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and Culture in the Age of the Grand Tour (edited by Paula Findlen, W. W. Roworth and Catherine Sama; forthcoming).

———, “Rethinking Eighteenth Century Rome.” Art Bulletin, March 2001, vol. lxxxiii, n.1.

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Silvan, Gianmaria, “Una nota in più per il Campanone di San Pietro.” Sculture romane del Settecento: la professione dello sculture (edited by Elisabetta Debenedetti). Rome: Bonsignori, 2001.

Sorel, Albert, Bonaparte en Italie. Paris: Flammarion, 1933.

Spinosa, Antonio, Napoleone, il flagello d’Italia. Milan: Mondadori, 2003.

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Torcellan, Gianfranco, “Andrea Memmo.” Illuministi italiani, vol. 7. Milan: Ricciardi, 1965.

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———, Una figura della Venezia settecentesca: Andrea Memmo. Venice: 1963.

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Vianello, Nereo, La tipografia di Alvisopoli e gli annali delle sue pubblicazioni. Florence: Olschki, 1967.

Wynne, Giustiniana, Pièces morales et sentimentales. London: J. Robson, 1785.

———, with Bartolomeo Benincasa, Les Morlacques. Modena: 1788.

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Zamoyski, Adam, Moscow 1812: Napoleon’s Fatal March. London: HarperCollins, 2004.

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———, Venezia austriaca. Rome-Bari: Laterza, 1985.

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A Note About the Author


Andrea di Robilant was born in Italy and educated at Le Rosey and Columbia University, where he specialized in international affairs. His first book, A Venetian Affair, was published by Knopf in 2003. He currently lives in Rome with his wife and two children and works for the Italian newspaper La Stampa.

ALSO BY ANDREA DI ROBILANT

A Venetian Affair

FOOTNOTES


*1 In Italy a palazzo is a substantial building, usually the home of an important family or institution. The principal rooms occupy the piano nobile, on the first or second floor, while the water-level entrance is called the androne.

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*2 It was a truly imposing palace. Built at the end of the fifteenth century by Cardinal Barbo, a wealthy Venetian, it was the first example of a Renaissance palazzo in Rome, with its tower and crenellated walls still conjuring the fortress-like buildings of an earlier age. When Cardinal Barbo was elevated to the Holy See as Pope Paul II, the palace became the papal residence. In 1564, his successor Pope Pius IV ceded it to Venice with the proviso that it would pay for the upkeep. Thereafter, it served as the residence of the Venetian ambassador, though a wing of the palazzo was reserved for the Venetian cardinals living in Rome—a condominium-style arrangement that led to endless bickering between successive generations of ambassadors and cardinals over such mundane issues as who should pay for the maintenance of the joint staircase and the courtyard.

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*3 Goethe, also in Rome at the time, was impressed by the painting, and by Drouais’s work in general, and was among those who felt the pupil had surpassed the master. Drouais’s death in 1788, at the age of twenty-five, shocked the artists’ colony in Rome; his distraught fellow students erected a monument to his memory in the church of Santa Maria in Via Lata. Marius at Minturnae is now in the Louvre.

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*4 Do you love Lucia? She loves you.

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*5 Memmo worked tirelessly in the Senate to improve living conditions in that blighted region and was able to push through a package of agricultural and administrative reforms in 1791.

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*6 The essay was published in a collection by Countess Giustiniana Rosenberg, Pièces morales et sentimentales (London: J. Robson, 1785).

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*7 Elisabeth and Isabel are

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