^{page 200 note 1} Records in the Archivio del Vicariato (Vatican).

^{page 200 note 2} ‘Hayward's List', MS., B.M., Prints and Drawings Dept., pressmark, A. 5. 9, S.C.

^{page 200 note 3} Ashby, T., ‘Thomas Jenkins in Rome’, Papers B.S.R., vol. vi, no. 8 (1913), pp. 487–511CrossRefGoogle Scholar, and the reference quoted.

^{page 201 note 1} Ford, Brinsley, Letters of Jonathan Skelton, Walpole Soc, vol. xxxvi (1960), pp. 23–84Google Scholar.

^{page 201 note 2} J. T. Smith, Nollekens and his times (1828); ed. 1949, pp. 6 and 122.

^{page 201 note 3} Brinsley Ford, op. cit., pp. 49 and 81; J. Dennistoun, Memoirs of Sir Robt. Strange and A. Lumisden (1855). Lumisden gave up his Roman Jacobite engagement in 1769, three years after the death of the Old Pretender.

^{page 201 note 4} J. Farington, Diary, vol. i, pp. 121 and 124–5

^{page 201 note 5} MS. General Minutes (S. of A.), vol. viii (1757), pp. 6 and 7.

^{page 201 note 6} A. Bartolotti, Archivio storico artistico, archeolgico e letterario delta citta e provincia di Roma, fasc. 2, Anno 6 (1880); p. 13, etc.; T. Ashby, op. cit., who mentions ‘200 pictures’ Brinsley Ford, op. cit., p. 49.

^{page 202 note 1} J. Farington, op. cit., vol. i, pp. 12 and 13.

^{page 202 note 2} e.g. Fleming, J., Robt. Adam and his circle (1962)Google Scholar; B. Ford, op. cit. (1960); Lewis, Lesley, Connoisseurs and Secret Agents in 18th cent. Rome (1961)Google Scholar, etc.

^{page 202 note 3} One of the letters (No. 4), is quoted in Archaeologia, vol. i (1779), P. 136 by Charles Rogers, on the subject of the Statue of Venus; a second letter (No. 10) is quoted in ibid., vol. viii (1787), Appendix, p. 435.

^{page 203 note 1} Thomas Brand, F.R.S. (1756); F.S.A. (1756); a great friend of Thos. Hollis (q.v., p. 211, n. 3).

^{page 203 note 2} A guess only can be made from so vague a description: the ‘rooms’ may have been part of a building in the Horti Sallustiani, an area later covered, in part, by the Barberini property (Middleton, J. H., Remains of Anct. Rome (1892), vol. ii, pp. 241–6Google Scholar; Platner-Ashby, , Top. Diet, of Anct. Rome (1929), p. 271Google Scholar).

^{page 203 note 3} ‘Additional room’, Vatican: this refers to the gallery at the south end of the west wing of the Library which overlooks the Cortile del Forno; its use has varied, though it is still known as il Museo Sacro.

^{page 203 note 4} Pantheon: the ‘Circle of Bronze’ which Jenkins says was removed was probably the remainder of the plates of the architrave below the bronze cornice; the latter is still extant around the ‘eye’ of the dome; if this assumption is correct, it is an interesting contemporary record of the last of the many bronze revetments and constructional members to be looted from the building, perhaps in this case by the order of Pope Benedict XIV (1740–58). The painting of the interior of the Pantheon (looking towards the entrance) by G. P. Pannini, 1730, shows parts of the bronze framing of the vertical sides of the circular eye still in position. Cf. engraving by L. P. Boitard, after Pannini, 1738.

‘The Attick Story’ almost certainly refers to the attic of the interior. The marble facings of the exterior had mostly disappeared long before and, in any case, would not be of ’hard stones’ the external attic is shown in Piranesi's famous etching of the exterior (see also Joachimo à Sandrart, Romae Antiquae et Novae (1684), pl. xxiii, where the engraving by Johann Franck shows the two storeys of attic pilasters, etc. and possibly the original roof-covering of the exterior). The facings of the internal attic were destroyed in 1747 by Pope Benedict, nearly ten years before the date of Jenkins's letter. The present decorative finish of pilasters and panels is painted on plaster (R. Lanciani, Ruins and Excavations of Anct. Rome (1897), pp. 476–88; Platner-Ashby, op. cit., pp. 282–4).

^{page 203 note 5} Pantheon pavement: the marble pavement was not removed, though about this time it may have been repaired and partly relaid.

^{page 204 note 1} Cardinal Alessandro Albani (1692–1779) who acquired the Pozzo-Albani collection of drawings (Museum Chartaceum) from Pope Clement XI (Albani) which later passed to King George III, through the agency of James Adam (T. Ashby, Papers B.S.R., vol. vi, no. 5, pp. 184 ff.). The cardinal first appears, Sodales Honorarii, in the printed lists of the Society in 1763: Princeps Eminentiss. Ds. Cardinalis Alexander Albani, Romae. He was appointed Librarian to the Vatican in 1761. (MS. letter, S. of A.'s Library (A4: 1717–99) from Cardinal Albani to the secretary of the Society, dated February 17th, 1762, from Rome.) Albani, in his capacity of Austrian Minister and ‘protector’ in Rome, had much to do with British politics and acted as an unofficial ‘agent’ in Rome, where at this time the British had no diplomatic representation at the Papal Court. Mrs. Lesley Lewis, by her collation of the Albani—Mann letters in the Public Records Office and the State Archives in Vienna, has presented a full picture of this background in her book Connoisseurs and Secret Agents in 18th Cent. Rome (1961). I must thank Mrs. Lewis for her subsequent suggestion that it was after the failure of the 1745 rebellion rebellion and during the complications of the Seven Years War, that Albani's influence with the British finally waned and Jenkins's activities as an unofficial ‘agent’ became important for the British and their nationals visiting Rome.

^{page 204 note 2} ‘Mr Lyte’: Henry Lyte (1727–92) a Fellow of Queens' College, Cambridge (1749–63). Travelled on the Continent as tutor to Lord Brudenell, 4th Earl of Cardigan (2nd Creation) and 1st Duke of Montague, from 1752 to 1759. For Lyte's correspondence from abroad (in the Buccleuch papers at Dalkeith Palace) see Fleming, J., ‘Lord Brudenell and His Bear-Leader’, English Miscellany, Rome (1958)Google Scholar. Lyte afterwards became ‘;sub-preceptor’ and Master of the Rolls and Privy Purse to H.R.H. the Prince of Wales (George IV) and of the Duchy of Cornwall (Ford, Brinsley, Letters of J. Skelton, Walpole Soc, vol. xxxvi (1960), pp. 48 and 57Google Scholar). In 1758 ‘Lord Brudlael’ received a licence from the Papal Authority to export ‘busts and statues' Archivio del Camerlengo, in A. Bertolotti: op. cit., p. 13, etc.

