2.1 Corpus Inscription Latinarum, vol. VI, n. 8687 42
2.2 Corpus Inscription Latinarum, vol. VI, n. 25722 43
2.3 Corpus Inscription Latinarum, vol. VI, n. 25879 43
2.4 Corpus Inscription Latinarum, vol. VI, n. 17116 45
2.5 Corpus Inscription Latinarum, vol. VI, n. 8922 46
2.6 Corpus Inscription Latinarum, vol. VI, n. 26286 47
3.1 Naples, Biblioteca Nazionale, Ms. XIII.B.8, fols. 36v, 50r, and 108r. Text samples that show the three different styles of Ligorioâs handwriting identified in the Libro XXXIX (© Ministero dei Beni e della Attività Culturali e del Turismo) 53
3.2 Table illustrating forged and genuine inscriptions distribution according to the ten thematic sections of the Libro XXXIX (© Ministero dei Beni e della Attività Culturali e del Turismo) 58
3.3 Table illustrating I = First phase (handwriting style A); II = Second phase (handwriting style B); III = Third phase (handwriting style C) (© Ministero dei Beni e della Attività Culturali e del Turismo) 59
3.4 Naples, Biblioteca Nazionale, Ms. XIII.B.8, fols. 118r and 35v. The green letters correspond to the genuine inscriptions, the red letters to the forged ones 1) p. 201 = fol. 118r (I phase): A = CIL VI 1870*=18020, p. 254*; B = CIL VI 1806*=8901; C = CIL VI 2900*=28004, p. 255*; D = CIL VI 2130*=20762, p. 254*; E = CIL VI 2294* (on which see n. 23); F = CIL VI 24370; G = CIL VI 21591; H = CIL VI 21652; I = CIL VI 1518*=14216, pp. 253*, 3515; L = CIL VI 15253, p. 3517; M = CIL VI 2096*=20206=34128 (vv. 1â4), p. 254*; N = CIL VI 8993; O = CIL VI 27099.2) p. 36 = fol. 35v (II phase): A = CIL VI 1249*; B = CIL VI 1380*; C = CIL VI 2153*; D = CIL VI 1300* (© Ministero dei Beni e della Attività Culturali e del Turismo) 61
3.5 Naples, Biblioteca Nazionale, Ms. XIII.B.8, fol. 237r. Both inscriptions on stone are kept in Naples, Museo Archeologico Nazionale, inv. 2832 (CIL VI 966*) and inv. 2947 (CIL VI 9977) (© Ministero dei Beni e della Attività Culturali e del Turismo) 63
3.6 Naples, Biblioteca Nazionale, Ms. XIII.B.8, fol. 119r. Comparison between a Ligorian drawing of a genuine inscription and the original stone kept in Naples, Museo Archeologico Nazionale, inv. 2836 (© Ministero dei Beni e della Attività Culturali e del Turismo) 64
4.1 Irregular block of text trimmed to accommodate the coin illustration, Naples, Biblioteca Nazionale, Ms. XIII.B.6, fol. 182r (© Ministero dei Beni e della Attività Culturali e del Turismo) 71
4.2 Page with coin drawings pasted-in, Naples, Biblioteca Nazionale, Ms. XIII.B.6, fol. 135v (© Ministero dei Beni e della Attività Culturali e del Turismo) 72
4.3 Horizontally oriented drawings of Tiberian sestertii, Naples, Biblioteca Nazionale, Ms. XIII.B.6, fol. 42r (© Ministero dei Beni e della Attività Culturali e del Turismo) 72
4.4 Coin drawing with erasure, Turin, Archivio di Stato, Ms. J.a.II.8 (vol. 21), fol. 62r (© Ministero dei Beni e della Attività Culturali e del Turismo) 73
4.5 Temple of Concord sestertius, Naples, Biblioteca Nazionale, Ms. XIII.B.6, fol. 40v (© Ministero dei Beni e della Attività Culturali e del Turismo) 74
4.6 Sestertius of Vespasian with arch and Victory, Naples, Biblioteca Nazionale, Ms. XIII.B.6, fol. 96r (© Ministero dei Beni e della Attività Culturali e del Turismo) 75
5.1 Map of military camps in Imperial Rome. Castra praetoria (CP), campus cohortium praetorianorum (CCP), castra peregrina (CPE), castra priora equitum singularium (CPES), castra nova equitum singularium (CNES), stationes cohortium vigilum (CV + Roman numeral of the Augustan regio), excubitorium cohortis VII vigilum (EX), castra Misenatium (CM), castra Ravennatium (CR), lodging of the Germani corporis custodes (GCC), castra urbana (CU) (© Mike Bishop and Alexandra W. Busch) 86
