Wittkower - Art and Architecture in Italy, 1600 to 1750
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The Pelican History of Art
Art and Architecture in Italy
1600-1750
Rudolf Wittkower
BIBLOSARTE
BIBLOSARTE
BIBLOSARTE
BIBLOSARTE
THE PELICAN HISTORY OF ART Joint Editors: Nikolaus Pevsner
and Judy Nairn
Rudolf Wittkower
ART AND ARCHITECTL RE IN ITALY
1600
TO
1750
Until 1956 Rudolf Wittkower was Durnin^-I.awrence Professor of the History of Art in the University of
London, and
a
member
of the Warburg Institute.
PVom 1956
he was Chairman of the Department of Art History and Archaeology University,
New
York.
.After his
retirement
in
197
1
.
Professor
many
W ittkower
to 1968
Columbia
1969 he served as Kress Professor
National Gallery, Washington, and as Slade Professor
his
at
at
was singularly well equipped
Cambridge. to
He
at
the
died in October
undertake this study. .-Kmong
publications on the art and architecture of the period are his books on Bernini
at Windsor C-astle. In the present work summing-up of views formed during years of devoted research.
and on the Carracci draw ings
is
BIBLOSARTE
offered a
Rudolf Wittkower
ART AND ARCHITECTURE IN ITALY 1600
BIBLOSARTE
TO 1750
Penguin Books
BIBLOSARTE
Penguin Books Ltd, Harmondsworth, Middlesex, England Penguin Books, 62s Madison Avenue,
New
York,
New York
10022, U.S.A.
Penguin Books Australia Ltd, Ringwood, Victoria, Australia Penguin Books Canada Ltd, 2801 John Street, Markham, Ontario, Canada
Penguin Books (N.Z.) Ltd, 182-igo Wairau Road, Auckland 10,
Copyright
©
New
the Estate of Rudolf Wittkower, ig^S, 1965, ig6g, igjs
First published
igs8
Second revised edition igbs Reprinted ig6g
Third revised edition igjj First
paperback
edition, based on third revised edition,
igjj
Reprinted igjs, igjS
Library of Congress Catalog Card
Number : j§- 128578
Set in Monophoto Ehrhardt
by Oliver Burridge Filmsetting Ltd, Crawley, Sussex Printed in Great Britain by Fletcher (^ Son Ltd, Norwich
and bound by Richard Clay (The Chaucer Press), Ltd, Bungay, Suffolk Designed by Gerald Cinamon and Anthony Cohen
BIBLOSARTE
LjR 1B4
Zealand
TO
MY WIFE
BIBLOSARTE
BIBLOSARTE
CONTENTS
Forewords
Maps
1
16-19
Part One : The Period of Transition and the Early Baroque circa 1600-circa
1.
Rome:
Sixtus
162^
V
V
to Paul
(i
The 'Style Sixtus Paul
V and
V and
585-1 621)
the Arts -
The Council of Trent and
its
21
The Church and
the Reformers -
Transformation -
Cardinal Scipione Borghese as Patrons -
Caravaggio's and Annibale Carracci's Supporters -
The new Churches and
the
new Iconography
-
The Evolution of the 'Genres'
2.
Caravaggio
3.
The
4.
Caravaggio's Followers and the Carracci School in
45
Carracci
57
The Caravaggtsti 5.
Painting outside
-
The Bolognese
Rome
Milan
104
Venice
106
Classicism
92
97
108
Architecture and Sculpture Architecture
Sculpture
1 1
1 1
Rome: Carlo Maderno
Rome
73
98
Genoa
Conclusion 6.
Rome
Rome and Early Baroque
91
Bologna and Neighbouring Cities Florence and Siena
in
( iss^~^^-^9) ~
Architecture outside
Rome
127
- Sculpture outside
Rome
BIBLOSARTE
Part Two: The Age of the High Baroque circa 162^-circa
7.
i6js
Introduction
137
Seicento Devotion
and Religious Imagery
Rhetoric and Baroque Procedure 8.