^{page 204 note 3} ‘Torre Nova’; Torre Nuova was a farm property belonging to the Borghese family, situated about 5½ miles from the Porta Maggiore, Rome.

^{page 205 note 1} ‘Via Labicana’ now alternatively called Via Casilina. ‘Collonna’ (Colonna) is a hill-town slightly to the west of the Via and about 1¼ miles north-east of Frascati.

^{page 206 note 1} These three sarcophagi have not been identified with any certainty.

^{page 206 note 2} The Silver Vase: now in the Galleria Nazionale d'Arte Antica at the Palazzo Corsini (no. 215).

^{page 207 note 1} Monsg^ṛ Bottari. See p. 208, n. 3.

^{page 207 note 2} ‘Mr Dalton, the painter’: Richard Dalton (c. 1715–91), F.S.A.; he was originally in Rome, as a student, in 1741–2, but returned there at various later times (for details—Brinsley Ford, op. cit., p. 68). Jenkins's letter nicely confirms the date when Dalton left Rome, probably for the last time, viz. 1759, either in late May or early June. Later became librarian to George III.

^{page 207 note 3} Mr. Lyte. See p. 204, n. 2.

^{page 207 note 4} Cardinal Neri Corsini (1685–1770), cardinale padrone (1731); the cup or vase could well have passed to the later cardinal, Andrea Corsini (1735–95), a nephew of Neri, who was made cardinal in 1759 by Pope Clement XIII. The Palazzo Corsini (Via della Lugara) now houses the Accademia dei Lincei and the Galleria Nazionale d'Arte Antica.

^{page 208 note 1} The vase, long known as the ‘Corsini Cup’ (see p. 206, n. 2), is by some thought to be a Roman copy (late Republican) of a famous cup by Zopyros and found at Antium. The subjects of the reliefs are: Orestes before the Areopagus (as noted on the drawing), Athena recording the casting vote, and the Erinyes resting from the pursuit of Orestes (Winkelmann, J. J., Mont. Ant. Inediti (1767), vol. i, p. 203 and pl. 151Google Scholar; this engraving is less accurate than the drawing by Jenkins. A. de Rinaldis, Gall. Naz. d'Arte Antica in Roma (Itin. dei Musei d'ltalia, no. 14, n.d.), p. 7, and plate, p. 41 (photo); it is here attributed to Zopyros and said to have been found at Anzio). Jenkins provides, by this drawing, what is probably the earliest record of the Corsini Cup.

^{page 208 note 2} Marquis Lucatelli (? –1760). The marquis having died, as related in the letter, before the election notice reached him, his name does not appear in the Society's printed lists.

^{page 208 note 3} Monsig^ẹ Bottari (1695–?). The Society's printed list of 1762 includes, for the first time, Sodales Honorarii: Ds. Johannes Bottari, Etruscus, Romae. He produced Bosio's Roma sotteranea (1651) in a new edition, 1737.

^{page 208 note 4} ‘the Popes Nuntio at Naples’ : the Nuncio in Naples from 1760 until his death in 1763 was Giuseppe Lucatelli. He was formerly archbishop of Carthage (L. Karttunen, Les Nonciatures apostoliques permanentes de 1650–1800 (1912); table —col. 171 and p. 248). I am indebted to Michael Mallett, Librarian of the British School at Rome, for this reference.

^{page 208 note 5} Sir James Gray (?—1773) was British Envoy at the Court of Naples and the Two Sicilies from 1733 to 1765, though he was only at Naples until 1763 (Brinsley Ford, op. cit., p. 50).

^{page 209 note 1} ‘Don Emilio Altieri’: Prince Altieri first appears, Sodales Honorarii, in the society's list of 1762: Ds. Emilius Altieri, Princeps De Viano, Romae. The Altieri were also Princepi d'Oriolo and Duchi di Monterano. (MS. letter (S. of A. Library A5, 1717–99) from Pr. E. Altieri to the S. of A., dated June (?) 6th, 1761 from Rome.)

^{page 209 note 2} ‘Mr John Wincklemann’: Johann Joachim Winckelmann (1717–68) first appears, as the last and in the same year, 1762: Ds. Johan Winckelmann, Borussus, Etrusc. Acad. Corton. et D. Lucae Acad. Rom. Soc. He became Librarian to the Cardinal Alessandro Albani, in Rome, in 1759. See also p. 204, n. 1.

^{page 209 note 3} ‘Baron Storck’: this refers to the Baron Philip von (or de) Stosch (1691–1757); published a work entitled Gemmae antiquae caelatae, scalptorum noninibus insignitae (1724, Antwerp). For Stosch's activities, on behalf of the British government, often under the pseudonym of ’John Walton’, mainly as a rapporteur on the doings of the Stuart circle in Rome, and of his friendship with Alessandro Albani, see Lewis, Lesley, Connoisseurs and Secret Agents in 18th Cent. Rome (1961)Google Scholar. ‘Baron Storsh, Langford, Antiquary’, is referred to in a sale catalogue of various sculptures, etc., with lots ‘Bronzes from Stosch Collection’ (Cat. March 21st–23rd, 1764; B.M. Prints and Drgs. Dept., press-mark A. 5. 9., S.C.); the location ‘Langford’ might refer to at least six places in England, Langford House nr. Lechlade, Glos., or to places in Beds., Essex, Notts., Oxon., or Somerset; I have not established which is meant. The nephew and heir of Baron de Stosch (William Muzel) appears in the Society's lists, Sodales Honorarii, in 1762: Ds. Phil. Muzell Stosch, Berlinensis Acad. Corton. Soc. He was in England in 1760–1 and stayed for a time near Salisbury; it may be that the bronzes referred to above were once in Muzel's possession.

