Abstract
RENAISSANCE and post-Renaissance drawings and engravings after the antique provide valuable evidence of the interests and tastes of specific periods and of individual artists in ancient monuments, as well as extensive documentation for the objects themselves, their “modern” history, and often their subsequent mutilation or restoration. However, these monuments seldom are represented with sufficient frequency to afford a clear and continuous image of their post-antique existence, their popularity and influence and, in some cases, their disappearance. This study is concerned with one of the rare exceptions.