Anonymus, Rezension von: Pietro Santi Bartoli, "Columna Antoniniana Marci Aurelii Antonini Augusti rebus gestis insignis Germanis simul, et Sarmatis, Gemino bello devictis ex S.C. Romae in Antonini Foro ad Viã Flaminiã erecta, ac utriusque belli imaginibus anaglyphice insculpta nunc primum a Petro Sancti Bartolo, iuxta delineationes in Bibliotheca Barberina asservatas a se cum antiquis ipsius columnae signis collatas, aere incisa, et in lucem edita. Cum notis excerptis ex declarationibus Io: Petri Bellorii, Romae apud auctorem" in: Giornale de’ letterati, ed. Giovanni Giustino Ciampini, 1676, pp. 33-39 (FONTES 19)

TEN CONTEMPORARY REVIEWS OF BOOKS ON ART AND ARCHAEOLOGY BY GIOVAN PIETRO BELLORI IN THE GIORNALE DE’ LETTERATI, 1670-1680, NO. 5 The album illustrating the ‘Columna Antoniniana’, or Column of Marcus Aurelius, reviewed in the ‘Giornale de’ letterati’ in 1676, contains engravings by Pietro Santi Bartoli of the column and its relief sculpture. The engravings of the reliefs include legends written by Giovan Pietro Bellori. The title page states that these texts were exerpted from Bellori’s explanations of the column of Marcus Aurelius: “Cum notis excerptis ex declarationibus Io. Petri Bellorii”. No text of an explication of the Column of Marcus Aurelius by Bellori survives. Indeed, it has not been previously noticed that such a text ever existed. Nevertheless, the anonymous reviewer of the ‘Columna Antoniniana’ knew this text very well, as what he writes demonstrates. He writes, in fact, about Bellori’s notes and expositions and about a discourse by Bellori about the column not yet published, “non ancora impresse”. The reviewer draws very extensively on Bellori’s material, and thus many significant aspects of Bellori’s lost work can be recovered. Through Bellori’s historical investigations of the Germanic wars and his study of their representations in relief sculpture, Bellori corrected many errors on the part of modern historians and antiquarians, and he was able to enlarge greatly what was previously known, drawing mainly on ancient writings and on what he observed in the reliefs. Bellori had a marked interest in the military customs and habits of the Germans. He identifies their functionaries, their dress, arms, and armour, their methods of travel, their camps, buildings, and methods of building, and many other things. Bellori also paid particular attention to the artistic aspects of the reliefs, evaluating them in relation to those on the Column of Trajan. Of particular interest is what the reviewer writes about the representation of the pluvial Jupiter. His description and interpretation, clearly deriving from Bellori’s, indicate how extensive Bellori’s analytic descriptions of the ancient reliefs must have been. Drawing on Bellori’s missing introduction and on his descriptions and interpretations of the relief sculpture, the review of the "Colonna Antoniniana", sheds further light on the scope and erudition of Bellori's archaeological studies, and it reveals Bellori to us in his attempts to elucidate the history of Rome and its empire through a close investigation of its monuments

Anonymus, Rezension von: Giovan Pietro Bellori, Selecti nummi duo Antoniniani, quorum primus anni novi auspicia, alter Commodum & Annium Verum Caesares exhibit, ex Bibiotheca Eminentissimi Principis Camilli Cardinalis Maximi,Romæ, Typis Iacobi Dragondelli, 1676 in: Giornale de' letterati, ed. Giovanni Giustino Ciampini, 1676, pp. 169-175 (FONTES 22)

