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This new translation brings to light the early days of scientific archaeology and the unearthing and study of Herculaneum and Pompeii as observed by the erudite and acerbic art historian Johann Joachim Winckelmann (1717-1768). His Letter, published in German in 1762, displays his extensive knowledge of geology, ancient literature, and art while offering a scathing critique of the Spanish Bourbon excavations around the Bay of Naples and of the officials involved. He further discusses these topics in his equally controversial Report of 1764. The introduction describes the context in which these texts were written, identifies various politicians, academics, and collectors, and elucidates topics of particular interest to Winckelmann, from artifacts to local customs to the contents of ancient papyri. The illustrations, particularly those from the Bourbon publication--Le Antichità di Ercolano (1757-92)--illuminate how these monuments influenced contemporary perception of the ancient world.

The redecoration of the exhibition spaces at the Borghese palace and villa, undertaken together with the reinstallation of the family's vast art collections, was one of the most important events in the cultural life of eighteenth-century Rome. In this comprehensive study, Carole Paul reconstructs the planning and execution of the project and explains its multifaceted significance: its place in the history of Italian art, architecture, and interior design at a complex moment of transition from baroque to neoclassical style, as well as its unrecognized but profound influence on the development of the modern art museum. The study shows how the installations and decorations worked together to evoke traditional themes in innovative ways. Addressed primarily to a new audience of tourists from abroad, the thematic content of the spaces celebrated the greatness of the Borghese family and of Roman tradition, while their stylistic diversity and sophistication made a case for the continued vitality - even modernity - of Roman art and culture. Designed for the exercise of a highly refined social performance, these sites helped to model the experience of art as a form of enlightened modern civility.