Relics of a Friendship

• Kristine Bøggild Johannsen, arkivet.thorvaldsensmuseum.dk, 2015

• Denne artikel handler om antikker m.v., der stammer fra arkæologen Georg Zoëgas bo, og som i dag befinder sig i Thorvaldsens Museum.

Artiklen er under udarbejdelse

Catalogue

Objects from Georg Zoëga’s estate

Drawings

Cat. no. / Inv. no.	Artist	Title	Date	Comments
I.1 / D1138r	Bertel Thorvaldsen (?)	Aeon	1798 (?)	An epithet in the lower right corner written with pencil by an unidentified hand reads: “Thorvaldsen for Zoëga”. The drawing renders a statue discovered by the British painter, archaeologist and art dealer Robert Fagan in 1798, today in the Musei Vaticani, Biblioteca Apostolica Vaticana, Galleria Clementina (inv. no. 7899). [1] The sculpture is described and depicted in Zoëga’s Afhandling om romerske Kunstmonumenter henhörende til den mithraiske Dyrkelse. The fact that Thorvaldsen owned Zoëga’s personal example of the publication (see I.157) and also seems to have possessed the original manuscript for Zoëga’s lecture on the subject (NKS 357b, VI.1.a) hints that the topic was of particular interest to him. This and the following drawing might the models for the copies mentioned in Zoëga’s letter to Friedrich Münter, 28 March 1801.[2] [1] I. Bignamini, “I marmi Fagan in Vaticano. La vendita del 1804 e altri acquisioni”, BMonMusPont 16 (1996), 360-361. [2] Letter n. 875 in Ø. Andreasen, K. Ascani (hrsgg.), Georg Zoëga. Briefe und Dokumente, II-V, (Kopenhagen: Gesellschaft für dänische Sprache und Literatur, 2013).
I.2 / D1139	Bertel Thorvaldsen (?)	Mithras killing the bull	1798 (?)	The drawing renders a sculptural group discovered by Fagan in 1798. The group is today in the Musei Vaticani, Galleria Lapidaria (inv. no. 6982). For further information about the provenance and connection to Zoëga, see I.1.
I.3 / D1152	Unknown artist	Isis temple and priests	Before 1797	Added by an unknown hand in pencil: “J/JH” and “x Δ 4 deel (?) af gesimset –.” Section of the famous Barberini Mosaic at Museo Archeologico Nazionale, Palestrina. The drawing, which very well could have been copied after an engraving in the collection (see II.12), served as a model for the engraving by Carlo Antonini rendered in Zoëga’s De origine et usu obeliscorum, 1.
I.4 / D1160	Andrea Roncalli (?)	Obeliscus Antinoi, Elevation	Before 1797	Additional hieroglyphs added by Zoëga in pencil. For the provenance, see I.3. The drawing served as a model for an engraving by Antonini, see I.63.
I.5 / D1159	Unknown artist	Seven pyramidion profiles	Undated	Descriptions of the monuments and a measurement (?) have been added in pen and brown ink, possibly by Zoëga: “Belvedere”, “Campomarzo” “Inghilterra” and “lat. (?) Sett. 29 ° 15’”.
I.6 / D1161	Andrea Roncalli (?)	Obeliscus Hortorum Sallustianorum, Elevation of the Eastside and the Southside	Before 1797	Comments by Zoëga in pencil: “civetta”, “civetta”, “civetta”, “altro civetta”, “liscio”, “Mancante”, “corressi (?)”, “facciata verso le quattro fontane”. For the provenance, see I.3. The drawing served as a model for an engraving by Antonini, see I.64.
I.7 / D1163	Unknown artist	Egyptian scarab with hieroglyphs	Undated	Inscription by unknown hand in pen and brown ink: “Di grandezza eguale”, “Porfido verde”. The same scarab is depicted in a drawing in the Danish Royal Library (NKS 357b fol., III, 1.9) and an engraving in Zoëga’s De origine et usu obeliscorum, VII. See also I.141.[1] [1] D. Picchi, Alle origini dell’Egittologia: le antichità egiziane di Bologna e di Venezia da un inedito di Georg Zoëga, (Imola: La Mandragora, 2010), 31 and 107.
I.8 / D1164	John Walker	Cippus with Harpocrates and Bes	Before 9 December 1791	Comments written by Zoëga in pen and brown ink: “Walker 9 dec. 91. e 10 ag. 92”, “Sembra Basalte nero al Museo Britannico.”, “grandezza dell’originale”, “geroglifici rozzamente graffiti”. As hinted by Zoëga’s comments, the drawing is mentioned and was originally enclosed in a letter from Walker to Zoëga, 9 December 1791.[1] It copies a cippus discovered at Aksum (Ethiopia), supposedly at the British Museum, described by the Scottish traveller James Bruce in his Travels to Discover the Source of the Nile, in the years 1768, 1769, 1770, 1771, 1772, and 1773, I, (Edinburgh: J. Ruthven, 1790), 419. It was acquired in 1785 for the British Museum, where it still remains (inv. n. EA 36225), by the British lawyer and antiquary Matthew Duane (1707-1785).[2] The cippus is, however, made of a cobber alloy, not of black basalt as it seemed to Zoëga. [1] Letter n. 540. [2] The cippus was bought through the art dealers Messrs Southgate, Lot. 15 in the sale.
I.9 / D1165	John Walker	Cippus with Harpocrates, Bes and scarab	Before 10 August 1792	Comments written by Zoëga in pen and brown ink: “Walker 10 agosto 92”, “Museo Britannico. Sembra basalte nero (forse è talco Mare) geroglifici molto benfatti”. The drawing is described and must originally have been enclosed in a letter from Walker to Zoëga, dated 10 August 1792.[1] It copies a cippus today in the British Museum (inv. n. EA 60961), which like the previous (I.8) in 1785 was acquired for the museum by Duane.[2] [1] Letter n. 576. This and the following drawing are also mentioned in two letters by Hill, 22 June and 29 July 1792 respectively. See letters nn. 567 and 574. [2] The cippus was bought through the art dealers Messrs Southgate, Lot. 16 in the sale.
I.10 / D1166r D1166v	John Walker	Cippus with Harpocrates and Bes	Before 10 August 1792	Comments written by Zoëga in pen and brown ink: “Walker 10 agosto 92”, “Museo Britannico. pietra calcarea. l’esecuzione delle figure nel rovèscio, superiore a tutte le altre (tavole).”, “alta once 18.” Comments written by Hill in pencil on the back: “Hierogl.”, “hole”. For provenance, see I.9.
I.11 / D1167r D1167v	John Walker	Cippus with Harpocrates and Bes	Before 10 August 1792	Comments written by Zoëga in pen and brown ink: “Walker 10 agosto 92.”, “Museo Britannico. legno di sicomoro, coperto d’una sostanze bituminosa simile alla pece, sopra la quale i geroglifici son dipinti con colore giallo.”, “alta once 23. larga 12½”. The piece is still in the British Museum (inv. n. EA 60958). For provenance, see I.9.
I.12 / D1168	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments written by Hill in pen and brown ink: “Piedistallo: Lato sinistro No. 1. dal Dosso”. This and the following drawings (I.13-28) appear to be the drawings of the “gran pastoforo”, the naophorus statue of Wahibre at British Museum (inv. n. EA 111), mentioned and enclosed in a letter from Hill to Zoëga, 22 June 1792.[1] [1] Letter n. 567.
I.13 / D1169	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments written by Hill in pen and brown ink: “Piedistallo. Lato sinistro. No. 2. dal Dosso.” For provenance, see I.12.
I.14 / D1170	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments written by Hill in pen and brown ink: “Qui principia la Faccia del Piedistallo”, “Qui è il Cantone, rotto; benche si trova alcuni Gieroglifici, pri[n]cipiati chiaramente, dopo la Rottura”, “Piedistallo Lato Sinistro. No. 3. dal Dosso.” For provenance, see I.12.
I.15 / D1171	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	“Cantone rotto, dove paiono alcune vertigie, dei Gieroglifici originali: nessuni essendo qui abbozzati dopo la Rottura, come all’altro Cantone.”, “Faccia del Piedistallo. No. 2”. For provenance, see I.12.
I.16 / D1172	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments written by Hill in pen and brown ink: “Piedistallo, Lato dritto, No. 1, dalla Faccia”, “Cantone rotto”. For provenance, see I.12.
I.17 / D1173	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments written by Hill in pen and brown ink: “Piedistallo, Lato Dritto. No. 2, dalla Faccia”. For provenance, see I.12.
I.18 / D1174	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments written by Hill in pen and brown ink: “Piedistallo. Lato Dritto, No. 3 dalla Faccia.” For provenance, see I.12.
I.19 / D1175	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments written by Hill in pen and brown ink: “Piedistallo, Lato dritto, No. 4 dalla Faccia”. For provenance, see I.12.
I.20 / D1176	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments written by Hill in pen and brown ink: “Centro. Piedistallo, il di Dietro No. 1 dal Lato dritto”. For provenance, see I.12.
I.21 / D1177	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments written by Hill in pen and brown ink: “Piedistallo, il di Dietro. No. 2”. For connection to other drawings, see I.12.
I.22 / D1178	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments on the back written by Hill written in almost gone pencil: “l. back”. Above this written by an unknown hand in pen and brown ink: “1. Dosso”. For provenance, see I.12.
I.23 / D1179	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments on the back written by Hill in pencil: “2 back”. Above this written by an unknown hand in pen and brown ink: “2 Dosso”. For provenance, see I.12.
I.24 / D1180	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments on the back written by Hill in pencil: “3 back”. Above this written by an unknown hand in pen and brown ink: “3 Dosso”. For provenance, see I.12.
I.25 / D1181	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments on the back written by Hill in pencil: “4 back”. Above this written by an unknown hand in pen and brown ink: “4 Dosso”. For provenance, see I.12.
I.26 / D1182	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments on the back written by Hill in pencil: “5 back”. Above this written by an unknown hand in pen and brown ink: “5 Dosso”. For provenance, see I.12.
I.27 / D1183	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments on the back side written by Hill (?) in pencil: “6 back”. Above this written by an unknown hand in pen and brown ink: “6 Dosso”. For provenance, see I.12.
