^{page 56 note 1} Hülsen, , Topographie, i. 3, 461Google Scholar; Lanciani, , Mon. Lincei, i. (1891), 471Google Scholar; Forma Urbis f. 15, 16, 21, 22.

^{page 56 note 2} Hülsen, , Topographie, i. 3, 469Google Scholar.

The last remains of the arch disappeared in 1523 (Lanciani, , Storia degli Scavi, i. 217Google Scholar). One of the reliefs found on that occasion is perhaps still preserved in the Villa Medici (to the references given by Hülsen, add C.I.L. vi. 31, 383Google Scholar, and Jones, Stuart in Papers of the British School at Rome, iii. 271Google Scholar).

^{page 56 note 3} Arch. Soc. Rom. Stor. Patr. x. (1887), 631Google Scholarsqq. and note 4, where he quotes a number of documents from the archives of S. Carlo al Corso.

^{page 56 note 4} The boundaries of the property in 1366 and 1408 are compared in a document published by Lanciani, (A.S.R.S.P. xx. (1897), 379)Google Scholar. The houses of the Mancini dei Lucci probably did not extend beyond the area of the Palazzo Ruffo, inasmuch as the small street to the west of it, running southward from the Vicolo del Piombo, still bears the name of Vicolo Mancini.

^{page 57 note 1} The foundation was ratified by a notarial document given at Crema on September 22, 1388. Her death was followed by considerable litigation, which did not end until 1446.

^{page 57 note 2} I cannot fix the site of the Una domus posita e conspectu SS. Apostolorum given to the hospital of the Sancta Sanctorum at the Lateran by Lippa, widow of Ceccho di Antonio di Giovanni di Giuliano on May 27, 1452 (Archives of the Sancta Sanctorum, notary Thomas Bartolommei Serentii de Leis, f. 130 of the book of instruments). The document is cited by Jacovacci, Cod. Ottob. 2553, S. f. 943. I have not seen the original.

^{page 57 note 3} Armellini, Chiese di Roma, 337.

^{page 58 note 1} Rocchi, Piante di Roma, Plate iv. Quaritch, No. 5 (see Bernard Quaritch's Rough List, No. 138); Hülsen, in A.S.R.S.P. xxxviii. (1915), p. 45Google Scholar, No. 17.

^{page 59 note 1} Ehrle, La Pianta di Roma Du Pérac-Lafrèry del 1577; Hülsen, Nos. 73–75; Ashby, Topographical Study in Rome in 1581, p. 26.

^{page 59 note 2} Rocchi, op. cit. tav. xvi.; Hülsen, No. 72.

^{page 59 note 3} Hülsen, Nos. 102–104.

^{page 59 note 4} Lanciani, , Storia degli Scavi, iv. 7Google Scholar, cites, from Arch. Vat. Diversorum, tom. 232, c. 184a, licentia effodiendi d. Marcantonio card. Columnae in platea sanctorum apostolorum et prope palatium suum, granted on July 6, 1568.

There is a document in the Archivio Colonna (III. A, A. 202) which records a settlement arrived at on June 2, 1581, between Giulio Cesare Colonna of Gallicano and Clarice Anguillara Colonna, both in her own name, and as guardian of her daughters Giulia, Placidia, and Flaminia, and of Martio Colonna, husband of the first named. In this it is decided that la Casa di Roma con il Giardino, et le casetie contigue, et tutte le loro pertinentie, siano, et spettino di pieno dominio al detto Sig. Giulio per scudi sessantamila. But this cannot refer to the Cardinal's palace.

^{page 59 note 5} Arch. Chigi, Roma, Posiz. SS. Apostoli; with it is a renewal of the concession by Alexander VII. on April IIth, 1663.

^{page 59 note 6} Palatia Procerum Romanae Urbis, 1596, signature F2, which shows Maderna's late Renaissance façade rather conventionally, with the main door at one side of it.

^{page 59 note 7} See Hülsen, Nos. 84–87. The 1664 edition of Tempesta (from which our illustration is taken) has had the legend Pal(azzo) de Gallicano added, but the representation of the palace has not been altered.

^{page 59 note 8} Ehrle, La Pianta di Roma Maggi-Maupin-Losi; Hülsen, p. 25 (where he points out that it is copied from Tempesta's view) and No. 106.

