA 1968-89, 27 See Ashby 1916; Pace 1979; Connor Bulman 1999; Connor Bartoli is the author of the drawings on which the plates departure from the Adam office. vol. A, pp. 17-18; RIBA, BARTOLI F, SB4/1 (2): see Bulman 2001a; Connor Bulman 2002b. (58-59-60) are based: ‘Celui qui a copié ces peintures, 1968-89, vol. B, p. 58. 42 Harris 1987, pp. 52-54, cat. 37-39. Catalogue RIBA 28 est François Bartoli, fils de Pietro Santi Bartoli, un des plus RIBA, VOL 78: see Catalogue RIBA 1968-89, vol. A, pp. 17-18. 52 See Di Castro-Pedrocchi-Waddy 1999, pp. 229-34. habiles graveurs du siecle passé’ (Ibid., p. 162). The same ceiling 43 If the unexecuted ceiling at the Soane (cat. 18) and the similar 29 Adam’s knowledge of the Eton drawings has been already was illustrated in Caylus 1752-67, VII, 1767, pp. 184-85, version at Kedleston (Harris 1987, p. 52, cat. 37) could have 53 Connor Bulman 1999. The frescoed chambers excavated acknowledged in passing especially by Bristow, 1986, pp. 83, pl. 41, signed ‘Franc. Bartoli del.’, on the basis of a drawing also been based on the similar illustration published in belonged to a much earlier domus found below the level of the 89-90, and also by Connor Bulman 2001a, p. 346 and Harris in Caylus’ possession (Bibliothèque nationale de France, Montfaucon (Montfaucon 1719-24, supplement III, 1724, Baths of Constantine. In the eighteenth century this domus 2001, p. 4. Direct mention of the collection at Eton appears département des Estampes et de la Photographie, Réserve pl. 59) (see cat. 15), the wall elevations at Kedleston was erroneously identified with the Baths: Vilucchi 1986, in a letter, dated 28 December 1762, from Helen Adam to James GB- 9 b, fol. 68). (Harris 1987, pp. 53-54, cat. 38-39) show details undisputedly Vilucchi 2000. 54 HHL, II, f. 20 (Ashby 1916, Holkham II, 20). This drawing on the left panel in cat. 35; and HHL, II, f. 64 (Ashby 1916, that the 1st Duchess of Northumberland who visited the house in 81 RIBA, VOL 78 (unfoliated): see Catalogue RIBA 1968-89, shows significant changes in the figures and in their Holkham II, 64) for the Silenus supported by a satyr = scene on 1776 attributed the ceiling to ‘Lecchi’. The Duchess’ attribution is vol. A, pp. 17-18. spatial arrangement. the right panel in cat. 35. however not supported by any documentary evidence. 82 The plates in Cameron’s Baths of the Romans copied from the 55 Francesco Bartoli as ‘Commissario delle Antichità di Roma’ 60 HHL, II, f. 59 (Ashby 1916, Holkham II, 59). A watercolour 69 AC, picture catalogue, 03442, copied from ECL, Bn6.36. Francesco Bartoli’s drawings are nos: 41 (copied from ECL, removed and copied the ancient paintings from the ‘Baths of version is preserved at RIBA, VOS 81, f. 19 (Catalogue RIBA Another drawing of the same ceiling by Francesco Bartoli is Bn7.64, in reverse); 42 (ECL, Bn7.63, in reverse); 43 Constantine’ with the aim of publishing them, a project that 1968-89, vol. B, p. 59, n. 19). preserved at Holkham Hall but with a slightly different colour (ECL, Bn7.62); 44 (ECL, Bn7.61, in reverse); 45 (ECL, Bn7.48); eventually never materialised: see Connor-Bulman 1999, scheme, while the Wyatt copy is faithful to the Eton version: 46 (ECL, Bn7.46, in reverse); 47 (ECL, Bn7.65, in reverse); 61 Fragments from the same frieze showing the Amazzonomachiai are pp. 205-07; Negro 1999, pp. 119-20. In 1710, twenty-two Holkham Hall, II, 21 (Ashby, 1916, Holkham II, 21). 