^{page 209 note 4} ‘Marquis Cornavallia’: the title of Marquis was not conferred on the 2nd Earl Cornwallis until 1792; no record can be found of any members of this family being in Rome in 1760–1. The 1st Marquis Cornwallis was at the Military School in Turin in 1758; he returned to England in 1759 (D.N.B.). It may be possible that Lord Cornwallis visited Rome about this time and that Jenkins, hearing of the event, used the title ‘Marquis’ loosely and with flattering intent. On the other hand, it seems unlikely that the Earl was in possession of land in Rome at so early a date, 1760–1; Jenkins's reference may be to ownership by some collateral branch of the family.

^{page 210 note 1} ‘Amphitheatre Castrense’: the remains of the amphitheatrum are near the Church of S. Croce in Gerusalemme, Rome, about one-third of a mile eastwards from the Porta San Giovanni (Porta Asinaria).

^{page 210 note 2} Mr. Brand: see p. 203, n. 2.

^{page 210 note 3} Academy at Bologna. This was originally the Compagnia di pittori, scultori ed architetti, which later became L'Accademia Clementina (under Clement XI); now the Accademia di Belle Arti.

^{page 210 note 4} ‘Academy of St Luke at Rome’: L'Accademia Romana di San Luca was founded in 1578 as a descendant of an older Guild of Painters; it was reformed by Pope Urban VIII in 1627.

^{page 211 note 1} ‘Prince Viano’: see p. 209, n. 1.

^{page 211 note 2} Pope Clement XIV (Ganganelli) (from 1769 to 1774).

^{page 211 note 3} ‘Mr Hollis’: Thomas Hollis, F.S.A. (1720–74), a great friend of Thomas Brand (q.v.) and, like him, a collector of sculptures; made a number of visits to Rome, and was a friend of Jenkins (Michaelis, And. Marbles (1882), p. 69).

^{page 211 note 4} ‘Mr Wilcocks': Joseph Wilcocks (1724–91), F.S.A. (1765); lived in Rome for a number of years. Author of An Account of some Subterraneous Apartments with Etruscan Inscriptions … at Civita Turchino in Italy in Phil. Trans. (1763), and reprinted in the Preface to the 2nd Edition of Roman Conversations (1797), vol. i, pp. xlv–xlix; it describes ‘Civita Turchino’ and ‘Monte Rossi’ and adds: ‘This great scene of antiquities is almost entirely unknown even in Rome. Mr Jenkins, now resident at Rome, is the first and only Englishman who ever visited it.’

^{page 211 note 5} ‘Civita Turchina’: The following quotation is from a paper by G. Foti (of the Museo di Valle Giulia, Rome) at the CIBA Foundation Symposium on Etruscan Origins in 1958; ’The site of the ancient Tarquinii … is now known, following the endless controversies of the past, as a result of the excavations of 1934–38 on the hill, La Civita which … is elevated and isolated. … Among … recent discoveries is … a painted tomb … 6th century B.C., … in the necropolis of Monterozzi … for some 5 km, the whole hill of Monterozzi is occupied by sepulchres.’ It would seem that the topographical knowledge contemporary with Jenkins was not so astray as much in the intervening period.

^{page 211 note 6} ‘Cardinal Camerlingo’: This refers to the Cardinale Camerlengo or Chamberlain at the Vatican, in charge (through his representatives) of the Antiquities of the Papal States.

^{page 212 note 1} The work referred to is a small octavo book of 69 pages by John Turberville Needham (1713–81), De Inscriptione quadam Aegyptiaca … (1761, Rome), the title is quoted in full in the MS. Minutes. The copy in the Society's Library (the one sent by Jenkins) has an inserted printed page with a dedication to the Principi Victori Amadeo, Duci Sabaudiae, etc., on which Needham's name is given; it is omitted from the title-page.

Dr. J. T. Needham, F.R.S., appears, Sodales Honorarii, in the Society's list of 1762 (see also p. 213, n. 5).

^{page 212 note 2} ‘Monte Porcia near Frescati’: this is Monte Porzio Catone, a hill-town to the north of the road from Frascati to Palestrina, about 3½ miles eastwards from the former.

^{page 212 note 3} Three of these caryatides were purchased by Cardinal Albani, and two were at one time in the Villa Montalto (Villa Nigroni), the contents of which passed into the hands of Jenkins in 1786; the latter sold one to Charles Towneley in the same year; it is now in the B.M. (no. 1746) (Smith, A. H.: Cat. Sculp., B.M. (1904), vol. iii, pp. 99–102Google Scholar; Anon: (S.D.U.K., Knight & Co., London, 1836): The Towneley Gallery, vol. i, pp. 164–7). It is uncertain whether the companion figure, now in the Vatican (Braccio Nuovo, 40) came from Cardinal Albani or through Jenkins's hands. Combe (Desc. of the And. Marbles, B.M., pt. i and pl. iv) says the five figures were found in 1766 and this is repeated by Smith, but Jenkins's letter shows the date to be at least five years earlier. Piranesi was in Rome at the time and noted the finds; his suggested engraved restoration shows the B.M. figure as the third from the left, lettered ‘E’. (Raccolta di Vasi … Antichi (1778), vol. ii, tav. 68Google Scholar).

^{page 212 note 4} ‘sardanapālus’: the figure upon ‘which is wrote in Greek’ is undoubtedly that shown by B. Cavaceppi, Raccolta …, vol. iii, pl. 27, a bearded, fully-draped figure with right-hand raised and holding a scroll (?) with the front edge of the toga inscribed САРΔАΝΑπΑλλΟС. The engraving is inscribed as follows: Sardanapalo, trovato in una Vigna vicino Frascati in lougo chiamato Pietra Portia, presso di me. It should be noted from this that the statue was still in Cavaceppi's possession some ten years after Jenkins's letter.

This figure is now in the Vatican Museum (608). (It is discussed and illustrated in J. J. Winckelmann, op. cit., vol. i, pp. 219 ff., pl. 163.)

^{page 212 note 5} ‘Porto Salaro’: Porta Salaria, one of the northern gates of the Aurelian Wall, from which starts the Via Salaria; two miles from the gate would be very close to the crossing of the River Aniene by the Via. The urn and its contents have not been traced.

^{page 213 note 1} Two large basalt urns and two marble urns; these have not been identified.

^{page 213 note 2} In view of the importance of the place of discovery of this monument, it is regrettable that the sketch sent by Jenkins has not been found.