TEN CONTEMPORARY REVIEWS OF BOOKS ON ART AND ARCHAEOLOGY BY GIOVAN PIETRO BELLORI IN THE GIORNALE DE' LETTERATI, 1670-1680, NO. 7 A treatise by Giovan Pietro Bellori dedicated to two coins in the collection of Cardinal Massimi, Selecti nummi duo Antonini, was published in 1676 and reviewed in the same year in each of the two series of the Giornale de’ letterati, that is, in the Giornale of Francesco Nazari and in that of Giovanni Giustino Ciampini. The reviews are different; both however, provide a detailed summary of Bellori’s work and of his extensive research. The inscription on the reverse of the first coin, dedicated to the Emperor Antoninus, was interpreted by Bellori as referring to the custom of wishing the Consul health and prosperity at the beginning of the new year, “di far voti per la loro salute e prosperità”. The reviewer presents Bellori’s extensive epigraphic and numismatic evidence. The second coin, in later times shown to be a fake, represented the sons of Antoninus, Commodus and Annius Verus. It is not clear, however, if "Antoninus" is Antoninus Pius or Marcus Aurelius Antoninus. Bellori presents evidence to substantiate both claims but leaves the question open. The review of Selecta nummi duo Antonini that appeared in Ciampini's edition of the Giornale is well-structured and very careful in the treatment of details. The text is formulated with notable literary skill. The author demonstrates further his familiariy with Bellori's unpublished work on the Colonna Antoniniana. It is likely that he is also the reviewer of the Columna Antoniniana (FONTES 19, Bellori 5), published by Pietro Santi Bartoli and Bellori in the same year

Anonymus, Rezension von "Galeriae Farnesianae Icones Romae in aedibus Sereniss. Ducis Parmensis ab Annibale Carracio ad Veterum aemuationem posterorumq. admirationem coloribus expressae cum ipsarum monocromatibus et ornamentis, a Petro Aquila delineatae incisae". Io: Iacobi de Rubeis cura, sumptibus ac typis excusae. Romae: ad Templum S. Mariae de Pace cum Privil. Summi Pontificis [1677]. in: 'Giornale de’ letterati', ed. Francesco Nazari, 1678, pp. 81-84 (FONTES 25)

TEN CONTEMPORARY REVIEWS OF BOOKS ON ART AND ARCHAEOLOGY BY GIOVAN PIETRO BELLORI IN THE GIORNALE DE’ LETTERATI, 1670-1680, NO. 8 In 1675 an album of prints by Carlo Cesi after Annibale Carracci’s paintings in the Farnese Gallery (1597-1603)was published in Rome by François Collignon. The images were accompanied by explanations written by Giovan Pietro Bellori. These texts were derived from Bellori’s as yet unpublished manuscript life of Annibale which Bellori made accessible to Collignon. The reviewer discusses Bellori’s interpretations of the images in the Farnese Gallery. In 1678, another album of prints by Pietro Aquila after Annibale’s work in the Gallery was published in Rome. In the ‘Giornale de’ letterati’ of 1678, the reviewer discusses both albums. In Cesi’s album, Annibale’s paintings were shown as separate images. In Aquila’s, in contrast, the paintings are represented within the architectural framework of the ceiling decoration and thus a complete view of the ensemble is provided. The reviewer writes that Annibale’s work in the Gallery was celebrated as the true school of painting, not in its single parts alone, but in the correspondence of these parts to the whole. Thus for painters commissioned to plan and execute similar painted decorations, the prints of Aquila provided both an example and concrete patterns. The anonymous reviewer of the Galeriae Farnesianae Icones was the same reviewer as that of Bellori’s Vite published in 1672 (Fontes 17, Bellori, 4). It is probable that Bellori played a substantial rôle in the elaboration of both reviews in the ‘Giornale de’ letterati’

Pietro della Valle's research and documentation in the Levant, Part I: Della Valle's exploration of the ruins of Persepolis in 1621 excerpts from: Pietro della Valle: Viaggi di Pietro della Valle il Pellegrino. Con minuto ragguaglio di tutte le cose notabili osservate in essi (Roma 1650-1663), including: Giovan Pietro Bellori: Vita di Pietro Della Valle il Pellegrino, in: Viaggi di Pietro della Valle il Pellegrino, seconda edizione, vol. I, (Roma 1662) (FONTES 66)

