This volume completes Part II of Series A of the Paper Museum. Together with the first volume, it reflects an unusual aspect of Cassiano's interests, but a particularly relevant one for modern scholars: the material remains of post-classical culture in Rome and the psychical inheritance from the earliest centuries of Christianity. Catalogued here is a diverse and fascinating range of antiquities: reliefs, inscriptions, sarcophagi, sculpture, manuscript illuminations, gold-glass, gems, ivories, lamps, metalwork and 'instruments of martyrdom'. The drawings were mainly collected by Carlo Antonio dal Pozzo, Cassiano's brother, in the later seventeeth century and include some of the finest examples of archaeological draughtsmanship of the period. Catalogued here is a diverse and fascinating range of antiquities, mainly collected in the later seventeeth century: reliefs, inscriptions, sarcophagi, sculpture, manuscript illuminations, gold-glass, gems, ivories, lamps, metalwork and 'instruments of martyrdom'.

This collection of drawings and watercolours of the mosaics and wallpaintings of early medieval churches in Rome forms an important part of the paper Museum, since it sheds much light on the nature and scope of antiquarianism in Italy at the time of the Counter-Reformation. The drawings and watercolours catalogued and illustrated here are all in the Royal Collection, Windsor Castle, and are mostly by the artist Antonio Eclissi. The reproductions are generally in full colour, and frequently accompanied by illustrations showing the actual decoration in situ. The introductory essays outline the important phases of Cassiano dal Pozzo's career, discuss the history and significance of the 'Paper Museum', and explore the Christian tradition in seventeeth-century Rome. The Catalogue Raisonnee analyses each drawing in the greatest detail. This volume, the first to appear in the series, will be of special interest to archaeologists and medievalists engaged in the study of Rome's Early Christian churches, since many of the buildings, mosaics and paintings are now no longer extant. This collection of drawings and watercolours of the mosaics and wallpaintings of early medieval churches in Rome forms an important part of the Paper Museum, since it sheds much light on the nature and scope of antiquarianism in Italy at the time of the Counter-Reformation.

The city of Rome is the largest archaeological site in the world, capital and showcase of the Roman Empire and the centre of Christian Europe. This guide provides: * Coverage of all the important sites in the city from 800 BC to AD 600 and the start of the early middle ages, drawing on the latest discoveries and the best of recent scholarship * Over 220 high-quality maps, site plans, diagrams and photographs * Sites divided into fourteen main areas, with star ratings to help you plan and prioritize your visit: Roman Forum; Upper Via Sacra; Palatine; Imperial Forums; Campus Martius; Capitoline Hill; Circus Flaminius to Circus Maximus; Colosseum and Esquiline hill; Caelian hill and the inner via Appia; Lateran to Porta Maggiore; Viminal hill; Pyramid to Testaccio; the outer via Appia; other outlying sites; Museums and Catacombs. * Introduction offering essential background to the history and culture of ancient Rome, placing the city in the context of the development of the empire, highlighting the nature of Roman achievement, and explaining how Rome came to be the largest city in the ancient world. * Comprehensive glossaries of Rome's building materials, techniques and building types, a chronological table of kings, emperors, and the early popes, information about opening times, references and suggestions for further reading and a detailed user-friendly index. For this new edition the original text has been extensively revised, adding over 20 more sites and illustrations, the itineraries have been re-organized and expanded to suit the many changes that have taken place in the past decade, and the practical information and references have been fully updated.

The Paper Museum ('Museo Cartaceo') is a collection of some 10,000 drawings and prints assembled during the seventeenth century by the Roman patron and collector, Cassiano dal Pozzo, and his younger brother, Carlo Antonio. It represents one of the most significant attempts before the age of photography to embrace human knowledge in visual form, documenting ancient art and culture, architecture and topography, natural history and social customs.The 160 drawings catalogued in this volume are derived from five ancient manuscripts: the famous Vatican Vergil, the so-called 'Roman' Vergil, the Vatican Terence, and the less well-known Palatine Agrimensores, all in the Vatican Library, and from a fifth codex, now lost, known as the Chronography or Calendar of the year 354.The bulk of the drawings were copied for Cassiano between 1632 and 1634 for the purpose of studying both the characters depicted and the allied evidence of ancient costume and artefacts. By the later seventeenth century, when Pietro Santi Bartoli executed the last group of drawings in the present volume for Carlo Antonio, manuscript illustrations had come to be cherished as much for their rarity as examples of ancient painting as for their documentary value.Introductory essays provide an overview of the dal Pozzo commissions, the manuscripts and their history down to Cassiano's day, as well as their study in the wider context of classical scholarship through to the eighteenth century. All the drawings are reproduced in colour at full page, with accompanying descriptions of the subjects or relevant ancient verses in modern translation and brief commentaries.