^{page 213 note 3} Mausoleum of Augustus: Campus Martius, to the west of the Corso; after the partial decay of the superimposed fortifications of the Middle Ages the remains of the mausoleum were made into a garden by the Soderini family about 1550 (see Du Perac's well-known view in the Vestigi, 36). In 1761, the date of the letter, it must have still resembled an enclosed high-level garden, subject to sporadic explorations and spoliations; its subsequent conversion into a circus and, later, into the Teatro Augusteo survived, in the main, until the clearances and excavations of Mussolini in the late 1930's.

^{page 213 note 4} The monument to which Jenkins refers has not been identified; he neither mentions its discoverer nor indicates its subsequent fate.

^{page 213 note 5} ‘Mr Needham’: John Tuberville Needham (1713–81), F.R.S., F.S.A. (see also p. 212, n. 1), tutor, in 175 1, to the Earl of Fingall and to Mr. Howard of Corbie, afterwards to Lord Gormanston and Mr. Towneley with all of whom he travelled abroad. Later he spent five years in Italy and France (1762–7) with Charles Dillon, eldest son of the 11th Viscount Dillon (D.N.B., etc.). A MS. letter from J. T. Needham to the Secretary of the Society acknowledging election to Fellowship, dated February 13th, 1762, from Rome refers to ‘An excursion from Rome to Naples for the recovery of my health after a long and tedious indisposition …’ (S. of A. Library (N2, 1717–99)). A summary of his various works and particularly of the Egyptian versus Chinese origin of the hieroglyphics incident is also given in D.N.B. (vol. xl, p. 159). That the whole controversy stirred up much feeling and activity in learned circles in Europe, is stressed in a MS., now in the Society's Library (N6, 1717–99), headed ‘Extract of Mr Needham's letter to Mr Wilcocks dated Paris, June 5th 1762’. As the document has never been published it is given here in full (for Joseph Wilcocks, see Letter no. 6, note 4 above).

‘By the Pamphlet that attends this you will understand the nature of the Combat w^cḥ I had at Turin in my passage hither & how little it cost me to dissipate those light Clouds, which new Adversaries raised there against our Egyptian & Chinese Enquiry. The whole of Turin, as well Court as City, even those, who at first were declared Protectors of my Adversaries, were all at last on my side of y question. I have not had less success at Paris with relation to Abbé Barthelemy, & M. de Guignes. The Abbé as the least prepossessed, & the most reasonable of the two, was first convinced, & then acted as Mediator. Mr de Guignes was more obstinate, but we fortunately met with the same Chinese Dictionary in the King's Library, as that of the Vatican; & after two or three Interviews, when I had shewed to him & the Abbé a certain number of our Egyptian Characters, mostly Obeliscal, or of other undoubted publick monuments at Rome, he agreed not only that they were all to be found in the Chinese Dictionary, but in the hurry of our Conversation wrote down upon a paper several other ancient Chinese Characters, which I knew immediately to be Obeliscal Characters. His only difficulty at last was this, that as the Chinese distinguish between modern Characters, & ancient, for their Historians say, that about 200 years after our Era, their Characters were considerably altered, I should, to evince the Truth, have made use of the Dictionary called Chouven, which is a Dictionary of ancient Characters explained by modern ones, and not the Ching-zu-Tung, where the ancient and modern Characters are confounded together without distinction. This, say they, will evince the real Antiquity of the Characters in question; for if any of your Egyptian Characters are found among the modern Chinese it can only be the Effect of Chance. My Answer was natural, that the real Antiquity of the Characters was sufficiently evinced by the Antiquity of the Egyptian Monuments from which they were taken, & the Number (see the Attestation in the Pamphlet annexed to this Letter) together with their extream Combination; for many of the Venetian Inscriptions w^̣cḥ are much more complex than those of the Obelisks &c at Rome, sufficiently demonstrate, that what we have hitherto observed could not be the effect of Chance; the Conclusion was consequently as natural, that what has been found in the Ching-zu-Tung, where all kinds of Characters were blended together, must be of that kind, which the Chinese themselves call ancient Characters. However, that I allowed the view, which he presented was good, & that I would evince, at my return to Paris, where perhaps I may spend part of the Winter, not only their Antiquity by the Chouven, but that I would make use of this Dictionary of the future. My present Scheme is to collect as many different Egyptian Characters as I can possibly, & reduce them into certain Classes, & so proceed to confront them with the Chinese in the Chouven. I expect Inscriptions many from Rome, & elsewhere, together with several sheets of Chinese Characters sent to me from the Propaganda at Rome. In one word, you will judge of our progress hitherto by the Attestation in the Pamphlet annexed; & we are all of the same mind here at present, that the general Truth of the ancient connection between Egyptians & Chinese is demonstrated. Remains now by Subscription to procure a Copy of a Manuscript Dictionary belonging to the Academy at Petersbourg, & left by Bayer (who has published the Museum Sinicum) in 24 volumes in folio, each vol. of about 400 pages. & each page containing about five Characters with their Explication. It is not compleat, for Bayer did not live to compleat it; but it cannot fail of being of Service, and may be compleated at Petersbourg, as I am well assured here by one of that very Academy, because there are many there Tartars & Chinese who understand that Language.’

The ‘attestation’ mentioned, the original of which seems to be that included in Jenkins's letter (no. 9) is quoted below in full; for the indentity of the signatories of the ‘attestation’ see notes below.

Here we must leave the story of this strange attempt to connect the writings of the Egyptians and the Chinese, thankful for the light it incidentally throws on the times and on Jenkins's activities in Rome.

The Society's Minutes include no comments on the issues of the above communications or on the implications of the ‘Attestation’. At a later date, Mr. D. Wray, F.S.A., read a translation of a letter from ‘P. Jacquier at Rome, to Mess^ṛṣ? the Authors of the Gazette Littéraire de l' Europe’ (October 17th, 1764, Paris), which outlines the French attacks on Needham's theories on the Egyptian characters. (MS. Minutes, Thursday, November 22nd, 1764; vol. ix, pp. 336–7; MS. copy of the translation in MS. letters, 1717–99, J. 31.)