The views of De Veen (1593; Hülsen, No. 83), and Maggi-De Schaichis (1603; Hülsen, No. 98) show the block entirely occupied by small houses.

^{page 59 note 9} It is a small square structure, open on all sides, used as a kind of summer-house: it is a familiar feature in the late Renaissance palaces of Rome.

^{page 60 note 1} See a brief of Paul V. of June 4th of that year, cited by Tomassetti, , Campagna Romana Antica, Medioevale, e Moderna, iii. 431Google Scholar.

^{page 61 note 1} Arch. Col. Perg. xxviii. 31 (Appendix No. I.); cf. Tomassetti, , op. cit. iii. 418, 431, 509, 520Google Scholar.

^{page 61 note 2} Arch. Col. ix. 5 (Appendix No. II.).

^{page 61 note 3} There is another copy of the deed of sale, with the papal permission; and there are some earlier documents relating to purchases of houses and land made by members of the Colonna family.

^{page 62 note 1} Corvisieri, loc. cit. The instrument is dated August 18. Corvisieri does not give the year, but it was apparently 1622 (document in the Ludovisi archives).

^{page 62 note 2} This passage is found in the 1638 edition (the earliest known to me) of the Roma Moderna, published by Pompilio Totti (p. 286); it is repeated in the editions of 1643 (p. 117) and 1653 (p. 123).

^{page 64 note 1} Fraschetti, Il Bernini, 297, 351, who cites from the Archivio Chigi two certificates given by Bernini in March of that year to the Cardinal that he might safely pay 200 scudi to a builder and 300 to a stonecutter on account.

^{page 64 note 2} The legend to this view states that the plan and the interior are the work of Carlo Maderna, who must therefore have been responsible for the previously existing façade.

^{page 64 note 3} P. 288 of the edition of 1689. This is perhaps the first edition in which this and other similar engravings appear.

^{page 67 note 1} Hülsen, p. 94, Nos. 128, 129.

^{page 67 note 2} Cállari, Palazzi di Roma, p. 262.

^{page 67 note 3} Nota delli Musei, Librerie, Galerie ecc. Roma, 1664 (annexed to the 1664 edition of Lunadoro's Relatione delta Corte di Roma), p. 17. Cardinale Flauio Chigi. Biblioteca celebre di ottimi autori in ogni studio di lettere numerosissima & scelta delle migliori impressioni, nel palazzo a Santi Apostoli, con ornamenti di pitture di chiari Artefici, & di statue antiche, e col Museo delle curiosità naturali, peregrine, ed antiche; nel suo castello di Formello.

^{page 67 note 4} Tomassetti, , Campagna Romana Antica, Medioevale e Moderna, iii. 102Google Scholar, who describes the villa that the Cardinal caused to be constructed there in 1670–82, in imitation of the splendours of Versailles. (An inventory of the few antiques which it contained in 1705 in Doc. Ined. iv. p. 407, and of those preserved at Formello in 1793, ib. p. 417.)

^{page 67 note 5} Description de la ville de Rome par F. D. P. (1690), torn. ii. p. 151 sqq.

^{page 67 note 6} Storia degli Scavi, i. 153.

^{page 67 note 7} Ficoroni, Mem. 103 (ap. Fea, , Misc. i. 168Google Scholar); Bartoli, Mem. 9 (Fea, cit. 224). ‘In the papacy of Innocent X. there was found in the Orto Cornovaglia (the Orto Botanico on the Caelian) a lioness of granite (porphyry, according to Bartoli) which was in the possession of Cardinal Flavio Chigi, and has with other statues now gone to adorn the palace of the Elector at Dresden in Saxony’ (see the inventory in Documenti Inediti, ii. p. 178, No. 67). Bartoli, Mem. 57 (Fea, cit. 236). ‘In making the foundations of the new fountain on the same side as the new porticos (i.e. in the Piazza di S. Pietro, on the left) there were found some ancient sarcophagi, without its being possible to conjecture whether they were Christian or Pagan; one of which was conveyed to the garden of the palace of Cardinal Chigi.’

Id. Mem. 147 (Roma Antica (1741) i. 363; Fea, cit. 266). ‘(In the time of Innocent X.) there was discovered (in the villa of Domitian at Castel Gandolfo) a stair case … adorned with four most beautiful Fauns … the Fauns I think are in Palazzo Chigi.’ (Doc. Ined. cit. No. 38).