5.2 Pirro Ligorio, Drawing of Dedicatory inscription to Jupiter Dolichenus (CIL VI 423* = 30947), Naples, Biblioteca Nazionale, Ms. XIII.B. 7, fol. 17r (see also Vatican Library, Vat. lat. 3439 fol. 125r and Vat. lat. 6035 fol. 1v by Onofrio Panvinio) (© Ministero dei Beni e della Attività Culturali e del Turismo) 90
5.3 Top half of a relief sculpture from Rome with depictions of Jupiter Dolichenus and Juno Dolichena, Berlin, Staatliche Museen zu Berlin, Antikensammlung SK 1778 (H. 53.5â60.3 à W. 66 à D. 11 cm) (© Antikensammlung, Staatliche Museen zu Berlin, Preussischer Kulturbesitz) 92
5.4 Pirro Ligorio, Drawing of a relief sculpture from Rome with depictions of Jupiter Dolichenus, Juno Dolichena, and a dedicatory inscription in Greek, in Antichità di Roma, Naples, Biblioteca Nazionale, Ms. XIII.B.7, fol. 426r (© Ministero dei Beni e della Attività Culturali e del Turismo) 93
6.1 C.M. Arezzo, De situ insulae Siciliae, 1544 101
6.2 T. Fazello, Le due Deche dellâHistoria di Sicilia, 1573 102
6.3 Portrait of Francesco Maurolico, etching from a portrait by Polidoro da Caravaggio (from http://wellcomeimages.org/indexplus/image/V0003929.htm) 105
6.4 F. Maurolico, Sicanicarum Rerum compendium, 1572 106
6.5 Map of Catania, in Braun-Hogenbergh, Civitates Orbis Terrarum, 1598 (© Courtesy of Ozgur Tufecki, Historic Cities Research Project) 114
7.1 Statue of Demosthenes (original 280 BC; copy: 1st century AD), Copenhagen, Ny Carlsberg Glyptotek (cat. 436a) (© Author) 154
7.2 Pirro Ligorio, Text with herm of Marcus Tullius Cicero, Turin, Archivio di Stato, Ms. Ja.II.10 (vol. 23) fol. 116v (© Ministero dei Beni e della Attività Culturali e del Turismo) 159
7.3 Naples, Bell tower of the Cappella di San Giovanni dei Pappacoda (© Author) 161
7.4 Fragment of an ancient sarcophagus depicting the abduction of Proserpina, Naples, Bell tower of the Cappella di San Giovanni dei Pappacoda (© Author) 161
7.5 Pirro Ligorio, Drawing of a coin with a portrait of the siren Parthenope, Naples, Biblioteca Nazionale, Ms. XIII.B.7, fol. 122v (© Ministero dei Beni e della Attività Culturali e del Turismo) 164
7.6 Pirro Ligorio, Sirens, Turin, Archivio di Stato, MS a.II.3 (Vol. 16), fol. 272v (© Ministero dei beni e della attività culturali e del turismo) 165
7.7 Sirens (Emblem CXVI), in Andrea Alciati, Emblemata, Lyon 1551, fol. 126r 167
7.8 âTempio di Proserpinaâ, Naples, Biblioteca Nazionale, MS XIII.B.10, fol. 75r (© Ministero dei Beni e della Attività Culturali e del Turismo) 171
7.9 Column of the so-called Tempio di Proserpina, Naples, Museo Archeologico Nazionale (© Author) 172
7.10 Column of the so-called Tempio di Proserpina, Naples, Museo Archeologico Nazionale (© Author) 172
7.11 âTempio di Proserpinaâ, Naples, Biblioteca Nazionale, MS XIII. B. 10, fol. 75r (© Ministero dei Beni e della Attività Culturali e del Turismo) 174
7.12 Tomb of Galeazzo Pandone, Naples, San Domenico Maggiore (© Author) 176
7.13 Pirro Ligorio, Temple of the Dioscuri, Turin, Archivio di Stato, Ms. a.III.14 (Vol. 12), fol. 22v (© Ministero dei Beni e della Attività Culturali e del Turismo) 177
7.14 Façade of San Paolo Maggiore in Naples (© Author) 177
8.1 Vatican, Casino of Pius IV, from below the loggia of the Nymphaeum (© Vatican Museums) 182
8.2 Anonymous artist of 1591, Coat of arms of Pope Gregory XIV, Vatican, Casino of Pius IV, room on the upper floor overlooking the courtyard (© Vatican Museums) 183