-
Gianlorenzo Bernini (1598- 1680) Introduction
Sculpture Stylistic
-
Patronage 143
143
144
Development - Sculpture with One and
Many
Views -
Colour and Light - The Transcending of Traditional Modes -
The Role of the 'Concetto' Painting
Iconographical Types -
Working Procedure
-
172
Architecture
174
Ecclesiastical Buildings - Secular Buildings -
9.
New
Francesco Borromini (1599- 1667)
The Piazza of St
Peter's
197
5. Carlo alle Quattro Fontane - S. Ivo della Sapienza -
S. Giovanni in Laterano, S. Agnese, S. Andrea delle Fratte, and
The Oratory of St Philip Neri - Domestic Buildings 10. Pietro
da Cortona (1596-1669)
Introduction
231
Architecture
232
Maria
della Pace, S.
Maria
Painting and Decoration
The Early Works
-
e
Luca
247
Pitti
and
the Late
(i
-
Work
599-1 661)
261
261
The Controversy between Sacchi and Cortona Alessandro xAlgardi (1598- 1654)
266
Francesco Duquesnoy (1597-1643)
272
BIBLOSARTE
Ecclesiastical
Works
Propaganda Fide
-
'High Baroque Classicism': Sacchi, Algardi, and Duquesnoy
Andrea Sacchi
di
Via Lata, Projects, and Minor Works
in
The Gran Salone of the Palazzo Barberini
The Frescoes of the Palazzo 11.
Minor
The Collegia
231
The Early Works - SS. Martina S.
-
Currents of the High Baroque
12. Architectural
Rome
279
279
Carlo Ratnaldi - Martina Longhi the Younger, Vincenzo della Greca,
Antonio del Grande, and Giovan Antonio de' Rossi Architecture outside
Rome
290
Baldassare Longhena (1598-1682) - Florence and Naples: Silvani and Fanzago 13.
Trends
in
Rome The
High Baroque Sculpture
First Generation -
Tombs with
The Second Generation
and
Sculpture outside
the Position
Rome
of Sculptors
in
later Seventeenth
Rome
318
High Baroque Painting and
Rome
-
Minor Masters of the
the Effigy in Prayer -
Bernini's Studio
14.
305
305
its
Aftermath
321
321
Baroque Classicism; Archaizing Classicism; Crypto-Romanticism -
The Great Fresco Cycles Painting outside
Rome
- Carlo
Maratti (1625-1713)
339
Bologna, Florence, Venice, and Lombardy - Genoa - Naples
Part Three : Late Baroque and Rococo circa ibj^-circa
ij^o
15.
Introduction
363
16.
Architecture
369
Introduction Late Baroque Classicism and Rococo :
Rome
373
Carlo Font ana
Northern
Italy
(
i6j8-iyi4)
The Eighteenth Century 386
393
Architecture in Piedmont
The Prelude
-
and Florence
Naples and Sicily 17.
369
403
403
Guarino Guarini (1624-83) Filippojuvarra (1678- 1736)
403
413
Bernardo Vittone (1702, not 1704/5-70)
424
BIBLOSARTE
Century
i8.
Sculpture
Rome
433
433
Typological Changes
Sculpture outside 19.
Painting
Tombs and
:
Rome
461
Introduction
Naples and
46
Rome
462
Florence and Bologna
Northern Venice
Allegories
446
469
Italy outside
Venice
476
479
Sebastiano Ricci and Piazzetta - Pellegrini, Amigoni, Pittoni, Balestra -
Giambattista Tiepolo
The Genres
(
ibgb-ijyo)
49
Portraiture - The Popular and Bourgeois Genre - Landscape, Vedute, Ruins
Abbreviations Used in the Notes and Bibliography
Notes
Bibliography
581
List of Illustrations
Index
506
507
621
631
BIBLOSARTE
FOREWORD TO THE FIRST EDITION
In
all
fairness,
I
feel the
reader should be warned
of what he will not find in this book. Such a
sentence is
may be
morally sound.
