Study of the evolution of the antiquarian connoisseurship of E.Q. Visconti, from his early collaboration with his father Giovanni Battista in mounting and cataloguing the collections of the Museo Pio Clementino in the Vatican (Rome), to his activity as curator of antiquities at the Louvre, Paris; focuses on the distinction between copies and originals regarding ancient sculptures. Emphasizes the significance of the methodology developed by Ennio Quirino (anticipating Winckelmann and 19th c. German archaeological theory), based on the scheme of prototype, replicas, and variants.
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