^{page 215 note 1} ‘Mr Jennings’: Henry Constantine Jennings (1731–1810,)of Shiplake, Oxfordshire; spent several years in Italy and Rome (c. 1748 to 1756) and purchased antiquities there, among which was an antique sculpture of a crouching dog, from which, after its sale in London, he gained the nickname of ‘Dog Jennings’ (D.N.B.). The famous dog (a replica enlarged from the Florence–Vatican Mastiffs) is still at Duncombe Park, near Helmsley, Yorkshire (Michaelis, A., Anct. Marbles (1882), p. 294Google Scholar; Vermeule, C. C., ‘Notes on a new edition of Michaelis’, Amer. J. of Archaeology, vol. lix, no. 2 (1955), p. 135Google Scholar).

^{page 215 note 2} The Signatories to the ‘attestation’:

^{page 215 note 3} ‘Thomas le Seur’—Probably Père Thomas Leseur (1703, Rethel, Ardennes –1770, Rome); he spent most of his life in Rome; friend and collaborator of Père Francois Jacquier (q.v).

‘François Jacquier’—Père Francois Jacquier (1711–88) famous for his studies in mathematics and in Hebrew and Greek. The P. Jacquier mentioned, in note 5, p. 214, is almost certainly F. Jacquier, a mistake by the copyist of the letter.

‘Ridolfino Venuti’ — Made an Honorary Member of the Society of Antiquaries in 1752; he was first noted in their lists as, Signer Canonico Rodolfino Venuti, Romano, he remained on the lists until 1762, when he was described as Ds. Rodolfinus Venuti, R.S.S. Etrusc. Acad. Corton. Soc. et Eccles. Liburnens. Praepositus.

‘Richard Lyttelton’—Thomas Lyttelton (later 2nd Baron Lyttelton of Frankley, 1744–79) was in Rome at this time; but of ’Richard’ I have found no trace.

‘John Hinchliffe’ —(1731–94) travelled in Italy in 1762–3 with Lord Crewe; it was on this tour he met the Duke of Grafton. Afterwards married the sister of Lord Crewe and became Bishop of Peterborough.

‘Le Bailei de Breteüil’—This partial anonymity probably covers the indentity of the aide-decamp or secretary to the Baron de Breteuil (Louis Charles Auguste le Tonnelier, 1730—1807) who was appointed French ambassador to Russia in 1760; he left St. Petersburg for a time in 1762–3 (accession of Catherine II) and then probably visited Rome, before his appointment to Stockholm in 1769. The Baron subsequently represented France at Naples. (Cf. Seymour Howard: ‘Boy on a Dolphin: Nollekens and Cavaceppi,’ Art. Bull. (N.Y., June 1964), XLVI, No. 2, pp. 180 and 188.)

‘Grafton’—Augustus Henry, 3rd Duke of Grafton (1735–1811).

‘F. Tavistock’—This is undoubtedly Francis Russell (1739–67), Marquess of Tavistock, only son of the 4th Duke of Bedford; he was killed by a fall from his horse; his son Francis became the 5th Duke. He was in Rome in 1762.

‘Roxburghe’ —John, 3rd Duke of Roxburghe (1740–1804), a celebrated book-collector.

‘H. James’—This is very probably Haughton James (born 1738 in Jamaica) who was elected to the Society of Dilettanti in 1763.

‘R. Smith’—It seems likely that this was the companion travelling with the Duke of Roxburghe (q.v.). Little is known about him; he was described as ‘a Scotch Gentleman’. The Duke and Smith were in Rome in February 1762.

^{page 216 note 1} ‘Quarter of a Mile beyond the tomb of Matellus near the Appian way’: the Tomb of Caecilia Metella is about 1¼ miles from the Porta San Sabastiano and the extra ¼ mile would be near the point at which the 'strada Militare’ branches to the north-east, but otherwise Jenkins's vague description does not lead to positive identification of the building or ‘room lined with marble’.

^{page 216 note 2} ‘Lydo Brown’: Lyde Browne (? –1787) of Wimbledon, F.S.A. (1753, resigned 1772), Member of the Society of Dilettanti and a Director of the Bank of England (1768).

In 1785 his collection of sculpture (much augmented after the publication of his 1768 Catalogus veteris …, cf. the later catalogue of 1779) was sold to the Empress Catherine II of Russia for the sum of £23,000. Owing to the payments being not completed, Michaelis (And. Marbles, pp. 89–90) infers that not all the collection went to Russia and that Lord Egremont and Lord Towneley made acquisitions from the Browne Collection. The items that went to Russia were, at first, all together at the Castle Zarskoje-Selo, from whence some went to the Castle at Pawlowsk, eventually to find themselves in the Hermitage Museum at Leningrad, though it is by no means certain that all are now to be found there. (See detail notes on Jenkins's drawings, infra)

The house at Wimbledon has now disappeared; after Lyde Browne's death it was occupied by the Rt. Hon. Henry Dundas, subsequently by Lord Melville, the Earl of Aberdeen, and, in 1811, by Lord Laraine (D. Lysons, Environs … (1792), vol. i, 540, and Supp. (1811), p. 96). The sketch mentioned by Jenkins in his letter may have been shown to the Society, but it does not seem to have been deposited with them.

^{page 217 note 1} ‘Monte Porcia’: see p. 212, n. 2.

^{page 217 note 2} ‘Villa Adriano’: Hadrian's Villa (Villa Adriana) near and to the south-west of Tivoli.

^{page 217 note 3} See B. Cavaceppi, Raccolta …, vol. i, pl. 40, which is inscribed: Genio Femminile, or[a] esistente in Inghilterra, egli è il simulacro, di cui si parla net Volum 2, pag. 264, de monumenti antichi inediti del Sig^ẹ Ab^Ịẹ. Winkelmann, ora e posseduta dal Sigẹ Cavalṛ Weddell.

This engraving undoubtedly represents the figure described by Jenkins in his letter.

^{page 217 note 4} ‘Alex. Albani’: see Letter no. 2, n. I.

^{page 217 note 1} ‘at Palestrina’, this is a vague description which makes it impossible to allocate the site to either the later town area which more or less covers the classical remains, or to its environs.

^{page 217 note 2} ‘Prince Altieri’: see p. 209, n. 1.

^{page 217 note 3} ‘Two Miles distance from Albano, on the west side of Monte Savelli … not above half a Mile. …’: this refers to Castel’ Savelli, then the property of the Altieri family; it is due west of the town of Albano. The site of the ‘vineyard’ would be a little to the south of the west end of the Emissarium of the Lago Albano, at La Mola, which is the source of the R. del' Emissario continuing the drainage of the lake across the Campagna westwards to the sea.