8.3 Pirro Ligorio: Decoration with Figures of Apostles and Allegories; Vatican, Casino of Pius IV, Palazzina, vault of the chapel on the ground floor (© Vatican Museums) 184
8.4 Anonymous artist (early 18th century), Stucco relief of Mnemosyne, Vatican, Casino of Pius IV, Nymphaeum over the courtyard (© Vatican Museums) 186
8.5 Pirro Ligorio: Decoration with figures of apostles and allegories; Vatican, Casino of Pius IV, oval courtyard with Nymphaeum and Propylaeum (© Vatican Museums) 187
8.6 Santi di Tito, Pastoral scene, Vatican, Casino of Pius IV, vault over the staircase (© Vatican Museums) 187
8.7 Vatican, Casino of Pius IV, Palazzina, façade from the oval courtyard (© Vatican Museums) 190
8.8 Survey of the Villa of Pius IV, in Bouchet 1837, pl. IV 191
8.9 Vatican, Casino of Pius IV, view on part of the Palazzina from NW (© Vatican Museums, Rome) 192
8.10 Vatican, Casino of Pius IV, Palazzina, detail of the south façade (© Vatican Museums) 193
8.11 Vatican, Casino of Pius IV, Nymphaeum, north façade (© Vatican Museums) 194
8.12 Vatican, Casino of Pius IV, Nymphaeum, SW corner (© Vatican Museums) 195
8.13 Vatican, Casino of Pius IV, Nymphaeum, interior (© Vatican Museums) 196
8.14 Vatican, Casino of Pius IV, Nymphaeum, interior, detail of the spring of the vault (© Vatican Museums) 198
8.15 Copies after Ligorioâs plan of ancient Rome, 1561 and derived stereometric forms, in Le Corbusier, Vers une architecture, Paris 1923, p. 128 199
9.1 Magister Paulus, Fragment from the choir of St. Peterâs Basilica, Vatican, Casino of Pius IV, Vestibule (© Author) 216
9.2 Magister Paulus, Fragment from the choir of St. Peterâs Basilica, Vatican, Casino of Pius IV, Vestibule (© Author) 216
9.3 Magister Paulus, Fragment from the choir of St. Peterâs Basilica, Vatican, Casino of Pius IV, Vestibule (© Author) 217
9.4 Magister Paulus, Fragment from the choir of St. Peterâs Basilica, Vatican, Casino of Pius IV, Vestibule (© Author) 217
9.5 Vatican, Casino of Pius IV, Vestibule (© Author) 217
11.1 Oxford, Bodleian Library, Ms. Canon. Ital. 138, fol. 9v (© Bodleian Library, University of Oxford) 262
11.2 Oxford, Bodleian Library, Ms. Canon. Ital. 138, fol. 106v (© Bodleian Library, University of Oxford) 264
11.3 Oxford, Bodleian Library, Ms. Canon. Ital. 138, fol. 140v (© Bodleian Library, University of Oxford) 266
11.4 Oxford, Bodleian Library, Ms. Canon. Ital. 138, fol. 117v (© Bodleian Library, University of Oxford) 268
11.5 Oxford, Bodleian Library, Ms. Canon. Ital. 138, fol. 111r (© Bodleian Library, University of Oxford) 269
11.6 Oxford, Bodleian Library, Ms. Canon. Ital. 138, fol. 137v (© Bodleian Library, University of Oxford) 270
12.1 Pirro Ligorio, Life of Hippolytus, 324 à 222 mm, pen and brown ink, with brown and gray wash, over black chalk, New York, Pierpont and Morgan Library and Museum, Inv. 2006.22, fol. 11r (© Pierpont Morgan Library and Museum) 275
12.2 Pirro Ligorio, Princes Albert and Bernard of Este, pen and brown wash over black chalk, 233 à 125 mm, Oxford, Ashmoleum Museum, Inv. 274 (© Ashmolean Museum, University of Oxford) 276
12.3 Pirro Ligorio, Aegle and Apollo, pen and brown ink, 140 à 103 mm, London, British Museum, Inv. 1962, 014.1 (© The Trustees of the British Museum) 279
12.4 Pirro Ligorio, St. Jerome, pen and ink, Turin, Archivio di Stato, Taur. Ms. JA.II.1 (vol. 14), fol. 157r (© Ministero dei Beni e della Attività Culturali e del Turismo) 281
12.5 Pirro Ligorio, Trophy with Victory or Fame, pen and ink, 190 à 110mm, Berlin, Staatliche Museen, Kupferstichkabinett, Inv. 25151 (© Staatliche Museen, Kupferstichkabinett) 288
