This essay explores the performative nature of probate inventories in the early modern period through a reading of Mosca's “taking an inventory” in the final act of Volpone. I argue that the capacious divide between the items listed and the domestic subject, or interior, with which we associate them, is not between intact subjects and objects, but rather between raw materials, physical and rhetorical, which are stitched together through the performance of the inventory, in an exercise of oeconomia, or “management of the household.” Jonson deftly exploits the overlap between the probate inventory and the commonplace book, as storage systems of material possessions and rhetorical copia, respectively, in order to emphasize how both contribute to managing flows of words, desires, bodies, and things in the household. In Jonson's play, the rhetorical motives of copia combine with the experiential mobility of the inventory to define relationships within the domestic space. In the process, Volpone radically destabilizes our sense of subjects and objects as discrete categories. Instead of distinct persons and things, we encounter performances like Mosca's: styles of management, mechanisms of rhetorical control, which marshal the vast storehouse of copia to organize a superabundance of material referents, and, in doing so, enable fantasies of attachments between words and things, names and objects. Through the physical, rhetorical, and social dimensions of the inventory, Jonson draws our attention to a performance at the heart of domestic experience.