I.28 / D1184	Thomas Ford Hill	Hieroglyphic inscription	Before 22 June 1792	Comments written by Hill in pen and brown ink: “Linea che contorna i gieroglifici del Piedestallo”. On the back side in pencil: “7 back”. Above this written by an unknown hand in pen and brown ink: “7 Dosso”. For provenance, see I.12.
I.29 / D1185	Thomas Ford Hill	Roma(?) crowning a sphinx	Before 22 June 1792 (?)	The drawing depicts a relief brought to England by Dr. Alexander Turnbull Christie and later acquired by Dr. Maxwell Garthshore (1732-1812), see also below I.50-56. The relief is described in a letter from Hill to Zoëga, 15 January 1792.[1] [1] Letter n. 547.
I.30 / D1186	Thomas Ford Hill	Hieroglyphic inscription	Undated	Comments by Hill in pencil: “Why did Caglior too (?) talk of a connection between Mecca and the Egyptian Temples? It resembles the Beit Allah more than any Egyptian Temples where Figures remain.”, “I: Is not this Hieroglyphic [inserted hieroglyph]: which, with so much Probability you call a Temple; evidently the famous Beit Allah of Mecca? May not that have been of Egyptian Origin, and have Hieroglyphici within, the plain without, like the Temple at Sevali, and that at Jerusalem. The Inside and Outside both are generally covered – May not the black Stone (?) be Egyptian? as well as Mahmot’s at B[…]k.” This and the following drawings (I.31-I.32) all appear to render fragments of the same, currently unidentified object. It may, however, be one of the small pastophori brought to England by Turnbull and described by Hill in a letter to Zoëga, 28 July 1791.[1] [1] Letter n. 526.
I.31 / D1187	Thomas Ford Hill	Hieroglyphic inscription	Undated	Comments by Hill in pencil: “Backboard of the same Pastophore”, “Certainly the Fennec of Bruce.”, “Is not this merely a sacred Perch for the Ibis etc.” For provenance, see I.30.
I.32 / D1188	Thomas Ford Hill	Hieroglyphic inscription	Undated	Comments by Hill in pencil: “Is not this merely a sacred Perch for the Ibis etc.” For provenance, see I.30.
I.33 / D1189	Thomas Ford Hill	Hieroglyphic inscription	Undated	Comments by Hill in pencil: “Z Back of the Fragment of a Pastophore in the Florentine Gallery:” The current location of the object is unknown.
I.34 / D1190	Unknown artist	Seated statue with canine head	1789 (?)	Inscription by unknown hand in carbonpencil: “Scala di piedi veneti”. Zoëga has added a number to the drawing in pen and brown ink: “N.2”. The statue, previously in the collection of Angelo Quirini, is today in Staatlich Museen zu Berlin (inv. n. 2291).[1] Zoëga studied the item on his journey to Venice in 1789 and later mentioned it in De origine et usu obeliscorum.[2] For other depictions of the same statue, see I.35, I.85. [1] NKS 357b fol., XIII, 3.4, n. 2; Picchi, Alle origini dell’Egittologia, 103, n. 2, note 304, fig. 32a-32b. [2] Zoëga, De origine et usu obeliscorum, 494 esp. n. 77. See in this volume Daniela Picchi.
I.35 / D1191	Unknown artist	Seated statue with canine head, profile	1789 (?)	Inscription by unknown hand in carbonpencil: “Scala di piedi veneti.” For the provenance, see I.34.
I.36 / D1192	Unknown artist	Statue of Pa(ra)hotep	1789 (?)	Inscription by unknown hand in carbonpencil: “Scala di piedi veneti.” Zoëga has added a number to the drawing in pen and brown ink: “N.3”. Zoëga studied the statue, previously in the collection of Quirini and today into the garden of Villa Melzi d’Eril in Bellagio (Como), on his journey to Venice in 1789.[1] For other depictions of the statue, see I.37-40, I.86-89. [1] NKS 357b fol., XIII, 3.4, n. 3 and X, 5, n. 2; Picchi, Alle origini dell’Egittologia, 103, n. 3 note 305, and 105, n. 2 note 316, fig. 33a-d. See in this volume Picchi.
I.37 / D1193	Unknown artist	Statue of Pa(ra)hotep, left side profile	1789 (?)	Inscription by unknown hand in carbonpencil: “Scala di piedi veneti.” Zoëga has added a number to the drawing in pen and brown ink: “N.3”. For provenance, see I.36.
I.38 / D1194	Unknown artist	Statue of Pa(ra)hotep, right side profile	1789 (?)	Inscription by unknown hand in carbonpencil: “Scala di piedi veneti.” For provenance, see I.36.
I.39 / D1195	Unknown artist	Statue of Pa(ra)hotep, back	1789 (?)	Inscription by unknown hand in carbonpencil: “Scala di piedi veneti.” For provenance, see I.36.
I.40 / D1196	Unknown artist	Statue of Pa(ra)hotep, top	1789 (?)	For provenance, see I.36.
I.41 / D1197	Unknown artist	Female figure	1789 (?)	Inscription by unknown hand in carbonpencil: “Scala di piedi veneti.” Zoëga has added a number to the drawing in pen and brown ink: “N.4” and further comments in pencil: “moderno [right hand indicated]”, “in questa mano teneva un pannolino come la grande Iside Capitolina”, “moderno [upper part from left hand and upwards indicated]”. Zoëga studied the item, previously in the collection of Quirini, on this journey to Venice in 1789.[1] [1] NKS 357b fol., XIII, 3.4, n. 4; Picchi, Alle origini dell’Egittologia, 103, n. 4 note 306. See in this volume Picchi.
I.42 / D1198	Unknown artist	Votive relief	1789 (?)	Inscription by unknown hand in carbonpencil: “Scala di piedi veneti.” Zoëga has added a number to the drawing in pen and brown ink: “N.5.” The tablet, previously in the collection of Angelo Quirini, is today in the Staatliche Museen zu Berlin (inv. n. 2270). Zoëga studied the tablet on his journey to Venice in 1789.[1] For other depictions of the tablet, see I.91. [1] NKS 357b fol., XIII, 3.4, n. 5 and X, 5, n. 3.; Picchi, Alle origini dell’Egittologia, 104, n. 5 note 307, and 105, n. 3 note 317, fig. 34a-b. See in this volume Picchi.
I.43 / D1199	Unknown artist	Votive tablet with Greek inscription	1789 (?)	Inscription by unknown hand in carbonpencil: “Scala di piedi veneti.” Zoëga has twice added a number to the drawing in pen and brown ink: “N.6.” The tablet, previously in the collection of Angelo Quirini, is now in the Staatliche Museen zu Berlin (inv. n. 2305). Zoëga studied the item on his journey to Venice in 1789.[1] For other depictions of the tablet, see I.90.
I.44 / D1200	Unknown artist	Sphinx	1789 (?)	Inscription by unknown hand in carbonpencil: “Scala di piedi veneti.” Below this “marmo greco” has been added with red chalk, possibly by Zoëga, who also has added a number to the drawing in pen and brown ink: “N.7.”
I.45 / D1202	Unknown artist	Votive tablet	1789 (?)	Comment by Zoëga in pen and brown ink: “Senatore Angelo Quirini. Alticchiero. basalte. palmo uno in quadrato.”
I.46 / D1206	Unknown artist	The sarcophagus of Pa-ir-kap	Undated	A fragment of the sarcophagus is today in Museo Archeologico Nazionale, Naples (inv. n. 1070). In 1789 Cardinal Stefano Borgia acquired the sarcophagus in black granite, already depicted by the German-Danish traveler Carsten Niebuhr in Reisebeschreibung nach Arabien und andern umliegenden Ländern, I, (Copenhagen: Nicolaus Möller, 1774), pl. XXX-XXV. The purchase is described in a letter from Zoëga to the Danish Crown Prince Frederik.[1] This and the following drawing (I.47) may very well have been models for the planned series of engravings of Borgia’s Egyptian collection, mentioned in the same letter. [1] Letter n. 372.
I.47 / D1207	Unknown artist	Egyptian sarcophagus with hieroglyphs	Undated	For the provenance, see I.46.
I.48 / D1208	Unknown artist	Fragmented relief with male figure and hieroglyphs	Undated	Inscription by unknown hand in pen and brown ink: “Hauteur du Basrelief Quatre pieds Neufs ponces. Largeur – un pied Sept ponces –.” This and the following drawing (I.49) render reliefs from the Saqqara tomb B3 of Shery, formerly belonging to the French magistrate and numismatic Jules-François-Paul Fauris de Saint-Vincens (1718-1798).[1] The reliefs are today in the Musée Granet, Aix-en-Provence. The drawings are specifically mentioned in an undated letter from Saint-Vincens to Zoëga (?).[2]
I.49 / D1209	Unknown artist	Fragmented relief with male figure and hieroglyphs	Undated	Inscription by unknown hand in pen and brown ink: “hauteur du Basrelief quatre pieds Cinq ponces. Largeur – un pied Neuf ponces –.” For provenance, see I.48.
I.50 / D1210	Maxwell Garthshore	Section of a relief with figures and hieroglyphs	Before 22 June 1792	This is one of seven drawings (I.50-56) rendering sections of the same relief. Hill mentions the drawings in a letter to Zoëga, 22 June 1792.[1] [1] Letter n. 567.
I.51 / D1211	Maxwell Garthshore	Section of a relief with figures and hieroglyphs	Before 22 June 1792	For provenance, see I.50.
I.52 / D1212	Maxwell Garthshore	Section of a relief with figures and hieroglyphs	Before 22 June 1792	For provenance, see I.50.
I.53 / D1213	Maxwell Garthshore	Section of a relief with figures and hieroglyphs	Before 22 June 1792	For provenance, see I.50.
I.54 / D1214	Maxwell Garthshore	Section of a relief with figures and hieroglyphs	Before 22 June 1792	For provenance, see I.50.
I.55 / D1215	Maxwell Garthshore	Section of a relief with figures and hieroglyphs	Before 22 June 1792	For provenance, see I.50.
I.56 / D1216	Maxwell Garthshore	Section of a relief with figures and hieroglyphs	Before 22 June 1792	For provenance, see I.50.
I.57 / D1217-D1514	Andrea Roncalli (?)	270 drawings of gems and amulets	Before 1802	Zoëga has added numbers to the drawings in pen and brown ink. The drawings are the illustrations for Zoëga’s unpublished manuscript on gems and amulets, today in the Danish Royal Library (NKS 357b fol., III). It appears from two letters to Münter that the process of drawing the objects – under his supervision – was initiated in 1801 and finished in the late spring the following year.[1] Yet, the process must have begun earlier as an engraving based on two of the drawings is printed in Zoëga’s De origine et usu obeliscorum, 64.[2] It is worth noticing that Welcker regretted the loss of these drawings that he apparently did not know were in Thorvaldsen’s possession.[3] A specimen proof with a selection of the gems and amulets is also in the collection, see I.78. [1] Welcker, Zoega’s Leben, II, 440; Friis Johansen, “Georg Zoega”, 250-251. See also letters nn. 917 and 952. [2] The depicted drawings are inv. D1238 and D1323. [3] Welcker, Zoega’s Leben, II, 442.