^{page 218 note 4} The bust of Hadrian, with a military cuirass and cloak, was purchased by Charles Towneley in 1768; it was found by the Lolli family at the Villa of Hadrian, Tivoli. It is now in the B.M. (no. 1896; A. H. Smith, Cat. Sculp., B.M. (1904), pp. 157–8 and pl. xvi, fig. 1). See Drawing no. XVI, infra.

^{page 218 note 1} Referred to also in MS. Minutes, vol. x, p. 330. These heads were found in certain excavations made by the Lolli family in the part of the Villa of Hadrian called the Pantanello (J. Hell. Studies, vol. xxi (1901), pp. 307–8Google Scholar). See note on drawing (no. XVI), PL. LXVI ^ainfra.

^{page 219 note 2} ‘his Magnificent Pallace’: the Palazzo Altieri (1670, by R. de Rossi) in the present Via del Plebiscite, Rome.

^{page 219 note 3} Jenkins also communicated with Lyde Browne in 1766 for in the Minutes we find, Mr. Browne presented three small Drawings or Sketches of some Roman Monumental Marbles transmitted to him from Rome by Mr. Jenkins …; the sketches were of ‘ossuary urns’ with inscriptions (recorded in the Minutes), but these have not been found (MS. Minutes, Thursday, March 6th, 1766, vol. x, p. 119).

^{page 219 note 4} At this same meeting, Mr. Browne said ‘that the Pavonazzo urn; the Bust of Minerva; the two Colossal Heads, of Hercules & the female Deity; & the Statue of Brutus mentioned in the above letter [no. 12] are all in the possession of Mr Weddell, Rome December the 31st 1766. and having by his Works rendered himself respect-Member of Parliament for Hull’ (MS. Minutes, vol. x, February 12th, 1767). See also the notes Jenkins's drawing of the Venus Group, Drawing no. III, supra. With the exception of the ‘;statue Brutus’, these were recorded at Newby Hall, in the possession of William Weddell, by Michaelis, And. Marbles …. (1882): ‘Large tub, of pavonazzetto marble, with fluted (modern?) cover. … Probably a bath’ (no. 37, p. 534). Head of Minerva (no. 12, p. 526). Colossal head of Herakles (no. 9, p. 525). Colossal female head no. 25, p. 531, ‘akin to heads of Aphrodite’). Colossal female head (no. 26, p. 531). Colossal head of Herakles (no. 9, p. 525), all are still at Newby Hall.

^{page 219 note 5} ‘Mr Winkelmann’: see p. 209, n. 3. The justification’ referred to is preserved in the MSS. the Society in the form of a copy of Winckelmann's communication; its short title reads: ‘Copy a protest made by Mr John Winckelmann the Popes Antiquary relative to an ignorant and malicious Translation in French from a work published by him in German.’ The copy is in Jenkins's handwriting; he states that the document was ‘… delivered to Thomas Jenkins in Rome December the 30th 1766, with a request to render it as publick as Possible in England, for which reason it is sent to the reputable Society of Antiquaries in London, who are desired to make such use of it, as in their Judgement and Kindness they shall think acquisifit’. The Society also possesses a MS. letter, from Winckelmann, in Latin, addressed to the Society and its members, in terms of personal humility and fulsome praise of the Society, thanking them for enrolment amongst their members. This letter was addressed from the Library of the Cardinal Alessandro Albani and dated June 20th, 1759, (MSS., File 1717–59 J to Z, W. 14).

^{page 220 note 1} ‘Marquis Cornawallia’: see p. 209, n. 4.

^{page 220 note 2} ‘near the Arch of Constantine …’. Though vague, this description would place the site approximately on the line of the present Via di S. Gregorio and west of the destroyed so-called Temple of Claudius (Ninfeo di Nerone).

^{page 220 note 3} ‘Villa Belloni’: I have not been able to identify this with certainty; ‘the Storck’: B. Cavaceppi, Raccolta. …, vol. i, pl. 50, shows an ibis (with a snake in its mouth and coiled around its neck) on a pedestal; the engraving is inscribed: Ibis—Si retrova in Inghilterra presso il Sig^ṛ Cav. Weddell. Il piedestallo esiste presso il Sigṛ Cav. Browne. This reference enlightens us regarding the above communication to the Society by Mr. Browne (p. 219, n. 4) and confirms the source of many of the items of the Weddell Collection and its owner's acquisitions from Cavaceppi.

^{page 220 note 4} ‘[near] … the Porta Latina … near the Road …’: this description is too vague to permit a surmise on the precise location for the site; though it might be outside the Aurelian Wall, from other elements of the description, Jenkins could well be telling us of the area around the columbaria found, at various times, inside the wall and the Porta, e.g. that of Pomponius Hylas discovered and excavated in 1831, or that known as the ‘Ferro da Cavello’ (horseshoe, from its shape).

^{page 220 note 5} See p. 219, n. 4.

^{page 220 note 6} ‘… Vine Yard belonging to the Duke of Strozzi’: the well-known Tomb of Caecilia Metella is 1¼ miles outside the Porta S. Sebastiano on the east side of the Via Appia; it is difficult to make much of Jenkins's description about the ‘Magnificent Building’.

^{page 221 note 1} One of these ‘female figures’ is in the British Museum (Nymph, no. 1710); it came from the Towneley Collection (Smith, A. H., Cat. Sculpture, vol. iii (1904), p. 80Google Scholar). Smith says the figures were ‘found in May 1766 [sic] in the Villa Verospi near the Salarian Gate at Rome’, and repeats the suggestion that they came from a fountain. The other figure is (or was) in the Provincial Museum at Hanover (A. H. Smith, op. cit., p. 82). I have not established the site of this Villa. For the Porta, see Letter no. 7, note 5. Another of these figures (restored) is referred to as having been in the Palazzo Colonna, Rome. Anon: (S.D.U.K., London, 1836), The Towneley Gallery, i. 183, where the reference, Ficoroni: Itali … Ant … Romani, 148, is also given; it adds that this figure is believed ‘to be now in the collection of the King of Prussia’.

^{page 221 note 2} ‘… Vine Yard oposite Villa Pamfili’: This could indicate a site to the north of the Casino (Villa Doria-Pamphili, to the west of the Porta S. Pancrazio) near the line of the Acquedotto Paolo and the Via Aurelia.