Id. Mem. 152 (Roma Antica, cit. 355; Fea, cit. 269); Lanciani, Pagan and Christian Rome, 65. ‘(At Isola Farnese) above there is a great plateau, sown with corn; on which at the time of Pope Alexander VII., Cardinal Chigi ordered excavations to be made, and a very beautiful temple of the Ionic order with fluted columns was found. … An altar with very beautiful Etruscan figures, five palms (1·11 m.) high, was found, which is now preserved in the palace of Cardinal Chigi.’

^{page 68 note 1} The first edition of the Admiranda appeared in 1680; the second in 1693.

^{page 68 note 2} The library and the natural history museum were amalgamated with the library founded by Alexander VII. in the Palazzo Chigi in Piazza Colonna; see Piazza. Delle Librerie Romane (appendix to his Eusevologio Romano, ed. ii. 1698), p. cxix. Aggiunge grande splendore, e splendidezza a questa Libreria Palazzo e Famiglia, l'accrescimento della celebre Biblioteca del Cardinale Flavio Chigi di chiara memoria, fornita d'autori d'ogni studio di Lettere, e scelta delle migliori impressioni, col Museo delle curiosità naturali, peregrine, e antiche.

^{page 69 note 1} For the family of the Odescalchi, who came from the Valtellina, see F. de Bojani, Innocent XI. (1910), Chap. I. Don Livio was the son of the Pope's eldest brother, Carlo Odescalchi, who had married a lady of the Cusani family. (Bojani, p. 6.) After the death of his father in 1673, Livio was adopted by his uncle, who summoned him to Rome. See the interesting account with full documentary evidence given by Bojani (p. 8 f.; p. 16 ff.), of the relations between uncle and nephew.

^{page 69 note 2} De Bildt, Les Médailles romaines de Christine de Suède, p. 20.

^{page 69 note 3} De Bildt, , Christine de Suède et le Cardinal Azzolino (Paris, 1899Google Scholar).

^{page 69 note 4} Museum Odescalchum sive Thesaurus antiquarum Gemmarum quae a serenissima Christina Suecorum regina collectae in Museo Odescalco asservaniur, et a Petro sancte Bartolo quondam incisae, nunc primum in lucem proferuntur. Romae, MDCC xlvii. Prostant apud Venantium Monaldini Bibliopolam in Via Cursus. The frontispiece, engraved by Karl Gustav von Amling in 1702 (the year of his death), represents the young King of Sweden, according to Sotheby's catalogue; Meyer treats it as an unknown portrait. He also engraved a portrait of Don Livio Odescalchi. Thieme-Becker, , Allgemeines Lexikon der Bildenden Künstler, i. 409Google Scholar; (Th. Hampe, art. ‘Amling’); Meyer, , Allgemeines Künstlerlexikon, i. 639Google Scholar, Nos. 89, 113. [A short, but good account of the collection is given by Furtwaengler, , Antike Gemmen, iii. p. 408Google Scholar, who states that a first edition of forty-three of Bartoli's prints was issued soon after the Duke's death in 1713, with Amling's title-page of 1702. No sort of order was observed in the arrangement of the plates, either of the earlier edition or of that of 1747, and there was no text.]

^{page 69 note 5} The small bronze Venus figured on Plate 35 of the Museum Odescalchum, and repeated from that illustration by Clarac 610, 1354 (327, 5 R) has disappeared (Hübner, p. 13). It was originally in the collection of the antiquary Borioni. Among the other bronzes reproduced in Mus. Odesc. were two statuettes of Priapus; Reinach, , Répert, ii. 73Google Scholar, 7, ii. 74, 2 (see also Bonner Jahrb. 27, Pl. 2, No. 3, p. 56); a so-called ‘Genius of Plenty’ or ‘Vertumnus’ ibid. ii. 47, 7; also group of bull and bear, ibid. ii. 737, 6; a bust of Zeus with winged thunderbolt (Museum, Pl. 33); a bust of Serapis (ib. Pl. 34) and a number of reliefs with sacred subjects belonging to bases or altars. The present where abouts of these pieces is unknown.

^{page 69 note 6} There is a catalogue of the coins printed in Doc. Ined. iii. 293 sqq. which served for checking the collection when it came into the Vatican.

