↑ His relationship with such a prominent family was so noteworthy, that on his coins he spelled his family name in full (Philip Grierson, Melinda Mays, Catalogue of late Roman coins in the Dumbarton Oaks Collection and in the Whittemore Collection: from Arcadius and Honorius to the accession of Anastasius, Dumbarton Oaks, 1992, ISBN 088402193, p. 262).
↑ Grieson, ibidem. It is possible that this theme was chosen to mark an opposition to Anthemius, who had studied in a Neo-platonic school and was suspected to restore the Pagan cults.
↑ Performed in Rome in 1722, it was the début in that city of the then seventeen-years-old Farinelli (Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans, A Biographical Dictionary of Actors, Volume 5, SIU Press, 1978, ISBN 0809308320, p. 146).
↑ Kurt Sven Markstrom, The operas of Leonardo Vinci, Napoletano, Pendragon Press, 2007, ISBN 1576470946, p. 259.
↑ Eleanor Selfridge-Field, A new chronology of Venetian opera and related genres, 1660–1760, Stanford University Press, 2007, ISBN 0804744378, p. 284.
↑ Letizia Norci Cagiano, Lo specchio del viaggiatore. Scenari italiani tra Barocco e Romanticismo, Ed. di Storia e Letteratura, 1992, pp. 54–55.