Amanda Claridge was Emeritus Professor of Roman archaeology at Royal Holloway, University of London, specialising in Roman art, topography and architecture, and with a particular interest in antiquarian studies of the early modern period. She also taught at the universities of Princeton and Oxford and was Assistant Director of the British School at Rome from 1980 to 1994. She was a Fellow of the Society of Antiquaries of London, a Corresponding Member of the Accademia Pontificia Romana di Archeologia and of the Archaeological Institute of America, and Commendatore of the Italian Order of Merit. Until her death in 2022 she was academic editor of Series A volumes of the catalogue raisonné in addition to contributing as author to Parts II (1996,1998), V (2016), VI (2012) and IV (forthcoming).
Eloisa Dodero is archaeological curator at the Capitoline Museums in Rome. She completed her studies in archaeology at the University of Naples Federico II with a doctorate on collections of antiquities in eighteenth-century Naples and an earlier master’s thesis on the antiquities of the Museo Kircheriano in Rome (1651–1733). She was employed by the Royal Collection as research assistant to the Dal Pozzo Catalogue Project and has published extensively on the history of antiquarian collections and the reception of the antique in the early modern period. She is also co-author of Part IV (Statues and Busts, forthcoming) and is currently working with Adriano Aymonino on a new edition of Haskell and Penny’s Taste and the Antique.
This volume comprises 207 drawings, about half of which are in the Royal Library at Windsor Castle and the rest in the Department of Greece and Rome in the British Museum and numerous public or private collections in the UK and abroad. They depict a wide variety of ancient statues of gods and humans, standing, seated or supine, large and small, whole and fragmentary, mainly of marble but also of bronze, as well as statuettes in marble and alabaster, figurines in bronze and terracotta, both Roman and Etruscan, military trophy groups and phallic sculptures. Also represented are herms, a sizeable series of portrait busts and heads, miniature busts in semi-precious stones and figurative appliqués. Some are wellknown pieces, from the Barberini, Giustiniani, Medici and Pamphilj collections in Rome, but many are unusual and otherwise unrecorded.
The drawings were largely commissioned in the 1630s and 1640s from artists such as Pietro Testa and Vincenzo Leonardi, with smaller groups thereafter, the last in the mid-1680s. The assemblage was probably initially intended by Cassiano for publication as a series of prints for the benefit of antiquarian scholars and artists, complementing the larger quantity of drawings of bas-reliefs which Cassiano had begun to assemble from the early 1620s onwards (published in Part A.III) and constituting the core of the Paper Museum in Cassiano’s narrower definition of it in 1654 as ‘everything good in marbles and bronze which can provide some information about antiquity’.