^{page 70 note 1} The gem is published in the Museum Odescalchum, Pl. 15, with the inscription Olimpia & Alexandra.' Subsequently various other interpretations were proposed which are fully enumerated by Furtwaengler, op. cit. text to Pl. XLIII. 2. Visconti, E. Q. (Icon. Grecque, iii. p. 204Google Scholar, Pl. 53, No. 3), however, maintained the Alexander and Olympias theory, which was also supported by Furtwaengler, and now seems generally accepted. The latest discussion is by J. J. Bernoulli, Die erhaltenen Darstellungen Alexanders des Crossen, 1905, p. 126 ff. The cameo, a large sardonyx in three layers, is held by Furtwaengler to be only very slightly inferior in quality to the cameo with the same subject in Vienna.

^{page 70 note 2} On all this see Furtwaengler, loc., cit., and Beschr. Roms, iii. 3. 178.

^{page 70 note 3} Gaebler, , Die Münzsammlung der Königin Christine von Schweden in Corolla Numismatica (Oxford, 1906)Google Scholar.

^{page 70 note 4} Archivio Storico Capitolino, Cred. xiv. vol. 11, f. 109^V.

^{page 70 note 5} ibid. vol. 13, f. 132^v.

^{page 71 note 1} Lanciani, , Storia degli Scavi, iii. 54Google Scholar; Papers of the British School at Rome, v. 250 Mattei (Memorie dell' Antico Tuscolo, 18), writing in 1713, is the first author who speaks of it as Villa Odescalca. In 1835 it was sold to the Collegio di Propaganda Fide. It now belongs to Duke Grazioli.

^{page 71 note 2} Li Giardini Romani. The plates still exist at the Regia Calcografia, but not, apparently, that of the frontispiece.

^{page 71 note 3} Forcella, , Iscrizioni, vol. vi. p. 164Google Scholar, No. 607.

^{page 72 note 1} Forzella, , Iscrizioni, vol. xii. pp. 407, 409Google Scholar, Nos. 501, 502; the hospice of S. Michele a Ripa was built by Mgr. Carlo Tommaso Odescalchi, another nephew of Pope Innocent XI. (op. cit. vol. xi. p. 508, No. 732; cf. p. 504).

^{page 72 note 2} This document, drawn up by the notary Leandro Antonio Caioli, is now preserved in the Archivio Notarile Distrettuale in Rome (Arch. 16, vol. 280, parte 2a, f. 112 sqq.) where I. have examined it.

^{page 72 note 3} Archivio Storico Capitolino, sez. v. prot. 15–1 6; printed in Documenti inediti per servire alla storia dei Musei d'Italia, iv. pp. 329 sqq.

^{page 73 note 1} Elba is an obvious error in Hübner's text. Innocent XL's sister had married one of the Erba of Milan; for the subsequent relationship see Bojani, p. 5, note 3.

^{page 73 note 2} So Ponz, , Viage de España (1781), x. p 118Google Scholar, quoted by Hübner, Antike Bildwerke in Madrid, p. 14. As Michaelis (Ancient Marbles in Great Britain, p. 66) points out, Winckelmann (in a letter to Mengs of Nov. 18,1761, reprinted in Opere di R. Mengs, Rome. 1787, p. 420) states the price at 51,000 scudi (about £11,500) and Fea, Storia delle Arti di Disegno, ii. p. 38Google Scholar) at 25,000 doppi, or nearly 75,000 scudi (about £16,800).

The following numbers in Hiibner's Antike Bildwerke in Madrid can be identified (and further study might well reveal more) as having belonged to the Odescalchi collection from the inventory already cited. The paragraphs of the inventory are not numbered, but the following arbitrary numbering may be of use as a guide to the reader. It did not seem worth while to repeat the whole text of the inventory; this I reserve for a later occasion.

The descriptions in Roma Aniica e Moderna, 1745, ii. 140 (= 1750, ii. p. 277) and also Venuti's account (Roma Moderna, ed. 1767, 8^VO, vol. i. p. 255) are quite inaccurate. He begins by copying some phrases from the Roma Moderna of 1708, p. 381, attributing the statues in the courtyard to the remains of the Chigi collection, and then proceeds to describe as still existing in the upper rooms numerous statues which had already been conveyed to Spain, again copying the description already cited.

The same is the case with the account in the 1763 edition of Titi's Studio di Pittura (ed. 1763) p. 316, which was also revised by Venuti.

