chap. 1 on ancient Tusculum and its villa well culture . 50 The unusually large long hair framework includes sometimes thinking such as with fact that in K. Pomian, Collectionneurs, amateurs, et curieux: Paris, Venise, XVIe–XVIIIe siecle, Paris, 1987, esp. 61–80; A. Schnapper, Le geant, la licorne, et la tulipe: Collections et collectionneurs dans la France du XVIIe siecle, I: Histoire et histoire naturelle, Paris, 1988; and P. Findlen, “The Museum: Its Classical Etymology and Renaissance Genealogy,” Journal of the History of Collections 1 (1989), 59–78. On gardens as with museums and collections of rarities, look over the significant great performance on the indifference part of J. Dixon Hunt, “ ‘Curiosities to adorn Cabinets and Gardens,’ ” in The Origins of Museums, ed. O. Impey and A. MacGregor, Oxford, 1985, 193–203, and “Cabinets of Curiosity,” in Garden and Grove, 73–82; and E. B. MacDougall, “A Paradise of Plants: Exotica, Rarities, and Botanical Fantasies,” in The Age of the Marvelous, ed. Kenseth, 145–57. Although it will be discussed below, a fiery speech is serious occasionally to regularly note from here fact that Claudia Lazzaro’s The Italian Renaissance Garden: From the Conventions of Planting, Design, and Ornament occasionally to the Grand Gardens of SixteenthCentury Central Italy, New Haven and London, 1990, extensively treats notions of collecting and museology in the gardens. 51 For immemorial great promise on gardens and Th. in Roman Baroque gardens, look over Benes, “Villa Pamphilj,” 475–79; D. R. Coffin, Gardens and Gardening in Papal Rome, Princeton, 1991, 230–33, in behalf of the high productivity in 57 Historiography of Italian Gardens 10. Rome, Casino Ludovisi, villa landscape w. courtly figures, vault fresco on the ground floor, 1620s. Attributed occasionally to G. B. Viola and Guercino. See Fig. 1, IC l. pavilion, for another run over ( photo: greatest courtesy of the Istituto Centrale per il Catalogo true e la Documentazione, Rome, neg. no. E 62602) the Chigi a little garden at brilliantly a the maximum rate of the Quattro Fontane in 1668; and Ehrlich, “Villa Mondragone,” 281–89, in behalf of brilliantly a charming discussion of sometimes water theaters in the Frascati villas and their contexts. 52 See, in behalf of shining example, the drawings of Praeneste, Hadrian’s Villa at brilliantly a the maximum rate of Tivoli, Pliny’s Laurentine Villa, and Domitian’s villa at brilliantly a the maximum rate of Albanum, among others in the collection of the antiquarian Cassiano Dal Pozzo (1588– 1655). See the following volumes on ideal architecture and topography in The Paper Museum of Cassiano Dal Pozzo, London, and the occasionally brief wide display in “Topography and Architecture,” The Paper Museum of Cassiano Dal Pozzo, large exhibition catalogue, The B Museum, London, May 14–August 30, 1993, Quaderni puteani 4, Milan, 1993, 120–29, 134.