^{page 221 note 3} ‘about Six Miles from Rome … left … of the Road … to Frescati’: this would be near the junction of the road with the Via Anagnina in the vicinity of the ‘Tor' di Mezzavia’.

^{page 222 note 1} Could this have been one of Jenkins's own assistants ? Perhaps one of those employed at his workshop in the ruins of the Colosseum so piquantly described by Nollekins (J. T. Smith, op. cit., p. 108). On the other hand, the model-maker was said to be a Giovanni Altieri, a Neapolitan (letter from Thomas Hardwick to the Treasurer of the Society; Archaeologia, vol. vii, p. 369).

^{page 222 note 2} ‘signṛ Gio: Stern, an eminent Architect’: Giovanni Stern (1734–94), Architect to the Papal Palaces; designed the interior of the «salonea d'oro’ in the Palazzo Chigi and rebuilt the Cloisters of S. Maria della Concezione, Rome, etc. Published, 1784, a work on the … Villa Suburbana di Giulio III (near the Via Flaminia, not far outside the Porta del Popolo) by Ammannati and Vignola; the engraved plates are from Stern's measured drawings. His son Raffaele (1774–1820) was also an architect in Rome and his younger son Ludovico (1780–1861) was an engraver (Thieme u. Becker, Diet., vol. xxxii, p. 6).

^{page 222 note 3} ‘Mr James Forrester’: (1729–75) painter, who lived for many years in Rome (1755–75) (Brinsley Ford, op. cit., p. 58).

^{page 222 note 4} ‘Mr Browne’. Lyde Browne. See p. 216, n. 2.

^{page 222 note 5} This was the first communication from Jenkins to the Society for about two years; its tone seems to indicate that perhaps the writer had fears he was being forgotten by the ‘Gentlemen of the Society’.

^{page 223 note 1} Christian Denh (or Dehn, Dehne) (1696, at Yssdom, Pomerania –1770, at Rome): Denh's daughter, Faostina, married the ‘Abate’ Francesco Maria Dolce; the latter, inheriting the papers of Denh, became the author of Descrizione istorica del Museo di Chistiano Denh dedicate alla Regia Società degli Antiquari di Londra in 3 volumes, 1772. The copy of this work presented to the Society has the three volumes bound in one, with a fine and beautifully tooled contemporary binding. Dolce was elected an Hon. Member of the Society in 1773 and is described in the 1774 lists as Dr. Fransiscus Maria Dolce, LL.D., Romanus.

^{page 223 note 2} ‘Col^Ị Rainsford’: Major-General Charles Rainsford (1728–1809), Grenadier Guards, Colonel of the 44th Regiment, Equerry to the Duke of Gloucester; M.P. (1773) for Maldon, Essex, in 1787 for Bere Alston, Devon, and in 1790 for Newport, Cornwall. In 1777 he was made aide-de-camp to George III. F.R.S. and F.S.A.

^{page 223 note 3} ‘Duke of Gloucester’: William Henry, grandson of George II, banished from the Court in 1766, after his marriage with Maria, the widow of the 2nd Earl of Waldegrave.

^{page 223 note 4} This must be a slip of the pen on Jenkins's part, for he has already referred to the ‘late Christian Denh’; he probably meant to write ‘Dolce’, or, as he spells the name in his letter, ‘Dolci’.

^{page 223 note 5} ‘;sig^ẹ Orazio Orlandi’: the ‘dissertation does not seem to have survived in the Society's collections. Orlandi was made an Hon. Member in 1773 and is described in the lists of 1774 as Ds. Horatius Orlandius, Romanus.

^{page 223 note 6} ‘Monsignore Casali Governor of Rome’: the Papal Governor of Rome in 1772 was Antonio Casali (d. 1787). He was appointed Cardinal Deacon of S. Giorgio in Velabro in 1770, but the appointment was not officially announced until 1773; Jenkins's reference to him as ‘Monsignore’ is therefore justified (Pastor, L., Hist. of the Popes, vol. xxxviii (1951), pp. 447 and 514Google Scholar). The altar was found in the grounds of the Villa Casali, Rome, in the second half of the seventeenth century. It is known as the Ara Casali and is now in the Cortile del Belvedere of the Vatican; it is sculptured with reliefs of scenes from the Iliad and of legends concerning the origins of Rome (Amelung, W., Die Sculp, des Vaticanischen Mus., vol. ii (1908), pp. 236–41 and pl. 15, n. 87aGoogle Scholar). I am indebted to Michael Mallett, Librarian of the British School at Rome, for much of this note.

^{page 224 note 1} ‘… Property of Conte Giraud, formerly a Villa of A: T: Varro Murana …’: is this at the present Casale Morena on the Via Latina?

^{page 224 note 2} This terminus, with the head of a youth with the attributes of Mercury, is now in the B.M. (No. 1605); it came from the Towneley Collection (Smith, A. H., Cat. Sculp., B.M. (1904), pp. 41–42Google Scholar, who gives 1772 for its discovery). Its source is not given, but is said to have been found near Frascati in 1770 (Anon.: (S.D.U.K. London, 1836), Tie Towneley Gallery, vol. i, pp. 202–5). It is probably the ’erme’ described by Jenkins.

^{page 224 note 3} The British Museum has (from the Towneley Collection) two colossal heads of Minerva: (a) a Greek head (formerly with metal helmet and ornaments) said (cf. Soc. of Dilettanti, Specimens of Antient Sculpture, pl. xxii) to have been ‘found in the neighbourhood of Rome, by the late Mr. Gavin Hamilton, who sent it to England in 1787’ (Anon.: op. cit., vol. i, pp. 315–17), and (b) a helmeted head surmounted by a serpent (restored in several places) 2 ft. 10 in. high, with no known provenance (Anon.: op. cit., vol. i, p. 318; see also A. H. Smith, op. cit., pp. 26–27, nos. 1569 and 1572).

^{page 224 note 4} ‘near the Via Appia’ (c. 8 miles from Rome): probably the so-called Villa of Gallienus or Tomb (mausoleum) of Gallienus at the IXth milestone on the Via Appia Antica.

^{page 224 note 5} This may be the Statue of Paris, 5 feet 6 inches found at Rome Vecchia and sold by G. [avin] Hamilton to ye Landgrave of Hesse for £200, great preservation; the marble discoloured 1777, the drawing of which, thus inscribed, is in the B.M., Dept. of Greek and Roman Antiquities (Misc. Drgs., Shelf 59c), ref. from Ashby, T., ‘T. Jenkins in Rome’, Papers B.S.R., vol. vi, no. 8 (1913), p. 503Google Scholar.