Baroque period
first
psychologically unwise, but I
it
am concerned with the Italian widest sense, but not with
in the
the European phenomenon of Neo-classicism. Thus Winckelmann and his circle as well as the Italian artists who followed his precepts fall outside the scope of my work. Nor will the struggle
between the supporters of Greece and those of
reserved a detailed discussion for those works of art
and architecture which, owing
intrinsic merit to
be
in
importance
-
their
to
historical importance,
special class.
a
historical
and
appear
Intrinsic merit
and
may be
these notions
regarded as dangerous measuring rods, and not every reader
may
my
subscribe to
opinions: yet
history degenerates into chronicle
shuns the dangers of implicit and
ments of quality and
if
the author
explicit judge-
value.
Rome be reported, a battle that was joined in the 1750s from Scotland to Rome and in which
which may be unpopular with some students of
Piranesi took such an active part. In addition,
the Italian Baroque. Excepting the beginning
little
or next to nothing will be said about the
festive life of the period: the
theatre,
Baroque stage and
and the sumptuous decorations in easily
perishable materials put
up on
special occasions
At
this point
history of painting
no more than
am
could hardly be touched only too well aware that
this is particularly relevant for a
picture of the Baroque age.
all
comprehensive
My aim is narrower,
but perhaps even more ambitious. Instead of saying
little
many
about
things,
I
attempted to
would seem
i.e.
Tiepolo, the less
important
than that of the other arts and often indeed has
hunting-ground
I
express a view
Caravaggio, the Carracci, and
ment of the garden, of town-planning, and of upon, though
to
and the end of the period under review,
often by first-rate artists. Finally, the develop-
interior decoration
make bold
I
tionists'.
This
strictly limited interest -
for
fact
specialists
and
an ideal 'attribu-
has been somewhat obscured
by the great mass of valuable research made during the
last forty
years in the field of Italian
Baroque painting at the expense of studies in the history of architecture and sculpture.
Roughly
from the second quarter of the seventeenth
say something about a few things, and so con-
century on, the most signal developments in
cerned myself only with the history of painting,
easel-painting lay outside
sculpture, and architecture.
painters
Italy,
and
Italian
my
became the recipients rather than the instigators of new ideas. It is, however, in con-
disposal dictated severe limitations with which
junction with, and as an integral part of, archi-
Even
and the space
so, the subject
the reader
may want
to
at
be acquainted before
turning to the pages of this book.
It
was neces-
sary to prune the garden of history not only of
dead but, doing right
alas, also
this, I availed
and duty
to
of
much
I
wood. In
painters of the
and decoration that
Baroque made
a vital
and
Italian
inter-
nationally significant contribution with their large fresco cycles.
The works
without peer are
myself of the historian's
Bernini's statuary, Cortona's architecture and
own
decoration, and Borromini's buildings as well
submit
vision of the past.
living
tecture, sculpture,
to his readers his
tried to give a bird's-eye
view, and no more, of the whole
panorama and
as those it
by Guarini, Juvarra, and Vittone. But
was Bernini, the greatest
BIBLOSARTE
artist
of the period,
lORtWORDS
12
who with his poetical and visionary masterpieces subHme
created perhaps the most
reaHzation
position has resulted in an
of the Venetian School, but
of the longings of his age.
have placed
ment would
in
the accents in the story that follows. Approxi-
the space at
my
structure
wanted
Based on such considerations, mately one-fourth of the text
I
devoted to
is
Bernini, Cortona, and Borromini; the chapter
the book. Another ten per cent
is
concerned
with Caravaggio, the Carracci, and Tiepolo, while roughly the same space
Duquesnoy, and the
architects.
This accounts
given to Sacchi,
is
great Piedmontese
more than two-
for
Since hundreds of
fifths
of the
many
of them of considerable stature, share
text.
between them
as
much
mere dozen of the
text as
greatest,
I
have given
my I am
narrative
be criticized as lopsided. But accept the challenge.
New
have always been few and
artists,
to a
may
prepared to
and pregnant ideas
far
between.
It is
the
too brief discus-
I
a fairly full treat-
any case have gone disposal
also
;
I
far
beyond
believe that the
to give the
and even demanded
book
justified
this brevity.