12.6 Pirro Ligorio, Trophy with a Barbarian Captive and a Mourning Woman, pen and brown ink, 217 à 63 mm, New York, Pierpont Morgan Library and Museum, Inv. 1977.60 (© Pierpont Morgan Library and Museum) 289
12.7 Pirro Ligorio, The Virgin and Child and St. Jerome, with Angels Holding the Instruments of the Passion, pen, ink and wash, heightened with white, 390 à 257 mm, Paris, Louvre, Inv. 9682 (© RMN-Grand Palais (musée du Louvre) 293
12.8 Pirro Ligorio, King David with viola da gamba, pen and brown ink, 350 à 266 mm, Oxford, Christ Church, Inv. 0557 (© Governing Body of Christ Church, University of Oxford) 294
13.1 Pirro Ligorio, Dance of Salome, Rome, Oratory of San Giovanni Decollato, c. 1544 (© Fototeca Fondazione Federico Zeri) 297
13.2 Pirro Ligorio, The Astronomers, pen and ink with brown wash, 482 à 330 mm, Chatsworth, Collection of the Duke of Devonshire, Inv. 1006 (© Chatsworth Settlement Trustees) 307
13.3 Pirro Ligorio, Dance of Salome, Rome, Oratory of San Giovanni Decollato, c. 1544 (detail) 309
13.4 Pirro Ligorio, Preparatory study for The Dance of Salome, pen and brown ink heightened with white on black chalk, 270 à 435 mm, London, British Museum, Inv. 1964, 0331.1 (© The Trustees of the British Museum) 310
13.5 Pirro Ligorio, Scene of homage to two divinities, Rome, Oratory of San Giovanni Decollato, c. 1544 (© Fototeca Fondazione Federico Zeri) 311
13.6 Perin del Vaga (?), Preparatory study for The Visitation, pen and brown ink with grey-white wash, 155 à 180 mm, London, British Museum, Inv. 1900-8-24-118 (© The Trustees of the British Museum) 312
13.7 Pirro Ligorio, A Disputation (Christ disputing in the Temple?), black chalk, heightened with white, 438 à 288 mm, London, British Museum, Inv. 1950, 0526.1 (© The Trustees of the British Museum) 313
13.8 Tomb of Paul IV Carafa, designed by Pirro Ligorio, Rome, Santa Maria sopra Minerva, 1566 (© Fernando Loffredo) 319
13.9 Tomb of Pius V Ghislieri, Bosco Marengo, Santa Croce, 1568â1571 (© Grégoire Extermann) 320
14.1 Giacomo da Cassignola (after a project by Pirro Ligorio), Statue of Paul IV, Rome, Santa Maria sopra Minerva, Cappella Carafa (© Author) 325
14.2 Rocco da Montefiascone and Giovan Pietro Annone, Cornucopia, Rome, Vatican Museums, Viale della Zitella (© Vatican Museums) 329
14.3 Giacomo da Cassignola, Barberini Pan, Saint Louis (Missouri), Saint Louis Art Museum (© Saint Louis Art Museum) 331
14.4 Stucco relief of Pan, Vatican, Casino of Pius IV, detail of the eastern façade (© Author) 332
14.5 Rustic mosaic of Diana of Ephesus, Vatican, Casino of Pius IV (© Author) 332
14.6 GiovannâAngelo da Montorsoli, Ludovisi Pan. Rome, Casino Ludovisi (© Marco Mancini) 333
14.7 Diana, restored by Niccolò Longhi da Viggiù, Rome, Musei Capitolini (© Sovrintendenza Capitolina ai Beni Culturali) 342
14.8 Mino da Fiesole, finished by Niccolò Longhi da Viggiù, Saint Peter, Vatican, Saint Peterâs Basilica, Palazzo delle Sagrestie, Aula Capitolare (© Fabbrica di San Pietro) 343
14.9 Diana, restored by Niccolò Longhi da Viggiù, Rome, Musei Capitolini (© Sovrintendenza Capitolina ai Beni Culturali) 344
14.10 Niccolò Longhi da Viggiù, Head of Saint Peter, Vatican, Saint Peterâs Basilica, Palazzo delle Sagrestie, Aula Capitolare (© Fabbrica di San Pietro) 345
14.11 Maenad, restored by Tommaso della Porta, Rome, Musei Capitolini (© Author) 348
14.12 Abundantia, restored by Tommaso della Porta, Rome, Musei Capitolini (© Sovrintendenza Capitolina ai Beni Culturali) 349
14.13 Abundantia, restored by Tommaso della Porta, Rome, Musei Capitolini (© Sovrintendenza Capitolina ai Beni Culturali) 350
