Claude Lorrain’s evocation of the world of classical antiquity in his paintings is rightly celebrated, but his indebtedness to antique painting has been the subject of some speculation. This article explores the evidence, in the light of recent research and in the context of a heightened interest in the antique in seventeenth-century Rome. Many of the artist’s noble Roman patrons collected examples of antique painting, or drawings after them by P. S. Bartoli and his son Francesco, while illustrations to the Vatican Virgil (borrowed by both Cassiano dal Pozzo and Camillo Massimo) may have provided the starting point for Claude’s rendering of bucolic subjects.