Engravings and prints

Cat. no. / Inv. no.	Artist	Title	Date	Comments
I.58 / E1326	Carlo Antonini	Obeliscus Sallustianus	Before 1797	Specimen proof for Zoëga’s De origine et usu obeliscorum, see also I.59-64.
I.59 / E1328 No photo	Carlo Antonini	Obeliscus Campensis	Before 1797
I.60 / E1329	Carlo Antonini	Pyramidion Obelisci Campensis, elevations	Before 1797
I.61 / E1330	Carlo Antonini	Obeliscus Campensis	Before 1797
I.62 / E1331	Carlo Antonini	Obeliscus Campensis, elevations	Before 1797	Selected hieroglyphs have in the margin been marked with “X” in pencil, probably by Zoëga.
I.63 / E1332	Carlo Antonini	Obeliscus Barberinus, elevations	Before 1797	Selected hieroglyphs have in the margin been marked with the numbers 1-11 in pencil, probably by Zoëga. Based on the drawing by Antonio Roncalli, see I.4.
I.64 / E1333	Carlo Antonini	Obeliscus Sallustianus, elevations	Before 1797	Selected hieroglyphs have in the margin been marked with “X” in pencil, probably by Zoëga. Based on the drawing by Roncalli, see I.6.
I.65 / E1341	Unknown artist	Sistrum, front, profile and back	1791-1794	Plate for the publication Monumenta Artis Ægyptiæ in Musæo Naniano Veneteiis. This and the following plates (I.66-77) are frequently mentioned in the correspondence between Giacomo Nani (1725-1797) and Zoëga in the years 1791-1794. This sistrum is today at the Museo Civico Archeologico, Bologna (inv. n. MCABo EG 3110), together with the most of the objects represented in these engravings, later purchased by the Bolognese painter Pelagio Palagi.[1] [1] Letter n. 526. Regarding to the identification of this and the following objects (I.66-77), see in this volume Daniela Picchi and Ead.,“Le antichità egiziane di Pelagio Palagi e il mercato antiquario veneziano”, EDAL I (2009), 35-40, pls. XVII-XXI: pl. XVII, fig. 3a.
I.66 / E1342	Unknown artist	Sistrum, front, profile and back	1791-1794	Comments by Zoëga (?) in pen and brown ink: “Tab. I”, “1.”, “2.”, “3.”, “4.”, “5”. Specimen proof for I.65, see this entry for provenance.
I.67 / E1343	Unknown artist	Canopic jar of Menuthi, front and back	1791-1794	Plate for the publication Monumenta Artis Ægyptiæ in Musæo Naniano Veneteiis, see I.65. This Osiris Hydrios, today at the Museo Civico Archeologico, Bologna (inv. MCABo EG 1881), is described in a letter from Zoëga to K. A. Böttiger, 18 November 1797.[1] [1] Letter n. 723. See also Picchi,“Le antichità egiziane di Pelagio Palagi”, pl. XVIII, fig. 3b.
I.68 / E1344	Unknown artist	Canopic jar of Menuthi	1791-1794	Comments by Zoëga (?) in pen and brown ink: “Tab. II.”, “1.”, “2”, “3”, “4.” Specimen proof for I.67, see this entry for provenance.
I.69 / E1345	Unknown artist	Three statuettes	1791-1794	Plate for the publication Monumenta Artis Ægyptiæ in Musæo Naniano Veneteiis,see I.65.
I.70 / E1346	Unknown artist	Three statuettes	1791-1794	Comments by Zoëga (?) in pen and brown ink: “Tab. III”, “4.”, “3.”, “2.”, “1.” Specimen proof for I.69, see this entry for provenance.
I.71 / E1347	Unknown artist	Four fragmented statuettes	1791-1794	Plate for the publication Monumenta Artis Ægyptiæ in Musæo Naniano Veneteiis, see I.65.[1] [1] Picchi,“Le antichità egiziane di Pelagio Palagi”, pl. XIX, fig. 3d.
I.72 / E1348	Unknown artist	Four fragmented statuettes	1791-1794	Comments by Zoëga (?) in pen and brown ink: “N. 1.2. Fragmentum signi e steatite serpentino, quod olim repraesentasse Pastophorum suadet corporis habitus. Notae hieroglyphicae et fictum capillitium cincinnorum varietate decorum incundum satis eleganter elaborata scalpta sunt, reliqua negligentius. N. 3.4.5. Sigillum Isidis ex eodem lapide, artis Aegyptiae graecizantis; praesertim propter ob cultum corporis et mundum muliebrem, quem [xxx] magna diligentia exprimere studuit artifex, animadversione dignum. Caput praeter comam deae veteribus celebratam decorant vulturinae exuviae, quas in Aegypto dearum atque reginarumq capitibus imponere solebant Aegyptii, quibusque templorum frontes et sacram supellectilem ornatas offendimus deprehendimus. Fimbriata vestis nodo colligitur inter mammas denudatas, quae ubertatem atque [xxx] fecunditatemque pollicentes in Aegyptiis mulieribus nunquam non finguntur vehementer turgidae et valde promimentes finguntur. N.6.7. Pastophorus ex eodem lapide, paston praeferens sive sacellum, in quo cernitur icuncula Osiridis Entaphii, ambabus manibus baculum sive tenentis sceptrum tenentis. N. 8.9. Sigillum e terra vitrescente creta maltha cinerea obducta satis imperite effictum coloris cinerei. Vitta quae frontem cingit et pone occiput in nodum collecta [xxx] ad pedes usque promittitur, et flagrum quod dextra sustinet, una cum notis hieroglyphicis, nigro colore infecta sunt picta sunt.” Specimen proof for I.71, see this entry for provenance.
I.73 / E1349	Unknown artist	Statuettes and amulets	1791-1794	Plate for the publication Monumenta Artis Ægyptiæ in Musæo Naniano Veneteiis, see I.65.[1] [1] Ibid., fig. 3e
I.74 / E1350	Unknown artist	Statuettes and amulets	1791-1794	Comments by Zoëga (?) in pen and brown ink: “N. 1.2. Fragmentum statuae e basalte viridi, quae Genium referebat templi vel aedium custodem, capite gestantem patulum illud operimenti genus quod non nisi in Sphingibus et Naopolis offendi solet, cum serpentulo fronti incubante. N. 3. Sigillum Osiridis Entaphii, regis mortuorum, ex aere aurea pellicula obducto. Caput tegit pileus conicus plumis utrinque orantus cum serpentulo vipera supra frontem. Da mento pendet barbula e papyri filamentis compacta et funiculo genis alligata. Dextra tenet flagrum averruncale, quo a mortuorum loculis fuget malignos daemonas; sinistra lituum seu virgam venturae vitae praesagium, ad letalem sommum [xxx] dispellendum. N. 4.5. Harpocrates Averrunciens Alexicacus, flagro armatus, capiteque linteo subtili obtecto sustinens discum cum serpente, mundi animati symbolum. Ex aere. N. 6. Harpocrates rector orbis anni, regio pileo cum serpente et lituo insignis, qui dextra ori admota frugum proventus et vitae praesidia innuit. Ex aere. N. 7.8. Cebus, quem brutorum sagacissimum Mercurio sacrum reputarunt Aegyptii. Ex aere. N. 9. Amuletum aeneum, canem referens Mercurii comitem. N. 10. Icuncula Cabiri nudi et informis informis et mutila, steatite serpentino, manibus pedibusque mutila. N. 11. Cabirus iuvenis, nudus et informis, mundi nondum perfecti symbolum argumentum, cuius capiti incumbit Scarabaeus Demiurgi sacrum apud Aegyptios symbolum. E creta colore maltha vitrescente obducta, uti et sequentia. N. 12.13.14. Harpocrates nudus praeter linteolum serpentiforum quod caput operit, duabus sphingibus alatis veluti throno insidens. N. 15.16.17. Harpocrates cum cincinno dextram aurem de more ambiente, sedet in throno soliis ad instar squamarum exornato et tapete obtecto. N. 18. Sigillum muliebre leontocephalon globo et serpente decorum: symbolum aenigma terrae soli Aegyptiii quod a Nilo, quem leoni assimilant, obruti et secundati. N. 19. Protome opificii adeo inconcinni, ut potius pro pueri tentamine accipienda videatur, quam inter vetustissimae artis primitias referenda.” Specimen proof for I.73, see this entry for provenance. The comments are specifically mentioned in a letter from Nani to Zoëga, 22 January 1791.[1] [1] Letter n. 504.
