Susan M. Dixon, “Piranesi’s Pantheon,” in Architecture as Experience: Radical Change in Spatial Practice, ed. Dana Arnold and Andrew Ballantyne (London and New York: Routledge, 2004), 57.
 Thomas Julian McCormick, Piranesi and the New Vision of Classical Antiquity in the Eighteenth Century (Norton, MA: Watson Gallery, Wheaton College, 1991), 6.
 Luigi Ficacci, Giovanni Battista Piranesi : selected etchings = eine Auswahl der Kupferstiche = une s lection des eaux-fortes, trans. Bradley Baker Dick, Verena Listl, and Isabelle Baraton (New York: Taschen, 2001), 9.
 McCormick, Piranesi and the New Vision of Classical Antiquity in the Eighteenth Century, 6.
 Ibid., 6.
 Peter Eisenman, “Piranesi and the City,” in Piranesi as Designer, ed. Sarah E. Lawrence and John Wilton-Ely (New York: Cooper-Hewitt, National Design Museum, Smithsonian Institution, 2007), 302.
 Dixon, Architecture as Experience, 66.
 Ibid., 67.
 Ibid., 68.
 Ibid., 65.
 Kjeld de Fine Licht, The Rotunda in Rome: A Study of Hadrian’s Pantheon, Jutland Archeological Society Publications VIII (Copenhagen: Gyldendal, 1968), 185.
 William L. MacDonald, The Pantheon: Design, Meaning, and Progeny (Cambridge, MA: Harvard University Press, 1976), 13.
 de Fine Licht, The Rotunda in Rome, 240.
 MacDonald, The Pantheon, 18.
 Ibid., 19.
 Dixon, Architecture as Experience, 63.
 Ibid., 64.
 The academies were: Accademia dei concili, dedicated to the history of the Church councils; Accademia della storia ecclesiastica dei romani pontefici, to the lives of the popes; di liturgica, to the Church’s sacred rites and liturgy; and della storia e della antichita romana, to the study of ancient Roman history. The academies were suspended at the Pope’s death in 1758.
 The Forma Urbis Romae or Severan Marble Plan is a massive marble map of ancient Rome, created between 203 and 211. It was carved into 150 marble slabs mounted on an interior wall of the Temple of Peace. It was gradually destroyed during the Middle Ages and only about ten percent of the original surface are recovered, in the form of over one thousand marble fragments.
 From the text accompanying the Campo Marzio plan. The English translation quoted is from Manfred Tafuri’s The Sphere and the Labyrinth, Avant-Gardes and Architecture from Piranesi to the 1970s (Cambridge, MA: MIT Press, 1987).