For the main divisions of the whole period
on Bernini alone takes up over ten per cent of
Algardi,
all
sion of eighteenth-century painting, particularly
now
have used the terms, by
I
well established,
of Early, High, and Late Baroque. Only recently
have we been reminded' that such terminomis-
logical barricades contain fallacies apt to
no
lead the author as well as his public. Yet historical narrative
possible without
is
some
form of organization, and though the traditional
may have
terminology
serious shortcomings, sibly
and indeed has
-
it
-
conveniently and sen-
suggests chronological caesuras during
one hundred and
we
years of history. If
fifty
accept 'Baroque' - like 'Gothic' and 'Renais-
origin, unfolding,
and expansion of these ideas
sance' - as a generic term and take
am
here concerned. Their echo
the most diverse tendencies between roughly
with which
I
and transformation
in the
work of minor
artists
1600 and 1750,
it
will yet
be seen
it
to
in the text
My story begins with the anti-Mannerist ten-
and 'Late' indicate
real historical caesuras;
became necessary
it
sixteenth century in various Italian centres, and
terminology by such terms as 'transitional
over the Baroque scene at different decades.
different places in
If
one
ing classicism', 'crypto-romanticism', 'Italian
Rococo', and
shed between the Late Baroque and Neo-
will
appears that the three main sec-
it
tions of this
book comprise spans of approxi-
I
'classicist
be explained
Rococo',
in their
all
of which
proper place.
dictated a rough draft of large parts of the
manuscript
in the
summer of
1950.
Most of my
Two-
spare time in the following seven years was
of the text have been devoted to the two
given to elaborating, revising, and completing
mately thirty, fifths
style',
'High' and 'Late Baroque classicism', 'archaiz-
postulates the year 1750 roughly as the water-
classicism,
to
but
expand the 'primary'
dencies which arose towards the end of the
falls
of
the book that the subdivisions 'Early', 'High',
can be sketched with a large brush.
the curtain
cover
sixty,
and again
s'xty years.
generations limited by the beginning and the
the work.
end of Bernini's career, since
in
I
consider the
The manuscript
reached the editor
batches from the beginning of 1956 on; by
and Pietro da Cortona the most exciting years
the summer of 1957 almost the entire text had been dispatched. I mention these facts because
of the century and a half under review and one
they explain
of the most creative periods of the whole history
incorporated as
Roman High Baroque
of Bernini, Borromini,
of Italian art; the remaining three-fifths are equally divided between the parts.
Some
readers
may
first
and third
regret that this dis-
why I
recent research
and often important interrupted stream, to
is
not so fully
should have liked. Since new
it
results appear in an
was
un-
virtually impossible
keep the older chapters of the manuscript
BIBLOSARTE
13
permanently up
to date.
I
have attempted, how-
ever, to incorporate in the
Notes
autumn of
publications until the
not possible to mention
It is
the major
all
the
names of
my
and colleagues who answered
friends
am
of proofs. Ever watchful and scrupulously con-
comment;
scientious, he covered the galleys with
1957.
all
himself the self-denying task of reading one set
in-
his
many
and
constructive suggestions as to content
style considerably
improved
my
final text.
Martin, Sheila Somers, and St John Gore,
The book was prepared and written mainly with the resources of the Warburg Institute
through whose assistance the manuscript made
and the Witt Library (Courtauld
quiries.
progress
I
particularly indebted to
at a difficult period.
Paolo Portoghesi
and G. E. Kidder Smith allowed beautiful photographs.
with the search
for,
am
Peggy
me to use some
Howard Hibbard helped
and supply
of, illustrations.
London;
German I
Columbia University,
him
for
loyal
corrections of facts and for allowing
me
excellent institutions the
to use
some of the
I
greatly indebted to
results of his researches in the
Borghese archive. Philip Pouncey and Henry Millon emended some errors
My
gratitude goes above
and
Italo Faldi,
who
all
at
proof stage.
to Ilaria
Toesca
year after year put their
time and resources unflinchingly at
my disposal.
am deeply grateful for what they have done for me by correspondence and during my regular I
visits to
Rome. Milton
J.
Lewine took upon
New
wish to put on record that without the
many
In addition,
the
Art Historical Institute, Florence; and
the Avery Library,
York.