I.75 / E1351	Unknown artist	Scarabs, amulets and gems	1791-1794	Plate for the publication Monumenta Artis Ægyptiæ in Musæo Naniano Veneteiis, see I.65. This and the following plate are mentioned in two letters from Nani to Zoëga, 22 January and 2 March 1791 respectively.[1] [1] Letters nn. 504 and 508.
I.76 / E1352	Unknown artist	Scarabs, amulets and gems	1791-1794	Comments by Zoëga (?) in pen and brown ink: “1”, “2”, “3”, “4/ nicolo/ ACRHCRH CARITw TON TROFIMON”, “5/ vetro verde”, “6/ corniuola”, “7/ amatita diaspro giallo”, “8/ calcedonia/ NOqILARIKPIFIAEVELI FIRKIRALIqONU ICEwBAIHRENEM OMENERFAB[w]NEA[?]IAEHIOn[?]w/ CNOnBIALAMBHTwR”, “9/ calcedonia/ SAEARBALOnI”, “10/ corniuola”, “11./ amatita/ nw[?] AE H I O/ ORwR”, “12/ diaspro verde”, “13”, “14/ A R”, “15/ corniuola”. Specimen proof for I.75, see this entry for provenance.
I.77 / E1353	Unknown artist	Three relief fragments	1791-1794	Comments by Zoëga (?) in pen and brown ink: “Fragmenta tabularum e lapide calcareo albo, figuris more aegyptio ita exsculptis ut e cavo prostent. N.1. Sistit Osiridem sepulcrali linteo involutum, dextraque tenentem lituum, sinistra flagrum: comitibus ut videtur accipitre et serpent. N.2. Isidem exhibet cum Oro, ultores Osiridis, regio throno insidentes. N. 3. repraesentat sacerdotem adorantem.” Specimen proof for the publication Monumenta Artis Ægyptiæ in Musæo Naniano Veneteiis, see I.65. One fragment is now preserved at the Museo Civico Archeologico, Bologna (inv. n. MCABo EG 1913).[1] [1] See Picchi, “Le antichità egiziane di Pelagio Palagi”, 38, pl. XVII, fig. 2.
I.78 / E1354	Gerard Vandergucht	Top of an obelisk, two sides	Before 1737	Comments by Hill in pen and brown ink: “Lato A”, “Lato B”. This and the following engravings (I.79, I.93-I.115) are plates reproduced in Alexander Gordon’s An Essay towards Explaining the Hieroglyphical Figures on the Coffin of the Ancient Mummy belonging to Capt. William Lethieullier/An Essay towards Explaning the Hieroglyphical Figures on the Mummy, in the Museum of Doctor Mead, (London: “Printed for the author”, 1737). Several of the engravings are described individually and they all appear to have been enclosed in the parcel mentioned by Hill in his letter to Zoëga, 22 June 1792.[1] [1] Letter n. 567.
I.79 / E1355	Gerard Vandergucht	Top of an obelisk, two sides	Before 1737	Comments by Hill in pen and brown ink: “Lato C”, “Lato C”, “Questa linea è quasi/invisibile adesso!” The plate has been folded and used as an envelope. On the backside Hill has written Borgia’s address in pen and brown ink. For provenance, see I.78.
I.80 / E1356	Gerard Vandergucht	Mummy	Undated	The engraving is mentioned by Hill his letter to Zoëga, 22 June 1792.[1] [1] Ibid.
I.81 / E1358	Gerard Vandergucht	Inner-Coffin of Irtyru, detail of front	C. 1724	The coffin, formerly belonging to William Lethieullier and described by Alexander Gordon in his An Essay towards Explaining the Hieroglyphical Figures, was bequeathed to the British Museum in 1755 (inv. n. EA 6695). The Society of Antiquaries produced this and the following engravings (I.80-81), mentioned by Hill in his letter to Zoëga, 22 June 1792.[1] [1] Ibid.
I.82 / E1359	Gerard Vandergucht	Inner-Coffin of Irtyru, detail of profile	C. 1724	For provenance, see. I.81.
I.83 / E1360	Gerard Vandergucht	Inner-Coffin of Irtyru	C. 1724	For provenance, see. I.81.
I.84 / E1363	Unknown artist	Gems and amulets	Before 1802	Plate for Zoëga’s planned publication on gems and amulets in the Museo Borgiano. It presents the items described in the third part of the manuscript. The engraving is based on a selection of the drawings by Andrea Roncalli presented above, see I.57.
I.85 / E1364	Unknown artist	Seated statue with canine head	Before 1778	Comments in pencil by Zoëga: “granito nero soprabbondante di Scorlo [.] figura tutta umana fuori della moderna testa[.] lavoro rozzo[.] nudo con grembiule liscio e cintura[.] Civetta [hieroglyphic inscription] [.]” For the provenance of the statue, see I.34. This and the following engravings (I.86-92) derive from J. W. Rosenberg-Orsini, Alticchiero, (Padua: unknown, 1778). They are mentioned in Zoëga’s letters to Borgia, 22 and 29 August 1789, and to Münter, 26 September 1789.[1] [1] Letters nn. 401, 403 and 413. See D. Picchi, “The Egyptian antiquities of Bologna and Venice at Zoëga’s time”, in K. Ascani, P. Buzi & D. Picchi (eds), The Forgotten Scholar: Georg Zoëga (1755-1809). At the Dawn of Egyptology and Coptic Studies, (Leiden & New York: Brill, 2015)
I.86 / E1365	Unknown artist	Statue of Pa(ra)hotep	Before 1778	Comments in pencil by Zoëga: “granito rosso [.] [Numbers indicated on the plate] 1) 2) 3) 4) 5) 6) [Explanations to the numbers] 1) Osiride mumiaco coi soliti attributi. l’infula alata in testa. le mani non incrociate. nella d[estra]. il lituo, nella s[inistra]. il flabello. al mento la barbetta[.] Testa giovanile pienotta piuttosto regolare. molto consumata. i contorni delle palpebre e delle ciglia indicate a linee dure e magre come fatte con cortello. gli occhi larghi, stretti, alquanto all’insu verso le tempie. le orecchia grossolanamente lavorate. cosi tutte le fattezze il volto quasi tondo. sotto il mento un appoggio, forse la barba posticcia. al collo un laccio da cui pende un volto umano imberbe con orecchia da vacca, sopra la fronte [hieroglyphic inscription] e sotto il mento [hieroglyphic inscription][.] 2) Oro mumiaco coi consueti attributi. in testa la papalina. al mento la barbetta. le mani che [xxxxxx xxxx] due zappi dal petto impegnano un bastone lungo che nella parte inferiore termina in forchetta; nella parte superiore è forrato[.] con mozzetta a cinque giri, e pallio pizzicato[.] [hieroglyphic inscription][.] 3) 4) due donne nel costume solito, colla cuffia commune, e con [hieroglyphic inscription] sopra il vertice. le braccia pendenti senza attributi. voltate verso il collo della figura[.] 5) [hieroglyphic inscription] 6) Piccola figura muliebre voltata verso n[umero] 2) simile in tutto a n[umero]3) e 4)”. For the provenance of the statue and the engraving, see I.36 and I.85.
I.87 / E1366	Unknown artist	Statue of Pa(ra)hotep, back	Before 1778	For the provenance of the statue and the engraving, see I.36 and I.85.
I.88 / E1367	Unknown artist	Statue of Pa(ra)hotep, left side profile	Before 1778	Comments in pencil by Zoëga: “1) cebocefalo, 2) geracocefalo } con cuffia commune, e grembiule vergato. le braccia pendenti senza attributi.” For the provenance of the statue and the engraving, see I.36 and I.85.
I.89 / E1368	Unknown artist	Statue of Pa(ra)hotep, right side profile	Before 1778	Comments in pencil by Zoëga: “1) antropocefalo, 2) cinocefalo } come i due della tavola precedente.” For the provenance of the statue and the engraving, see I.36 and I.85.
I.90 / E1369	Unknown artist	Votive tablet with Greek inscriptions	Before 1778	Comments in pencil by Zoëga: “materia come il seguente, rozzamente lavorata e senza pulitura.” For the provenance of the tablet and the engraving, see I.43 and I.85.
I.91 / E1370	Unknown artist	Votive tablet	Before 1778	Comments in pencil by Zoëga: “basalte nero con rassomiglianza al selcio romano elegantemente lavato con bei geroglifici.” “cebo sedente e leone caminante”. Furthermore, several corrections of the hieroglyphs. For the provenance of the tablet and the engraving, see I.42 and I.85.