FONTES 66 presents the exploration of the ruins of Persepolis in 1621 by the Roman traveller Pietro Della Valle (1586-1652). During his years of travel (1614-1626) Della Valle recorded his experiences in fifty-four letters, published in three parts – La Turchia, La Persia and L’India – between 1650 and 1663 under the title Viaggi di Pietro della Valle il Pellegrino. Recently studied by archaeologists and literary historians, Della Valle’s travels have received little if any attention by historians of art. While Della Valle’s letters follow in a tradition of earlier Italian travellers, his methods of recording ancient monuments, art and artefacts were guided by up-to-date archaeological and antiquarian methods, first established in Italy in the first half of the sixteenth century. It was his intention from the beginning not only to describe the monuments and works of art, inscriptions, landscapes and people but to record these also graphically. This documentation was planned for the last volume which never appeared: "le figure di molte cose memorabili, sparse per tutta l’opera, la loro esplicatione". His exact observation and verbal documentation together with an extensive graphic record served his hermeneutic intentions

Pietro della Valle's research and documentation in the Levant, Part II: Della Valle's descriptions, explications and documentation of "Troia", Babylon ("Babèl"), Sultaniyya ("Sultania"), Ikkeri and the tombs of the poets in Shiraz excerpts from: Pietro della Valle: Viaggi di Pietro Della Valle il Pellegrino. Con minuto ragguaglio di tutte le cose notabili osservate in essi (Roma 1650-1663), including: Giovan Pietro Bellori: Vita di Pietro Della Valle il Pellegrino, in: Viaggi di Pietro Della Valle il Pellegrino, seconda edizione, vol. I, (Roma 1662) (FONTES 67)

FONTES 67 is a continuation of and a supplement to FONTES 66: Pietro Della Valle’s Research and Documentation in the Levant, Part I: Della Valle’s exploration of the ruins of Persepolis in 1621, excerpts from: Pietro Della Valle, Viaggi di Pietro della Valle il Pellegrino. Con minuto ragguaglio di tutte le cose notabili osservate in essi Roma 1650-1663), including: Giovan Pietro Bellori, Vita di Pietro Della Valle il Pellegrino, in: Viaggi di Pietro della Valle il Pellegrino,seconda edizione, vol. I, (Roma 1662), edited with an introductory study by Margaret Daly Davis. The following texts from Della Valle’s "Viaggi" are published in full text transcriptions and discussed: "Troia", Babylon ("Babèl"), Sultaniyya ("Sultania"), the Hindu Temple of Aghoresvara in Ikkeri and the tombs of the Poets Chogià and Sceich Saadì in Shiraz

Anonymus, Rezension von: Pietro Santi Bartoli, "Colonna Traiana, eretta dal Senato e Popolo Romano all'Imperatore Traiano Augusto nel suo foro in Roma. Scolpita con l'historie della guerradacica, la prima e la seconda espeditione, e vittoria contro il re Decebalo. Nuovamente disegnata et intagliata da Pietro Santi Bartoli con l'espositione latina d'Alfonso Ciaccone, compendiata nella vulgare lingua sotto ciascuna immagine. Accresciuta di medaglie, inscrittioni e trofei da Gio. Pietro Bellori" (Roma [1672]), in: Giornale de’ letterati, 27. Februar 1673, pp. 13-21 (FONTES 14)