Institute),
Rome;
the Bibliotheca Hertziana,
support of the directors and
been finished Finally,
I
present form.
in its
have
of these
staffs
work could never have
to
thank the editor, Nikolaus
Pevsner, not only for constant advice and en-
couragement, but also for his
Whenever my own
me
thought sustained
was
to be
spirit
of
infinite patience.
began
to flag, the
how much
easier
it
an author than an editor.
Neip York, December ig^j
FOREWORD TO THE SECOND EDITION In the five and a half years since the appearance
of the
first
edition of this
studies have taken
Many
book
immense
Italian
Baroque
strides forward.
key figures had then lacked modern
monographs but
this deficiency has
now been
partly overcome. Arisi's Panini, Bologna's
SoH-
mena, Briganti's Cortona, Constable's Canaletto,
D'Orsi's Giaquinto, Enggass's Baciccio,
Turin have brought together,
sifted,
and sub-
mitted to scholarly discussion an enormous mass of new material.
One-man shows,
often
accom-
panied by bulky and monographic catalogues,
have helped
to clarify the ceiivre
and develop-
ment of Cerano, Cigoli, Morazzone, Pellegrini, Pianca, Marco Ricci, Tanzio, and others. Scores of papers, many of them written by a rising
and Morassi's Tiepolo indicate the breadth and
generation of intensely active, perspicacious,
importance of the research concluded
and devoted scholars
in the
intervening period. Moreover, minor masters
name
Borea, A.
-
M.
among whom Clark,
I
gratefully
Ewald, Griseri,
such as Cameo, Carpioni, Cecco Bravo, and
Hibbard, Honour, Noehles, Posner, and Vitz-
Petrini have recently found biographers. Exhi-
thum
bitions from the Venetian
tions
and Bolognese Sei-
cento to the splendid Baroque Exhibition in
-
have helped
and
to
to correct old misconcepexpand the confines of our know-
ledge. In a word,
much
BIBLOSARTE
of the groundwork for
FOREW ORDS
14
the
book which
laid
by the concerted endeavour of many
reception of the
first
edition has been
favourable beyond expectation. If the test of an author's success
lies in
the extent to which his
ideas percolate and become, acknowledged as
scholars.
Confronted with to recast
The
rashly undertook to write
I
years ago has only in the last half decade been
this situation,
I felt
some of the old chapters. In
tempted
the end,
decided against such a course, because
regarded
as
it
my
I
I
had
primary task to submit
a
coherent historical vision of the entire period and, despite
all
work done
the valuable
in recent
well as unacknowledged,
have no reason
common
be dissatisfied.
to
property,
I
hope that the
I
considerably increased critical apparatus will
make
the book even
the text
is
meant
perused by those
more
useful. But, as before,
to stand
on
who want
its
own and be
to read a coherent
change or dis-
narrative rather than use a textbook, without
ruption of the original structure of the book.
the constant and irritating turning of pages to
years, dismissed the
need
Nevertheless, a great
amended in
many
errors have been
the text, and facts, ideas, and judge-
ments have been brought sults
for a
in line with
wherever and whenever
new
re-
found them
I
bulk of the
new
research has been incor-
porated in the Notes, to which
I
have added
about 15,000 words. In addition, the Biblio-
graphy has been brought up-to-date mer, 1964);
in
some cases
I
have
(until
listed
sum-
weak and
unsatisfactory writings for the sole purpose of
saving time to students
misled by a promising
who might otherwise
made and that a
is
book
making such
giaot steps forward
vaguely envisaged more than
a generation
ago and written in the 1950s can
only survive
if
the process of bringing
date never ceases. to
Once
it
again, however,
up I
to
had
abandon the temptation of recasting whole
chapters of the text of the book and had to restrict
myself
to a
errors.
me
operation spurred
upon a
to action.
She
also took
herself the unenviable task of compiling
new and
fuller index.
EDITIO.N
Baroque studies research has
first
number of blatant
Judy Nairn watched over the new edition as she did over the old. Her whole-hearted co-
Florence, August ig64
some fields of the history of art and especially
in the field of
eye caught a
be
title.
FOREWORD TO THE THIRD In
It only remains to thank the many friends who helped me with comments and corrections. Among them Julius Held and Howard Hibbard
should be specially mentioned; their vigilant
convincing.