^{page 74 note 1} The lettering begins at the southeast angle of the courtyard, near the entrance. Those in the courtyard, with the exception of k. and l. have been placed there since 1881. The descriptions of the statues were to have been revised and completed by Mrs. Strong, who, however, owing to a somewhat severe accident, was unable to see to the matter. Both Mrs. Strong and I here desire to record our gratitude to Mr. Harold Parsons and to the Russian archaeologist, Dr.E. de Mercklin, not only for kindly undertaking the revision and supplying references, but also for carefully verifying on the originals the statements in Matz-Duhn and in the text of the Einzelaufnahmen. To Mr. Parsons, moreover, we owe important references for the subsequent history of certain of the pictures.

^{page 75 note 1} All the statues in the courtyard are over life size, but are so much restored that measurements are entirely out of the question. The weathering in some cases makes it difficult to control the restorations.

^{page 77 note 1} Cod. Barb. xlviii. 101 (now Barb. Lat. 4333), f. 18, 22; Bartoli, P. S., Mem. 78, 115Google Scholar, apud Fea, , Miscellanea, i. 247, 255Google Scholar; Lucas, , Jahrb. d. Inst. xv. (1900) p. 8Google Scholar, E (not identified) F (so-called Moesia), p. 18, iii. p. 20, vii. p. 21, ix; Hülsen, , Topographic i. 3, 608Google Scholar.

^{page 77 note 2} Beschreibung Roms, iii. 3, 178; a good account of the Orléans Collection is given by Waagen, in his Treasures of Art in Great Britain, II, p. 485 ffGoogle Scholar. Many of the Odescalchi pictures were engraved in the large and costly work Galerie du Palais Royal by Couché and others (1786–1806): the important work on the Orléans Collection by Stryenski, Casimir. La Galerie du Régent Philippe Due d'Orleans (Paris, 1913Google Scholar) to which M. S. Reinach kindly draws my attention, is not at present accessible to me.

^{page 78 note 1} Pinarolo adds that one of them represented Leda. See Antonio Allegri da Correggio, by Corrado Ricci (trans. Simmonds), London, 1896, p. 314. ‘Both pictures, the Danaë and Leda, were at Stockholm in the middle of the seventeenth century. Mentioned in the inventory of Christina's collections, 1652, which is preserved in the Stockholm library. She carried the Danaë, Leda, and a copy of the Io to Rome, with many other pictures, and left them on her death to Cardinal Decio Azzolini. His nephew, Marchese Pompeo, sold them to Don Livio Odescalchi, Duke of Bracciano, from whose heirs they were bought by the Regent d'Orléans.

‘The narrow bigotry of his son Louis condemned them as obscene; his uneasy scruples were fostered by his confessor, the Abbé of S. Geneviève, who persuaded him to destroy them. A knife was driven through that flesh to which a supreme act had given the very semblance of life, and the fair heads of Leda and Io were severed from their bodies.’ Charles Coypel, keeper of the gallery, saved the fragments. At the sale of Coypel's collections in 1752 they were bought by Pasquier. On his death shortly afterwards, they were acquired for Frederick the Great by the Comte D'Epinailles. In 1806 they were carried off to Paris by Napoleon, but were restored eight years later, and in 1830 were placed in the Berlin gallery, where they still remain. The head of Io was repainted by Prudhori; that of Leda by Schlesinger.

‘The Danaë, which had escaped the ferocious prudery of Louis of Orleans, passed to London with the rest of the family collection, and was then sold to the Duke of Bridge water. In 1816 it was bought by Henry Hope for £183. In 1823 it returned to Paris, where it was finally sold to the Princess Borghese. The Princess took it to Rome, and placed it in her famous gallery, of which it now forms one of the chief ornaments.’ The Danaë is the only one of Correggio's mythological pictures remaining in Italy.

^{page 78 note 2} Evidently the ‘Madonna del Passeggio,’ now Bridgewater House, No. 37 (Stryenski, Cat. No. 125). It is worth mentioning here that the predella of the ‘Colonna altar-piece,’ now in the Metropolitan Museum, N.Y., was sold in 1663 to Christina of Sweden by the nuns of Sant' Antonio in Perugia. The predella came into the possession of Cardinal Azzolini at her death; then passed to Don Livio Odescalchi; then to the Regent d'Orléans. It consisted of five panels: (1) ‘Christ on the Mount of Olives,’ now in the possession of Lady Burdett-Coutts. (2) ‘Christ bearing the Cross,’ Lord Windsor. (3) ‘The lamentation over Christ,’ Mrs. Gardner, Fenway Court, Boston; (4 and 5) ‘S. Francis of Assisi and S. Anthony of Padua,’ Dulwich College. (For these notices see ‘Raffael’ in Klassiker der Kunst series, p. 223; Stryenski, Cat. Nos. 131, 132, 130, 128–129.)