TEN CONTEMPORARY REVIEWS OF BOOKS ON ART AND ARCHAEOLOGY BY GIOVAN PIETRO BELLORI IN THE GIORNALE DE’ LETTERATI, 1670-1680, NO. 2 A review of Pietro Santi Bartoli’s album of engravings after the spiral relief band of Trajan’s column in Rome, which includes Giovan Pietro Bellori’s translation of Alfons Chacon’s explications of the reliefs, first published in 1576. Chacon’s commentary was amended and corrected by Bellori at very many points. Engravings of relevant coins and inscriptions were added to the work. During the decade 1670-1680 ten reviews of books by Giovan Pietro Bellori that had appeared in the same years (1669-1680) were published in the Giornale de' letterati in Rome. These include Bellori's famous book of late sixteenth-seventeenth-century artists' 'Lives' (Vite de' pittori) as well as a number of significant archaeological publications treating numismatics, glyptics, sculpture, painting and Roman topography. Reviews and articles appeared in the Giornale unsigned, thus their author or authors cannot be determined with certainty. The discussions of Bellori's works are lengthy and penetrating; they underline the remarkable position he had attained in the world of seventeenth-century archaeological scholarship. The ten reviews will appear in separate instalments of FONTES (Bellori, 1-10)

Anonymus, Rezension von Giovan Pietro Bellori und Pietro Santi Bartoli: Le pitture antiche del sepolcro de Nasonii nella Via Flaminia, disegnate, ed intagliate alla similitudine degli antichi originali da Pietro Santi Bartoli descritte et illustrate da Gio: Pietro Bellori (Rom 1680), in: Giornale de’ letterati, ed. Giovanni Giustino Ciampini, 1680, pp. 97-99 (FONTES 27)

TEN CONTEMPORARY REVIEWS OF BOOKS ON ART AND ARCHAEOLOGY BY GIOVAN PIETRO BELLORI IN THE GIORNALE DE' LETTERATI, 1670-1680, NO. 10 Review of Giovann Pietro Bellori and Pietro Santi Bartoli "Le pitture antiche de sepolcro de Nasonii nella via Flaminia" (Roma 1680). A burial chamber caved in Tufa with a simple façade was discovered in 1674 about five miles outside Rome. It was decorated with paintings and stucco ornament. The "Pitture antiche" of Bellori and Bartoli comprises 35 plates which are explicated in 35 concise chapters. The brief review in the "Giornale de’ letterati" (1680) is not an analytic discussion of the book but rather serves to celebrate the entire achievements of Bellori and Bartoli in the field of ancient art and archaeology.Electronic full texts of two texts by Bellori from the "Le pitture antiche de sepolcro de Nasonii nella via Flaminia" are included in FONTES 27: (1) „Introduttione alle pitture antiche“ (pp. 5-6)(2) „[Commentario alla] TAVOLA V“ (pp. 11-16

Anonymus, Rezension von Giovan Pietro Bellori: Scelta de medaglioni più rari nella Bibliotheca dell’Eminentiss. etReverendiss. Principe il Signor Cardinale Gasparo Carpegna, Vicario di Nostro Signore(Rom 1679) in: Giornale de’ letterati, ed. Giovanni Giustino Ciampini, 1679 (FONTES 26)