^{page 224 note 6} This letter (no. 15) is the last communication from Jenkins as shown by files, minutes, etc., of the Society. Letters of Jenkins are preserved in the B.M., Department of Manuscripts, viz. letters to J. Strange of various dates between 1762 and 1784 (Eg. 1969, f. 123; 1970, ff. 124, 171, and 1981, f. 8); a letter to L. Dutens (?), 1778 (Add. MS. 38209, f. 9); a letter to G. Cumberland, 1789 (Add. MS. 36496, f. 167); a memorial to Pius VI (Italian copy), 1794 (Add. MS. 37849, f. 76b); and a letter to Sir William Hamilton, with a bill for carrier to England, 1795 (Add. MS. 41199, f. 163).

^{page 224 note 7} Belissario Amidei was a well-to-do Roman dealer during the earlier period of Jenkins's residence in the city.

^{page 225 note 1} This Catalogue is referred to hereafter as: Cat. vet.

^{page 225 note 2} J. Spence, Polymetis: An Enquiry concerning the Agreement between the works of the Roman Poets and the remains of the Ancient Artists (1747); the head is shown in a circular frame in the centre of Pl. xix (3) (engraved by Louis Pierre Boitard, ? –1758) and is described: Head of the Suffering Hercules: from a noble Greek Statue; in the Barbarini Palace, at Rome (p. 331).

^{page 225 note 3} ‘Roma Vecchia’: this is a location on the Via Appia more to the south than those mentioned by Jenkins in his letters, viz. p. 216, n. 6, and p. 220, n. 1. It is the old name given to the extensive ruins of the Villa of the Quintilii, on the east side of the Appia Antica.

^{page 225 note 4} Bartolommeo Cavaceppi: sculptor and restorer of antiques. In discussing restorations of the antique, Michaelis says, ‘the most celebrated virtuoso in this branch was Bartolommeo Cavaceppi, who had invented a regular system of methodical restoration, which in theory was excellent and almost incontrovertable, but in practice was only in so far to be commended as Cavaceppi surpassed most of his contemporaries in taste and execution. Through several decades all the most important finds and purchases of antique sculptures passed through Cavaceppi's hands and were made to submit to his rejuvenating arts' (Michaelis, A., And. Marbles (1882), p. 67Google Scholar; Ashby, T., ‘T. Jenkins in Rome’, Papers B.S.R., vol. vi, no. 8, p. 492Google Scholar, fn.; Seymour Howard, Art Bull. (N.Y., June 1964), vol. xlvi, no. 2, pp. 177–89, an interesting account of dealers' relationships in Rome in the middle eighteenth century.

^{page 226 note 1} B … Amidei: see p. 224, n. 7.

^{page 226 note 2} B. Cavaceppi, Raccolta …, vol. i, pl. 25, where it is described as: Sileno, Or[a] esistente in Londra, presso il Sig^e Cav. Browne. It is possible that this engraving was from a drawing from which Jenkins's drawing (no. X) was copied.

^{page 226 note 3} Boissard, J. J., Romanae Urbis Top. et Antiq…, (1547), vol. i, p. 107Google Scholar, notes the statue as then in the Ades Gaddiorum; Item statua Cupidinus dormientis super spolio leonis & claua Herculis. The ‘palazzo’ of the Cardinal Gaddi was situated on the Monte Citorio; Boissard records also in the collection a number of Imperial busts and statues, together with a marble tabula with applied gilded bronze, gems, and Greek and Latin coins.

^{page 227 note 1} The relief may have been found during some extension to the Palazzo Barberini, or in the diggings referred to in Jenkins's letter, p. 203, n. 2.

^{page 227 note 2} Francesco de' Ficoroni, Le vestigia e rarityà di Roma Antica (1744), Libra seconda—le singolarità di Roma Moderna, p. 5 3; the relief is here described as being in the Palazzo Barberini: … di Greco scalpello I'Endimione.

^{page 227 note 3} J. J. Boissard, op. cit., vol. i, p. 43: Aliud palatium Vallœum … Super his duobus repositum est marinum monstrum Delphino simile, cuius dorso insidet puellus. Jenkins's drawing shows a group which cannot be that in the Hermitage Museum as suggested by Seymour Howard (op. cit., p. 187 fn.); it is a different composition, though, indeed, its classical provenance may be equally suspect.

^{page 228 note 1} B. Cavaceppi: see p. 225, n. 4.

^{page 228 note 2} ‘Hon. Chas. Fox’: Charles James Fox, the son of Henry Fox, 1st Baron (1763) Holland of Foxley (d. 1774). The latter built ‘Holland House’ (Kingsgate), on the Island of Thanet, in which a large number of antiquities were housed; amongst which was the statue shown on the drawing. Its description is in The Kentish Travellers' Companion (printed and published by Thomas Fisher, a book-seller of Rochester in 1774): A Slave bearing a large water vessel, much admired for the firmness of attitude in supporting the weight on his shoulder. The Companion states it was In the Saloon of Neptune, niches next the windows (p. 129) (cf. Jessup, R. F., ‘The Follies of Kingsgate’, Arch. Cant., vol. lxxi (1957), p. iGoogle Scholar). Some of the statues were transferred to St. Anne's Hill, Surrey (Dallaway, J., Anecdotes of the Arts in Eng. (1800), p. 385Google Scholar, who, however, does not mention the ‘water carrier’). The figure is further referred to by A. Michaelis (And. Marbles, p. 211) with a careful description; he says it is probably now in the possession of Lady Holland. What happened after her death and the contents of St. Anne's Hill were sold is unknown; it may have gone to Holland House, Kensington, but it is not recorded there.

B. Cavaceppi, Raccolta …, vol. i, pl. 4: this engraving shows the ‘water carrier’ (called Putto che versa l'acqua) mounted on an altar; it is also stated on his engraving that Il Putto lo possiede il MiLord Holland; ed il piedestallo [the ‘altar’] il Cav. Weddell.

^{page 229 note 1} Cardinal Melchior de Polignac (1661–1742): a younger son of the Marquis de Polignac; represented France at the Vatican from 1725 to 1732, where he was closely associated with the court of the Pretender. He was made Archbishop of Auch in 1726; died in Paris.