14.14 Abundantia, restored by Tommaso della Porta, Rome, Musei Capitolini (© Sovrintendenza Capitolina ai Beni Culturali) 350
14.15 Tommaso della Porta, Fides, Rome, Santa Maria sopra Minerva (© Bibliotheca HertzianaâMax-Planck-Institut für Kunstgeschichte) 351
14.16 Tommaso della Porta, Religio, Rome, Santa Maria sopra Minerva (© Bibliotheca HertzianaâMax-Planck-Institut für Kunstgeschichte) 351
14.17 Maenad, restored by Tommaso della Porta, Rome, Musei Capitolini (© Author) 352
14.18 Maenad, restored by Tommaso della Porta, Rome, Musei Capitolini (© Author) 352
14.19 Tommaso della Porta, Fides, Rome, Santa Maria sopra Minerva (© Bibliotheca HertzianaâMax-Planck-Institut für Kunstgeschichte) 353
14.20 Tommaso della Porta, Religio, Rome, Santa Maria sopra Minerva (© Bibliotheca HertzianaâMax-Planck-Institut für Kunstgeschichte) 353
14.21 So-called Statue of Cicero, restored by Tommaso della Porta, Rome, Musei Capitolini (© Sovrintendenza Capitolina ai Beni Culturali) 355
14.22 Statue of Old Woman, restored by Tommaso della Porta, Rome, Musei Capitolini (© Sovrintendenza Capitolina ai Beni Culturali) 355
14.23 Endymion, restored by Raffaello da Montelupo, Rome, Musei Capitolini (© Sovrintendenza Capitolina ai Beni Culturali) 356
14.24 Raffaello da Montelupo, Saint Michael the Archangel, Rome, Castel SantâAngelo (© Author) 357
14.25 Raffaello da Montelupo, Head of Endymion, Rome, Musei Capitolini (© Sovrintendenza Capitolina ai Beni Culturali) 358
14.26 Raffaello da Montelupo, Saint Michael the Archangel, Rome, Castel SantâAngelo (© Author) 358
1 Pirro Ligorio, Dance of Salome, Rome, Oratorio di San Giovanni Decollato, c.1544. Left side of the sketch (pen and brown wash, heightened with white, 272 à 438 mm, London, British Museum, Inv. 1964, 0331.1) and right side of the fresco (© Authors) 364
2 Pirro Ligorio, Dance of Salome, Rome, Oratorio di San Giovanni Decollato, c. 1544. Seen from the right, one realizes the effectiveness of the perspective (© Authors) 364
3 Polidoro da Caravaggio, Couple of figures under a portico, photomontage recreating the drawing, Florence, Uffizi Inv. 13370F (montage by F. Colonnese). In our photomontage we hypothesize the presence of six pairs of apostles with the figure of Christ in the center (© Authors) 365
4 Pirro Ligorio (attributed), Dispute in the Temple, photomontage recreating the drawing, black chalk heightened with white, 439 à 238 mm, London, British Museum, Inv. 1950, 0526.1 (montage by F. Colonnese). In our photomontage we evidence the sacral structure of the Temple with the niche-apse (© Authors) 368
5 Pirro Ligorio (attributed), Dispute in the Temple, pen and brown ink and faint purplish brown wash, 199 à 193 mm, London, British Museum, Inv. 1950, 0211.7. Notice the motif of the putto grabbing onto the shaft of the first Solomon column, analogous to the previous drawing (© The Trustees of the British Museum) 369
6 Recreation of the âTheaterâ made by Pirro Ligorio for the Cortile del Belvedere in the Vatican (1563â1565); elaborated by F. Colonnese on the basis of the BIASA drawing, Fondo Lanciani) (© Authors) 370
7 Pirro Ligorio (attributed), Concert with âTuba primo Musicoâ, pen, ink, brown wash, 685 à 498 mm, Paris, Louvre, Inv. 9688r (© RMN-Grand Palais (musée du Louvre) 371
8 Pirro Ligorio, Dance of Salome, recreation of the architectural structure with the orders one above the other (elaborated by F. Colonnese) (© Authors) 374
9 Pirro Ligorio, Dance of Salome, recreation of the planimetry based on the two variants of the drawing of the fresco in London, British Museum inv. 1964-3-31 (elaborated by F. Colonnese) (© Authors) 374