TEN CONTEMPORARY REVIEWS OF BOOKS ON ART AND ARCHAEOLOGY BY GIOVAN PIETRO BELLORI IN THE GIORNALE DE’ LETTERATI, 1670-1680, NO. 9 Scelta de medaglioni più rari nella Biblioteca dell’Eminentissimo et Reverendissimo Principe il Signor Cardinale Gasparo Carpegna Vicario di Nostro Signore, Rom 1679 (Giornale de’ letterati, Roma: Per Nicolò Angelo Tinassi, 1679, I, pp. 9-12; II, pp. 30-32; III, pp. 43-48; IV, pp. 62-64; V, pp. 77-80; VI, pp. 94-96; VII, pp. 109-112; pp. VIII, 125-128; IX, pp. 141-144; X, pp. 158-160; XI, pp. 166-168; XII, pp. 187-190) A selection of the large commemorative medallions, or "medaglioni", from the collection of cardinal Gasparo Carpegna was published in 1679 under the title Scelta de medaglioni più rari nella Biblioteca dell'Eminentissimo et Reverendissimo Principe il Signor Cardinale Gasparo Carpegna. In the dedication Bellori is identified as the author of the commentaries. In Bellori’s commentaries Pietro Santi Bartoli is identified as the draftsman and engraver of the twenty-three medallions. The medallions presented in the volume are a selection from the Cardinal’s collection of forty-five pieces all of which are described in an index at the end of the book: “Indice de’ medaglioni che si truovono nella Bibliotheca dell’Eminentiss. e Reverendiss. Sig. Cardinale Gasparo Carpegna”. The index is reproduced in the illustrations. The book concludes with an important discussion entitled “Del Pregio e nobiltà de' Medaglioni” which is transcribed in Appendix I. Here Bellori discusses the size of the medallions, their images, and their functions. Bellori's explications of the medaglioni evidence his mastery of many different genres of antiquities and his ability to draw upon many different types of objects – coins, inscriptions, paintings and reliefs – in order to interpret each medallion. In the same year as the publication of the Scelta, 1679, the editor of the Giornale de’ letterati, Giovanni Giustino Ciampini published abridgements of Bellori’s commentaries together with all of Bartoli’s illustrations to the Scelta de' Medaglioni in twelve installments in the Giornale de’ letterati. The writer summarizes Bellori’s description and interpretation of the obverse and reverse of the twenty-three medallions presented in the Scelta. The inscriptions on the obverse and reverse of the medallions are reported and the abbreviations of the inscriptions resolved. Pietro Santi Bartoli’s original plates for the illustrations of the medallions in the Scelta were re-used in the entries in the Giornale de’ letterati. Bellori’s often lengthy and detailed explications of the inscriptions are briefly summarized. His descriptions and interpretations of the images on the medal reverses are more extensively reported. Only rarely does the reviewer interpolate. The publication of the Scelta de medaglioni in twelve abbreviated installments in the Giornale de letterati rendered the knowledge of Cardinal Garpare Carpegna’s prestigious collection and its catalogue by Giovan Pietro Bellori accessible to a wide audience of scholars of many disciplines in Italy and beyond her borders. Bellori’s publications on gems and coins had been discussed in earlier issues of the Giornale. His catalogue of gems from the collection of Leonardo Agostini, Le gemme antiche figurate di Leonardo Agostini, had been reviewed in the Giornale de’ letterati in 1669 (Fontes 11, Bellori 1). His study of two coins in the collection of Cardinal Camillo Massimi, entitled Selecti nummi duo Antoniniani, was reviewed in both editions of the Giornale in 1676 (ed. Nazari, 1676, pp. 141-145, Fontes 21, Bellori 6; ed. Ciampini, 1676, pp. 169-175, Fontes 22, Bellori 7). His description of Cardinal Carpegna’s collection was given unusually full coverage in twelve different issues of the Giornale. Possibly the cardinal himself desired the numerous reviews. The reviewer of Bellori’s Scelta de’ medaglioni was an antiquarian with a special interest in numismatics, and it is not unlikely that he was also the author of the review of the Selecta nummi in Ciampini’s edition of the Giornale. Furthermore, there are internal connections between the two reviews of the Scelta de medaglioni and the Selecta nummi and the review of Bellori’s Columna Antoniniana, which also appeared in Ciampini’s edition of the Giornale

Anonymus, Rezension von: Giovan Pietro Bellori, Fragmenta vestigii veteris Romae ex lapidibus Farnesianis nunc primum in lucem edita cum notis Io. Petri Bellorii ad Eminentiss. ac Reverendiss. Camillum Maximum S.R.E. Cardinalem (Romae: Typis Iosephii Corvi, 1673), in: Giornale de’ letterati, 31. Settembre 1673 (FONTES 15)