^{page 79 note 1} Forcella, , Iscrizioni, vol. ii. p. 274Google Scholar, No. 841.

^{page 79 note 2} Memorie degli Architetti (Parma, 1781), iii. 221Google Scholar; (Bologna, 1827), ii. 267.

^{page 82 note 1} The following is the earliest record of them known to me. At the beginning of the right aisle of the church of S. Sabina, in the pavement, is the tomb slab of Girolamo Odescalchi, merchant of Como, who died in 1518, at the age of 32, erected by his brother Giovanni Antonio. (Forcella, , Iscrizioni, vol. vii. p. 302Google Scholar, No. 607). Hieronymo Odescalco Cumensi (sic) integerr(imae) fidei mercatori in ipso aetat(is) flore praerepto Io(annes) Antonius moestiss(imus) bene merent(i) fratri posuit MDXVIII cal(endis) Ang(ustis) vixil ann(os) xxxii. Cf. Bojani, cited supra, p. 69, n. 1.

^{page 82 note 2} In 1549 we find the brothers Bernardo and Battista Odescalchi, still called merchants of Como, paying to the road board (maestri delle strade) their contribution occasione novi vici nuper erecti et aperti et incepti in Campo Florae, qui tendit a dicto campo Florae versus plateam Agonis. (Notaro Pellegrini in Archivio di Stato, prot. 1451, c. 8). The Via dei Baullari, which occupies this position, had already been begun in the time of Clement VII.. though it is a little difficult to see what other street than this could be meant (Lanciani, , Storia degli Scavi, ii. 10, 233Google Scholar).

^{page 83 note 1} The document, preserved at the Archivio di Stato, is an account book kept by Piero Giovanni Aleotto, bishop of Forli, the Pope's maestro di Camera. It is cited by Lanciani, , Storia degli Scavi, iii. 214Google Scholar. ‘Agli heredi di M. Battista Odescalchi scudi 42 b(aiocchi) 30 p(er) pagamento di canne 142 di tela bottane (?) … p(er) farne le cortine inanzi le cosmografie della loggia suprema del Pal(a)zzo Apos(toli)co.’

^{page 84 note 1} Lanciani, , Storia degli Scavi, iii. 230Google Scholar. For notices of other members of the family see id. iv. 24; Forcella, , op. cit., vol. vii. p. 303Google Scholar, No. 611; vol. iv. p. 252, No. 645.

^{page 84 note 2} The statua ignoti Principis in aedibus Odescalchi (De Cavalleriis, iii. iv. Pl. 99. Reinach, , Répertoire, ii. 571Google Scholar, 7) is no longer in the family collection. It may be the third described on p. 331 of vol. iii. of the Documenti Inediti (Inv. 1713) as altra statua alta pal. 10 di passetto, nuda di petto e gambe, con un panno avvoltato di dietro, colle due braccia e testa moderna di Augusto, e il restante antico di maniera ordinaria, though the statue described in the inventory is more likely to be Clarac, 916A, 2336A (563, R), which is now in Madrid (Hübner, No. 75).

^{page 84 note 3} Descr. de la ville de Rome (1690), p. 351 (par F. D. P.) = Deseine, Rome Moderne, (1713). P. 499. Le petit Palais isolé proche cette Église (S. Caterina dei Funari) sert d'habitation à Don Livio Odescalchi, Due de Cerri & de Bvacciano, & Neveu du Pape Innocent XI., qui y demeura plus de vingt-cinq ans, du tems qu'il étoit Cardinal (1645–76).

^{page 85 note 1} I.e. to the finances of the family.

^{page 87 note 1} Arch. Capilolino, vol. 60 (xlv.) Testamenta, etc. 1643–1671. Floridus et Palutius A(postolicae) C(amerae) Notarii.

^{page 89 note 1} There is another copy of this document in the Archivio Odescalchi (xxxv. A. 1).