I.92 / E1371	Unknown artist	Statue of Sekhmet	Before 1778	Comments in pencil by Zoëga: “granito nero soprabbondante di Scorlo”, “Donna leontocefala. lavoro grandioso e diligente nello stile del geracocefalo di casa Barberini”, “mani grossolane”, “grembo piatto”, “petto turgente”, “nissun indizio di muscolatura, senon nel volto, il quale è lavorato con molto dettaglio”, “il bellico appena accennato, come gia la figura deve supporsi vestita.”, “sul vertice un buco ove applicavasi il disco col serpentello” [various drawings of hieroglyphs as well as drawings of the profile and details of the sculpture], “le ginocchia e piu della metà delle gambe sono intieramente conservate.” Zoëga studied this item on his journey to Venice in 1789.[1] For provenance of the engraving, see I.85. [1] NKS 357b fol., XIII, 3.4, n. 1 and X, 5, n. 1; Picchi, Alle origini dell’Egittologia, 103, n. 1 note 303, and 105, n. 1 note 315. See in this volume Picchi.
I.93 / E1372	Alexander Gordon	Wooden panel with hieroglyphs	Before 1737	Comments by Hill (?) in pen and brown ink: “Ex ligno est: vide tab XXV.” For provenance, see I.78.
I.94 / E1373	William Morgan	Relief and statuettes	Before 1737	Based on a drawing by Alexander Gordon. Comment by Hill in pen and brown ink: “Ex Museo Sloan. Vide tab. XXXV”. For provenance, see I.78.
I.95 / E1374	George King	Fragments with hieroglyphs	Before 1737	Based on a drawing by Alexander Gordon. For provenance, see I.78.
I.96 / E1375	Alexander Gordon	Two reliefs	Before 1737	For the provenance, see I.78.
I.97 / E1376	George King	Various amulets	Before 1737	Based on a drawing by Alexander Gordon. For provenance, see I.78.
I.98 / E1377	George King	Canopic jar	Before 1737	Based on a drawing by Alexander Gordon. For provenance, see I.78.
I.99 / E1378	George King	Female figure, kneeling	Before 1737	Based on a drawing by Alexander Gordon. For provenance, see I.78.
I.100 / E1379	Gerard Vandergucht	Male figure, kneeling	Before 1737	For provenance, see I.78.
I.101 / E1380	Bernard Baron	Inner-coffin of Irtyru, front and backside	Before 1737	Based on a drawing by Alexander Gordon. For provenance of the coffin and the engraving, see I.81, I.78.
I.102 / E1381	Bernard Baron	Inner-coffin of Irtyru, right and left side	Before 1737	Based on a drawing by Alexander Gordon. For provenance of the coffin and the engraving, see I.81, I.78.
I.103 / E1382	George Vertue	Inner-coffin with mummy	Before 1737	Based on a drawing by Alexander Gordon. The inner-coffin, formerly belonging to Dr. Mead, is today in the Mead Art Museum, Amherst (inv. n. AC P.1905.1-2). For the provenance of the engraving, see I.78.
I.104 / E1383	John Smith	Inner-coffin with mummy	Before 1737	Based on a drawing by Alexander Gordon. The inner-coffin formerly belonged to Jacob Oglethorpe. For the provenance of the engraving, see I.78.
I.105 / E1384	Unknown artist	Male figure	Before 1737	Based on a drawing by Alexander Gordon. For the provenance of the engraving, see I.78.
I.106 / E1385	William Morgan	Statuettes and birds	Before 1737	Based on a drawing by Alexander Gordon. For the provenance, see I.78.
I.107 / E1386	John Smith	Ushaptis	Before 1737	Based on a drawing by Alexander Gordon. For the provenance, see I.78.
I.108 / E1387	William Morgan	Canopic jars	Before 1737	Based on a drawing by Alexander Gordon. For the provenance, see I.78.
I.109 / E1388	William Morgan	Canopic jars	Before 1737	Based on a drawing by Alexander Gordon. For the provenance, see I.78.
I.110 / E1389	John Smith	Ushaptis	Before 1737	Based on a drawing by Alexander Gordon. For the provenance, see I.78.
I.111 / E1390	John Smith	Male and female statuettes	Before 1737	Based on a drawing by Alexander Gordon. For the provenance, see I.78.
I.112 / E1391	John Smith	Scarabs and statuette	Before 1737	Based on a drawing by Alexander Gordon. For the provenance, see I.78.
I.113 / E1392	John Smith	Ushaptis and other statuettes	Before 1737	Based on a drawing by Alexander Gordon. For the provenance, see I.78.
I.114 / E1393	John Smith	Inner-coffin with mummy	Before 1737	Based on a drawing by Alexander Gordon. The inner-coffin formerly belonged to Edward Lisle. For the provenance of the engraving, see I.78.
I.115 / E1394	John Smith	Hieroglyphs	Before 1737	Based on a drawing by Alexander Gordon. For the provenance, see I.78.
I.116 / E1395	Unknown artist	Priapus	Undated	This and the following engravings (I.117-140) render antiquities previously in the Museo Borgiano.
I.117 / E1396	Unknown artist	Votive relief	Undated	For provenance, see I.116.
I.118 / E1397	Cristoforo Silvestrini	Fragmented relief with battle scene	Undated	For provenance, see I.116.
I.119 / E1398	Giuseppe Bossi (?)	Fragment of Greek relief with inscription	Undated	For provenance, see I.116.
I.120 / E1399	Unknown artist	Greek sceptre	Undated	For provenance, see I.116.
I.121 / E1400	Unknown artist	Tablet with Greek inscription	Undated	For provenance, see I.116.
I.122 / E1401	Unknown artist	Etruscan mirror with two male and a female figure	Before 1802	This and the following engravings (I.123-135) render the “paterae” in Borgia’s collection that are mentioned in a letter from Georg Tatter to Zoëga, 18 June 1802. Welcker regretted the loss of these engravings, which he apparently did not known the location of when writing his biography. [1] Letter n. 959. [2] Welcker, Zoega’s Leben, II, 442.
I.123 / E1402	Unknown artist	Etruscan mirror with three cabieri	Before 1802	For provenance, see I.122.
I.124 / E1403	Unknown artist	Etruscan mirror with Hercules and Mercury	Before 1802	For provenance, see I.122.
I.125 / E1404	Unknown artist	Etruscan mirror with two warriors	Before 1802	For provenance, see I.122.
I.126 / E1405-E1406	Unknown artist	Etruscan patera with male figure as handle	Before 1802	For provenance, see I.122.
I.127 / E1407	Unknown artist	Etruscan mirror with Paris, Helena and her brothers	Before 1802	For provenance, see I.122.
I.128 / E1408	Unknown artist	Etruscan mirror with two warriors	Before 1802	For provenance, see I.122.
I.129 / E1409	Unknown artist	Etruscan mirror with three male figures	Before 1802	For provenance, see I.122.
I.130 / E1410	Unknown artist	Etruscan mirror with two male and a female figure	Before 1802	For provenance, see I.122.
I.131 / E1411	Unknown artist	Etruscan mirror with two male figures	Before 1802	For provenance, see I.122.
I.132 / E1412	Giuseppe Bossi (?)	Etruscan mirror with the birth of Bacchus	Before 1802	For provenance, see I.122.
I.133 / E1413	Unknown artist	Fragmented Etruscan mirror with four figures	Before 1802	For provenance, see I.122.
I.134 / E1414	Unknown artist	Etruscan mirror with the Dioscuri	Before 1802	For provenance, see I.122.
I.135 / E1415	Unknown artist	Etruscan mirror with the Dioscuri	Before 1802	For provenance, see I.122.
I.136 / E1416	Unknown artist	Statue of Pa-maj, front and back	Undated	The statue, formerly in the possession of Borgia, is today in the Museo Archeologico Nazionale, Naples (inv. n. 1065).[1] For provenance of the engraving, see I.116. [1] R. Cantilena, P. Rubino, La collezione egiziana del Museo Archeologio Nazionale di Napoli, (Napoli: Arte Tipografica, 1989), 110-111, fig. 16.
I.137 / E1417	Unknown artist	Statue of Pa-maj, front	Undated	For provenance of the statue and engraving, see I.136 and I.116 respectively.