48 (ECL, Bn7.66, in reverse); 49 (ECL, Bn7.52); 50 depicted in two additional Pietro Santi Bartoli sketches: HHL, II, fragments of the detached frescoes were displayed in the (ECL, Bn7.44); 51 (ECL, Bn7.42, in reverse); 52 (ECL, Bn7.56); f. 57 (Ashby 1916, Holkham II, 57); WRL, A22, f. 9686 (Michaelis 70 of Palazzo Rospigliosi: Negro 1999, p. 308. Three fragments See for instance the ceilings of the vestibule of Cobham Hall, 53 (ECL, Bn7.51); 54 (ECL, TP 15, in reverse); 55 (ECL, TP 1911, p. 121, n. 104/2); and also in three of his watercolours still visible today in the palace are published in Napoleone Kent, and of the Drawing Room of Curraghmore, Co. Waterford, 14, in reverse); 56 (ECL, TP 13, in reverse); 57 (ECL, Bn6.49, belonging to the set purchased by the Académie de France à Rome: 2000, pp. 55-57. Another six fragments, previously in Palazzo Ireland, which are clearly based on ECL, Bn6.21 (see fig. 5) . For in reverse); 58 (ECL, Bn6.46, in reverse); 60 (ECL, Bn6.39, RIBA, VOS 81, ff. 19, 21, 22 (Catalogue RIBA 1968-89, vol. B, p. 59, Rospigliosi, were given in 1923 to the Museo Nazionale Romano: images of Wyatt’s ceilings see Dale 1953, fig. 3; Robinson 2012, in reverse); 62 (ECL, Bn6.30, in reverse); 63 (ECL, Bn6.30, n. 19, 21, 22); Caylus, Mariette 1757, pl. 15. See also: Lanciani see Bendinelli 1925, p. 147. fig. 107. detail of); 64 (ECL, Bn6.32, in reverse); 65 (ECL, Bn6.48); 1989-2000, V, p. 271; De Lachenal 2000, pp. 634, 669. 71 66 (ECL, Bn6.18); 67 (ECL, Bn6.10, in reverse); 68 56 Museo Nazionale Romano - Palazzo Altemps (MNR n. 103421). RIBA, BARTOLI F: see Catalogue RIBA 1968-89, vol. B, p. 58. 62 Lanciani 1895, pp. 177-81; Lanciani 1989-2000, V, pp. 270-71. (ECL, Bn6.11); 69 (ECL, Bn6.11, detail of); 70 (ECL, Bn6.12); See: Bendinelli 1925, p. 149; Connor Bulman 1998b, p. 66, De Lachenal 2000, pp. 669-70. 72 Shvidkovsky 1996; Colvin 2008, pp. 211-13. 71 (ECL, Bn6.12, detail of); 72 (ECL, Bn6.12, detail of); cat. 41; Connor Bulman 2000, p. 345; De Angelis d’Ossat, 73 (ECL, Bn6.52); 74 (ECL, Bn6.52, detail of); 75 73 50 Capodiferro 2012, pp. 280, 282. This panel is reproduced in 63 RIBA, VOL 78 (unfoliated): see Catalogue RIBA 1968-89, Salmon 1993, pp. 73-75. (ECL, Bn6.52, detail of). Ashby 1914, passim, drew a parallel 51 another Francesco Bartoli drawing at Eton: ECL, Bn7.72: see vol. A, pp. 17-18. between the Bartoli drawings at Eton and the plates in Cameron, 74 This inscription, reported by Ashby, 1914, Eton VI, 14, was very Ashby 1914, Eton IV, 72; Connor Bulman 1998b, p. 67, fig. 41. although without establishing a direct connection. The only 64 Adam 1773-79, p. 5, note C. likely trimmed when the drawing was relined in the course of the It was also engraved and published in Turnbull 1740 and Turnbull scholar who recognised Cameron’s debt to the Eton drawings, twentieth century. 1741, pl. 43 and in Carloni 1780, pl. I. 65 This comment appears in a handwritten annotation (c. 1777) by although in passing, is Louisa M. Connor Bulman: Connor Bulman 75 57 This fresco, possibly kept in the Palazzo Rospigliosi during the Thomas Percy – celebrated man of letters and tutor of the sons Montfaucon 1719-24, Supplement III, 1724, pp. 159-65; 2001, p. 346. Plates 59 and 61 in the Baths of the Romans were based eighteenth century, was reproduced in a drawing by Gaetano Piccini of the 1st Duke and Duchess of Northumberland – to the Duke’s Miranda 2000, pp. 114-16, 163, 223-24; Almagno 2007, p. 472. on Bellori, Bartoli, Bartoli, De La Chausse, 1750, respectively annotated copy of Dodsley and