ZEHN ZEITGENÖSSISCHE REZENSIONEN VON BÜCHERN ÜBER KUNST UND ARCHÄOLOGIE VON GIOVAN PIETRO BELLORI IM GIORNALE DE’LETTERATI, 1670-1680, Nr. 3 Die Forma Urbis marmorea, ein monumentaler Plan der Stadt Rom, der unter dem Kaiser Septimius Severus zwischen 203 und 211 n. Chr. geschaffen wurde war für die topographischen wie archäologischen Studien des 16. und 17. Jahrhunderts eine grundlegende Quelle. Auf die Marmorplatten waren Grundrisse der öffentlichen und privaten Monumente der Stadt eingraviert. Fragmente des Plans wurden um 1546 bei der Kirche von Ss. Cosmas und Damian aufgefunden und in den Palazzo Farnese transportiert. Nachzeichungen wurden angefertigt, die sich heute in der Biblioteca Vaticana befinden (Vat. Lat. 3439). Erst in der zweiten Hälfte des 17. Jahrhunderts wurden die Fragmente ernsthaft bearbeitet und veröffentlicht. Das Unternehmen wurde vom Kardinal Camillo Massimi gefördert. Die zwanzig von Andrea Bufalini gestochenen Tafeln wurden von Giovan Pietro Bellori erläutert. Sie enthüllen die erstaunlich breite Kenntnisse der modernen topographischen und architektonischen Literatur des Verfassers und reichen von Francesco Albertini bis Famiano Nardini. Belloris eingehende Kenntnisse der antiken Architektur basierten auf Vitruvs De architectura wie auch auf die vitruvianischen Erforschungen von Guillaume Philandrier, Daniele Barbaro und Bernardino Baldi. Anhand der Literatur und der antiken Resten identifiziert Bellori viele der auf den Marmorplatten eingravierten Tempel, Thermen, Basiliken, Zirkusse, Portiken. Belloris Veröffentlichung wird im Giornale de’ letterati eine systematische Analyse gewährt. Schließlich erläutert der Rezensent drei antike Malereien, die kommentarlos im Werk von Bellori illustriert sind. Die zehn Rezensionen werden in einzelnen Lieferungen von FONTES (Bellori, 1-10) erscheinen. Die einführenden Texte werden zusätzlich in englischen Fassungen angeboten

Anonymus, Rezension von: [Giovan Pietro Bellori] Le gemme antiche figurate di Leonardo Agostini, All’Altezza Serenissima di Cosimo Principe di Toscana, Parte seconda (Roma: Appresso Michele Hercole, 1669), in: Giornale de’ letterati, 27. Juni 1670 (FONTES 11)

ZEHN ZEITGENÖSSISCHE REZENSIONEN VON BÜCHERN ÜBER KUNST UND ARCHÄOLOGIE VON GIOVAN PIETRO BELLORI IM GIORNALE DE’ LETTERATI, 1670-1680, NR. 1 In den Jahren 1670-1680 sind zehn Rezensionen von soeben veröffentlichten Werken von Giovan Pietro Bellori im Giornale de' letterati in Rom erschienen. Die Besprechungen umfassen Belloris berühmte Künstlerviten sowie eine Reihe wichtiger archäologischer Publikationen über Numismatik, Glyptik, Skulptur, Malerei und römische Topographie. Die Rezensionen im Giornale de' letterati wurden nicht signiert, so sind ihre Verfasser nicht eindeutig zu bestimmen. Die lange und eingehenden Analysen der Werke Belloris sowie die sofortige Bekanntmachung seiner Veröffentlichungen bezeugen die bedeutende Stelle, die Bellori in der Welt der archäologischen Forschung im 17. Jahrhundert, innehatte. Zwei weitere Quellen aus den Werken von Heinrich von Huyssen und Vincenzo Leonio, die neues Licht auf die Gründung und die Geschichte des Giornale de’ letterati werfen, sind hier veröffentlicht. Schließlich sind Auszüge aus Texten von Leonardo Agostini sowie Abbildungen beigefügt. Die zehn Rezensionen werden in einzelnen Lieferungen von FONTES (Bellori, 1-10) erscheinen. Auszüge aus dem Gemmenbuch des Leonardo Agostini sowie Abbildungen sind auch dargeboten