I.138 / E1418	Unknown artist	Statue of Pa-maj, back	Undated	For provenance of the statue and engraving, see I.136 and I.116 respectively.
I.139 / E1419	Unknown artist	Statue of Pa-maj, back	Undated	For provenance of the statue and engraving, see I.136 and I.116 respectively.
I.140 / E1421	Unknown artist	Horus Harpocrates	Undated	For provenance, see I.116. This is the corrected version of the plate. An earlier version with Zoëga’s comments (e.g. to the head-gear) is today at the Danish Royal Library.[1] Welcker regretted the loss of this engraving, which he apparently did not known the location of when writing his biography.[2] [1] NKS 357 b fol., III, 2a . [2] Welcker, Zoega’s Leben, II, 442.
I.141 / E1422	Unknown artist	Egyptian scarab with separately rendered inscription	Before 1797	For provenance, see I.116. This is the specimen proof for Zoëga’s De origine et usu obeliscorum, VII. The same scarab is also seen on a drawing by another hand in the collection, see I.7.[1] [1] See in this volume Picchi.
I.142 / E1423	Unknown artist	Two funerary stelae for Pa-sa-nesut and Ta-mehit	Undated	The stelae are today in the Museo Archeologico Nazionale, Naples (inv. nn. 1001 and 1003).[1] For provenance of the engraving, see I.116. [1] Cantilena, Rubino, La collezione egiziana, 65.
I.143 / E1424	Unknown artist	Three cippi with Harpocrates and Bes	Undated	At least two of the cippi are today in the Museo Archeologico Nazionale, Naples (inv. nn. 1013 and 1015).[1] For provenance of the engraving, see I.116. [1] Ibid., 105. The third cippus (the central one) formerly also belonged to the Museo Archeologico Nazionale, Naples, but went missing in the 19th century. I am grateful to Stefania Mainieri for this information.
I.144 / E1425	Unknown artist	Fragments of the obelisk in Piazza Navona (the Pamphili obelisk)	Undated	For provenance, see I.116.
I.145 / E1426	Unknown artist	Two fragmented cippi with Harpocrates and Bes	Undated	The cippi are now in the Museo Archeologico Nazionale, Naples (inv. nn. 1010 and 1008).[1] For provenance of the engraving, see I.116. [1] Ibid., 106-107.
I.146 / E1427	Unknown artist	Fragment of funerary plaque for Pa-sa-nesut and Ta-mehit and funerary stela	Undated	The reliefs are now in the Museo Archeologico Nazionale, Naples (inv. nn. 1004 and 1002).[1] For provenance of the engraving, see I.116. [1] Ibid., 65-66.
I.147 / E1428	Unknown artist	Fragments of three cippi with Harpocrates and Bes	Undated	The latter is now in the Museo Archeologico Nazionale, Naples (inv. n. 1006, 1011, 1014).[1] For provenance of the engraving, see I.116. [1] Ibid., 109-110, fig. 14.
I.148 / E1420	Unknown artist	Apis on plinth with hieroglyphs	Undated	The piece may be one in the Museo Archeologico Nazionale, Naples (inv. n. 842).[1] For provenance of the engraving, see I.116. The plate is specifically mentioned in a letter from Borgia to Zoëga, 30 May 1795.[2] [1] Ibid., 101. [2] Letter n. 663.
I.149 / E1432	Unknown artist	Tomb chamber discovered in 1696	Undated	It was copied or reprinted by Antonio Giuseppe Barbazza after a plate in Francesco Bianchini’s La storia universale, which Zoëga referred to in a letter to Münter, 26 August 1807.[1] [1] Letter n. 1230.
I.150 / E1434	William Skelton	The Townley Cista	Undated	The cista derives from the British antiquarian Charles Townley’s collection and was acquired by British Museum in 1814 (inv. n. GR 1814.7-4.703). Zoëga mentions it in a letter to Crown prince Frederik, 11 February 1795, and again later in a letter to Münter, 26 August 1807.[1] In the latter he states that it is fairly easy to get hold of an engraving of the piece (Skelton’s?) and it is a fair assumption that it was among his possessions. [1] Letters nn. 654 and 1230.
I.151 / E1456	Domenico Cunego	The Casali sarcophagus with Dionysos and Ariadne	Undated	Comments written by Zoëga in pencil and brown ink (the comments can only be read with difficulty): Along the top of the sarcophagus: “N.o 1, 2, Coma senza volute, 3, 4, Cappio di chioma a trecce, 5, alute, chioma piu ispida, volto e corpo piu giovane. carattere meno faunesco, 6, alute senza laccio del crepezio[?], gli alberi sembrano pini, boccaglia delle tibie, la d.[estra] non stringe la tibia ma tocca colle dita, membro eretto applicato al ventre, capelli piu globosi, piedi non veduti, nodo del peplo, cappio di capelli, volto poco faunesco, orecchia faunesche nebrida decisa”. Along the left side of the sarcophagus: “questa coma[?] non è chiaro. [xxx] e [xxx], barba piu [drawing] carattere meno robusto e imperioso[?]. Sembra quella d’un buonuomo, come strette, accinte[?] al modio, capelli ricciuti[?], lunati[?] di Mercuri[o] [drawing] a la [xxxx]te. tutte le figure piu svelte[?] e magne, le fattezze piu minute. Caduceo con serpi annodati [drawing]. forma piu ovale della cosa che porta Merc. sull’omero d.[estro] e che sembra l‘imbraccatura d’un gran corno. Sileno calvo ciglia, quasi come corna[?] caprine, orecchia umana. barba caprina. petto e ventre pelosi. nella s.[inistra] bastone curvato, nodoso con vitta e pigna[?] in cima struzza[?] con ellera nella d.[estra] [drawing] il putto appresso è alato, solleva nella d.[estra] una correggia di pelle.” Along the bottom of the sarcophagus: “23, scaglie della testa del serpe grandi e regolari, vaglio liscio con margine, 24, 25, maniera strana di accennare il liquore, nella tazza a onde come capelli, 26, 27, il carattere del Panisco tutto sbagliato. Egli s’affligge come per burla, 28, Capronerina, tibia traversiera dritta con linguetta a angolo d[xxx] retto [drawing], 29, le ciglia fiancate. il naso piatto.” Along the right side of the sarcophagus: “Coma il compagno, tutti i serti serrati nel B[asso]R[ilievo], grande.” In the lower right corner: “La testata alla d.[estra] dello spettatore ha un B[asso]R[ilievo]. piatto ed abbozzato rappresentante un putto grande nudo e alato, che voltato obliquamente alla s.[inistra] tocca colla s.[inistra] la guancia d.[estra] d’una pantera, che gli siede incontro, e ritira la d.[estra] verso il suo petto, aperta infuori come per esprimere del ribrezzo. dopo la pantera ervi un cippo, sopra cui è collocato un mascherone silenico calvo e largamente barbato con orecchia faunesche, voltato obbliq.[uamente] alla d.[estra]”. The sarcophagus is today at the Ny Carlsberg Glyptotek, Copenhagen (inv. n. IN843).
I.152 / E2263	Unknown artist	Relief fragment with kneeling figure and hieroglyph	Undated	Inscription by unknown hand in pen and black ink: “Lar. P. 2.5.”, “Al. P. 5.”. Comment, possibly by Zoëga, in pen and brown ink: “B7”. The engraving renders the same relief fragment as depicted in the centre on I.77. The piece was previously in the possession of Giacomo Nani, but is today at the Museo Civico Archeologico, Bologna (inv. n. MCABo EG1913).
I.153 / E2264	Unknown artist	Relief fragment with king with sceptres	Undated	Inscription by an unknown hand in pen and brown ink: “A. P. 1.11”. Inscription, possibly by Zoëga, in pen and brown ink: “37.c”.
I.154 / E2265	Unknown artist	Relief fragment with a male and female seated figure	Undated	Inscription by unknown hand in pen and brown ink: “A. P. 1.6.1/2”. Inscription, possibly by Zoëga, in pen and brown ink: “37.b”.