Dodsley, 1761, VI, p. 7 plates 6 and 5, both in reverse. Plates 36, 37, 38, 39, 40 in the in the Topham Collection: ECL Bn4.37: see Ashby 1914, Eton I, 76 Francesco Bartoli’s drawings documenting frescoes from the (AC, DNP MS 93/A/14). Baths of the Romans, depicting details of wall elevations, were based 37. Another version, in the hand of Francesco Bartoli is in the Domus Transitoria are kept in ECL, Bn7.100-101; ECL, Bn8 on Turnbull 1740 (reissued with no introductory essay and Thomas Coke collection at Holkham Hall: HHL, I, f. 26 (Ashby 66 The two wall elevations certainly depict the destroyed square and ECL, TP. See also De Vos 1990. additional explanatory notes for the plates as Turnbull 1741) 1916, Holkham I, 26). It was engraved in 1750 in Bellori, Bartoli, ‘closet’ at Syon House: SM, Adam 27/75 is inscribed ‘Sion’; 77 De Vos 1990; Miranda 2000, pp. 180-82. respectively plates 23, 24, 20, 17, 38, all in reverse. Nevertheless, Bartoli, De La Chausse 1750, pl. 17. The original is now lost. the dimensions match those of a ‘closet’ and the whole decorative Cameron depicts them in a more fragmentary condition than scheme do not correspond to any other room built by Adam at 78 On surviving frescoes from eighteenth-century excavations on the 58 Two Pietro Santi Bartoli’s drawings depicting an antique wooden Turnbull, with cracks and losses, suggesting perhaps that he copied Syon: see Harris 2001, p. 83 and Aymonino forthcoming. Palatine see: Ronczewski 1903, p. 29, 34; Bastet 1971, esp. chest with three metal panels are contained in an unpublished these from the original frescoes in Rome. Salmon 1993, pp. 90-91, pp. 154-55. The marbles and columns of the nymphaeum were volume titled ‘Scritti di varie cose antiche’ now in the Lewis 67 Pergolesi’s original drawings for the published plate are preserved note 25, already acknowledged Cameron’s reliance on Bartoli’s and almost entirely plundered after the excavation, so that today only Walpole Library of Yale University (LWL, 49 2371, ff. 115-116). in the Pierpont Morgan Library in New York: see Harris 1971, Turnbull’s publications. the foundations of the nymphaeum’s fountains survive. A similar drawing by Pietro Santi depicting the chest is contained pp. 156-57, pl. 113. 83 Napoleone 2000, pp. 55. in the album ‘Disegni di Varie Antichità. Nettuno’, kept in the 79 Giacomo Boni’s documentation was studied and published in 68 See Edwards 1814, pp. 49-50, where it is clearly stated that Windsor Royal Library (WRL, Nettuno, RL 11359). Carettoni 1949. 84 Turnbull 1740, p. 178 and pl. 37; Turnbull 1741, Hannan painted the ceilings ‘after the drawings preserved in Eton pp. 36-38 and pl. 37. 59 The Francesco Bartoli drawings can be found in: HHL, I, f. 32 College Library’. See also Croft-Murray 1962-1970, II, p. 217-18; 80 Especially in comparison with the more faithful engravings of (Ashby 1916, Holkham I, 32) for the satyr with an Eros = scene Worsley 1990; Knox 2001, pp. 16-17, 21-23, who reports instead the ‘Baths of Livia’ published in Ponce 1789, pl. 7. 85 Carloni 1780, pl. 5. Bellori, Giovanni Pietro and Pietro Santi Bartoli, Admiranda Romanarum Carinci, F., ‘Marmi Giustiniani nei disegni della Raccolta Topham’, antiquitatum ac veteris sculpturae vestigia, Rome, Giovanni Giacomo & Rivista di archeologia. Supplementi alla RDA, 21: Le collezioni di antichità nella Bibliography Domenico de Rossi, 1693. cultura antiquaria europea, 1996 (1999), pp. 51-61. 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