Antiquites

Cat. no. / Inv. no.	Artist	Title	Date	Comments
I.155 / H614	The Penthesilea Painter	Kylix with youth and woman	C. 460 BC	Below the right handle an unknown hand has written in pencil: “Zoega”.

Books and manuscripts

Objects possibly deriving from Zoëga’s estate

Drawings

Cat. no. / Inv. no.	Artist	Title	Date	Comments
II.1 / D1158	Andrea Roncalli (?)	Six obelisks, elevation	Undated	The names of the obelisks have been added by an unknown hand in pencil, pen and brown ink: “Obelisco S. Giov Laterano”, “di S. Pietro in Vaticano”, “della Piazza del Popolo”, “di Monte Citorio”, “di Monte Cavallo” and “della Trinità de’Monti”.
II.2 / D1162	“Liborius Pizella”	Obeliscus Beneventanus	Undated	Comments by unknown hand in pen and brown ink: “I. Prospetto, che sive de della strada, che si và alla SS. V. Delle Grazie”, “è alto pal. Neap. 28”, “III. Prospetto, che si vede dale gradel le. dell’Arcivescov.”, “II. Prospetto alla Porta piccolo dell’Arcivescovato”, “IV. Prospetto quando si viene all piano dalla parte del Campanile”.
II.3 / D1201	Unknown artist	Fragment with hieroglyphic inscription	Undated	Inscription by unknown hand in carbon pencil: “alto palmi 4”.
II.4 / D1203	Puglisi Allegra (?)	Fragmentary statue with hieroglyphic inscription	1793	Inscription in pen and brown ink: “Litt: Puglisi Allegra delin. Messenæ 1793”.
II.5 / D1204	Puglisi Allegra (?)	Two mummy coffins with hieroglyphic inscriptions	1793	Inscription in pen and brown ink: “Litt: Puglisi Allegra delin. Messenæ 1793”.
II.6 / D1205	Unknown artist	Votive tablet	Undated

Prints and engravings

Cat. no. / Inv. no.	Artist	Title	Date	Comments
II.7 / E1327	Francesco Barbazza	Obeliscus Campensis	Undated
II.8 / E1357	Gerard Vandergucht	Statue in the possession of the Duke of Richmond	Undated
II.9 / E1361	Gerard Vandergucht	Scarabs	Undated
II.10 / E1362r E1362v	Gerard Vandergucht	Figures and hieroglyphs from papyrus	Undated
II.11 / E1469	Unknown artist	So-called Etruscan Mithras Throne	Before 1737	From A. F. Gori’s Mvsevm Etrvscvm Exhibiens Insignia Vetervm Etrvscvm, (Florence: Caitanvus Albizinivs Typographvs, 1737), I, pl. CLXXXI. The plate could very well have belonged to Zoëga in view of its topic, but is neither mentioned in his treaty on the cult of Mithras nor in the preserved correspondence.
II.12 / E1607-E1610	Unknown artist	The Barberini Mosaic	1771	The mosaic is today at the Museo Archeologico Nazionale, Palestrina. The engraving could have served as model for the above-described drawing (see I.3), but as the engraving is neither mentioned in the preserved correspondence nor has any preserved signatures linking it with Zoëga, this remains entirely hypothetical.
II.13 No photo	Carlo Antonini	Egyptian obelisks in Rome (four sheets)	Undated	Bought by Meyer (?) at the Thorvaldsen Museum auction 1 October 1849, no. 254.
II.14 No photo	Carlo Antonini	Egyptian obelisks in Rome (three sheets)	Undated	Bought by A. Combech (?) at the Thorvaldsen Museum auction 1 October 1849, no. 255.
II.15 No photo	Unknown artist	A package with lithographs after Egyptian monuments	Undated	Bought by Meyer (?) at the Thorvaldsen Museum auction 5 October 1849, no. 490.

Plaster casts

Cat. no. / Inv. no.	Artist	Title	Date	Comments
II.16 / L204	Unknown artist	Relief with forepart of sphinx offering a figurine of the goddess Maat	Undated	This and the following casts (II.17-35) derive from the obelisk in Piazza Montecitorio.[1] [1] For more details on the casts, see Zahle, Thorvaldsen’s Collection of Casts.
II.17 / L205	Unknown artist	Relief with the head of Horus with uraeus and sun disc above	Undated	For provenance, see II.16.
II.18 / L206	Unknown artist	Relief with two columns of hieroglyphs	Undated	For provenance, see II.16.
II.19 / L207	Unknown artist	Relief with Atum enthroned holding a was-scepter and an ankh-sign	Undated	For provenance, see II.16.
II.20 / L208	Unknown artist	Relief with a crested ibis	Undated	For provenance, see II.16.
II.21 / L209	Unknown artist	Relief with three jabirus	Undated	For provenance, see II.16.
II.22 / L210	Unknown artist	Relief with the upper part of a falcon	Undated	For provenance, see II.16.
II.23 / L211	Unknown artist	Relief with a vulture	Undated	For provenance, see II.16.
II.24 / L212	Unknown artist	Relief with a pintail duck	Undated	For provenance, see II.16.
II.25 / L213	Unknown artist	Relief with a winged scarab	Undated	For provenance, see II.16.
II.26 / L214	Unknown artist	Relief with a winged scarab	Undated	For provenance, see II.16.
II.27 / L215	Unknown artist	Relief with a bee	Undated	For provenance, see II.16.
II.28 / L216	Unknown artist	Relief with a cobra	Undated	For provenance, see II.16.
II.29 / L217	Unknown artist	Relief with a horned viper	Undated	For provenance, see II.16.
II.30 / L218	Unknown artist	Relief with a cobra in repose	Undated	For provenance, see II.16.
II.31 / L219	Unknown artist	Relief with an ankh-sign	Undated	For provenance, see II.16.
II.32 / L220	Unknown artist	Relief with an ankh-sign hanging from the body of an uraeus	Undated	For provenance, see II.16.
II.33 / L221	Unknown artist	Relief with head and neck of a canine animal	Undated	For provenance, see II.16.
II.34 / L222a	Unknown artist	Relief with a rope from a hoe	Undated	For provenance, see II.16.
II.35 / L222b	Unknown artist	Relief with the tip of a hoe	Undated	For provenance, see II.16.
II.36 / L223	Unknown artist	Relief with Antinous receiving a wadjet-eye from Amon	Undated	This and the following casts (II.37-46) derive from the on Monte Pincio.[1] [1] Ibid.
II.37 / L224	Unknown artist	Relief with Antinous receiving a heart from Thot	Undated	For provenance, see II.36.
II.38 / L225	Unknown artist	Relief with two columns of hieroglyphs separated by a sunk line	Undated	For provenance, see II.36.
II.39 / L226	Unknown artist	Relief with two columns of hieroglyphs separated and flanked by sunk lines	Undated	For provenance, see II.36.
II.40 / L227	Unknown artist	Relief with two columns of hieroglyphs separated and flanked by sunk lines	Undated	For provenance, see II.36.
II.41 / L228	Unknown artist	Relief with two columns of hieroglyphs separated and flanked by sunk lines	Undated	For provenance, see II.36.
II.42 / L229	Unknown artist	Relief with two columns of hieroglyphs separated and flanked by sunk lines	Undated	For provenance, see II.36.
II.43 / L230	Unknown artist	Relief with two columns of hieroglyphs separated and flanked by sunk lines	Undated	For provenance, see II.36.
II.44 / L231	Unknown artist	Relief with two columns of hieroglyphs separated and flanked by sunk lines	Undated	For provenance, see II.36.
II.45 / L232	Unknown artist	Relief with two columns of hieroglyphs separated by a sunk line	Undated	For provenance, see II.36.
II.46 / L233	Unknown artist	Relief with two columns of hieroglyphs separated and flanked by sunk lines	Undated	For provenance, see II.36.
II.47 / L234	Unknown artist	Relief with Horus wearing a loin-cloth	Undated	This and the following plaster casts (II.48-65) derive from the obelisk in front of Trinità dei Monti.
II.48 / L235	Unknown artist	Relief with half of the figure of the king offering ointments jars	Undated	For provenance, see II.47.
II.49 / L236	Unknown artist	Relief with the kneeling king offering bread	Undated	For provenance, see II.47.
II.50 / L237	Unknown artist	Relief with Atum wearing the crown of Upper Egypt	Undated	For provenance, see II.47.
II.51 / L238	Unknown artist	Relief with beardless head	Undated	For provenance, see II.47.
II.52 / L239	Unknown artist	Relief with the enthroned Horus with head of a falcon, holding a scepter	Undated	For provenance, see II.47.
II.53 / L240	Unknown artist	Relief with the enthroned Horus with head of a falcon, holding a scepter	Undated	For provenance, see II.47.
II.54 / L241	Unknown artist	Relief with seated god with atef-crown, holding scepter	Undated	For provenance, see II.47.
II.55 / L242	Unknown artist	Relief with male figure in skirt, holding a spear	Undated	For provenance, see II.47.
II.56 / L243	Unknown artist	Relief with beardless face	Undated	For provenance, see II.47.
II.57 / L244	Unknown artist	Relief with seated headless figure	Undated	For provenance, see II.47.
II.58 / L245	Unknown artist	Relief with seated figure with falcon head	Undated	For provenance, see II.47.
II.59 / L246	Unknown artist	Relief with beardless head in frontal position	Undated	For provenance, see II.47.
II.60 / L247	Unknown artist	Relief with oxe with head seen en face	Undated	For provenance, see II.47.
II.61 / L248	Unknown artist	Relief with a pintail duck	Undated	For provenance, see II.47.
II.62 / L249	Unknown artist	Relief with head and neck of a canine animal	Undated	For provenance, see II.47.
II.63 / L250	Unknown artist	Relief with a bowl	Undated	For provenance, see II.47.
II.64 / L251	Unknown artist	Relief with a not identifiable hieroglyph	Undated	For provenance, see II.47.
II.65 / L252	Unknown artist	Relief with panel with sunk hieroglyphs	Undated	For provenance, see II.47.
II.66 / L253	Unknown artist	Relief with part of a cartouche with a hieroglyphic inscription and an uraeus	Undated	The obelisk fragment, previously in the Museo Borgiano, is today in the Museo Archeologico Nazionale, Naples (inv. n. 1029?).
II.67 / L254	Unknown artist	Relief with cartouches of Rameses II	Undated	The obelisk fragment, previously in the Museo Borgiano, is today in the Museo Archeologico Nazionale, Naples (inv. n. 2325).
II.68 / L255	Unknown artist	Relief divided by a horizontal sunk line	Undated	The obelisk fragment, previously in the Museo Borgiano, is today in the Museo Archeologico Nazionale, Naples (inv. n. 2324).

Books and manuscripts

Last updated 09.12.2022