The
the back of the book.
few extensive and a vast
1
97 1, has been incorporated in the Notes and
the Bibliography. Both Notes and Bibliography
have grown very considerably and have reached a size that, in
gressed.
my
Even
my so,
view, should not be trans-
it
was impossible (nor was
it
intention) to aim at anything approaching
completeness.
The
newly incorporated
selection of the material in this edition
was dictated
not only by the importance of contributions,
but also by
my own
number of minor corrections. The bulk of the new critical material, covering mainly the period
some
between the spring of 1964 and the spring of
knowledge. Thus
city.
Moreover,
fine studies
interests
and reading capa-
have to admit frankly that
I
may I
BIBLOSARTE
never have come to
my
have to emphasize strongly
one way or another, given
that omission only rarely implies refutation.
Once
again,
I
have to point out that the notes
their criticism
and the bibliography supplement each other:
them
a great deal of bibliographical material only
David,
appears in the notes, while a good are only I
mentioned
have often given
previous editions.
thank
many
many works
in the bibliography,
where
comments than
in the
fuller
And once again I have who have helped me
friends
I
me
the benefit of
and corrected mistakes.
Among
mention gratefully the names of Diane
Howard Hibbard, C. Douglas Lewis Jr, Tod Marder, Jennifer Montagu,
Carla Lord,
and Werner Oechslin.
La
to
Podere
in
June igji
Vescina, Lucignano,
BIBLOSARTE
VaralJo q
^jlVarcse • ^^ * Mendiisioy
* \fOrta Griqnasco, ^ \^
St
^yo^,
^^t°
^^
^CcXusco
Mont\
Monjerrato
Crema Cremona V Sabbioneta
Alessandria
K;7/a
Racconigi ^Cavallermaggiore
'^^ondov)
I
G
Reggio Emilia •
*Ganu Genoa
U
R
Pasquali^\^
Parma •
* Fossano
Sav>9
^'l''^''
'Villadcat
*
L
Aiaqqiore *% • li
.Vercell
SanGeriano VerccUcsc*
-^
\jcrate
Castellazzo di Bollatf^
Rivo]i»''ZJ
is
St Peter Martyr
not unlikely that the present
is
composition, painted over an entirely diHereni
was
earlier one,
a
concession forced upon Cara-
emotional impact he wished to convey.
tendency
Miisnal Parly, and in
of St Paul, saint's
explanation
is
the unique
also suggested by
This
the early
in
much more
1600.
53
in
evidence
one of the most
In
striking pictures of this period, the Conversion
during the work
Ihis
noticeable
is
the works after
vaggio by the difficulties which he encountered in the C-ontarelli Cihapel.
already
is
•
it
is
impossible to say where the
lower right leg would be or how the
attendant's legs can possibly be joined to his
of an angel appearing
body. Later, in the post-Rt)man works, he was
from heaven upon clouds. Clouds were the
on occasions quite reckless, and nowhere more
occurrence
in his (n'lnrc
emblem
traditional
to be
used for the repre-
sentation of visions and miracles: Caravaggio
Horks ofMercy, one of his
so than in the Seven
most moving and powerful pictures. The mean-
never admitted them, with this one exception.
ing of this procedure
becomes patently
show angels, he robbed
the Burial oj St Luey.
By enormously exaggerat-
Whenever he had them of those
soft
to
props which by no stretch of
clear in
ing the size of the grave-diggers, sinister and
the imagination can support a figure of flesh
obnoxious creatures placed painfully close
and blood
the beholder, and by representing
in the air.
Most of the later Roman works are much more severely constructed than the Martyrdnm of St
Mat I hew,
witness the Deposition of Christ
or the Death of the
Vtrjiin.
But the post-Roman
paintings are by comparison even
and
their
more
compositions are reduced
ingly artless simplicity. Reference
austere,
seem-
to a
may
be
made
all
a
proportion to the scale
few steps further back, the brutality and
by a 'correct' distribution of figures All these
that C^aravaggio progressively
pictures,
group of figures
from memory. This
Lazarus, or the hieratic in the Decapitatioti of
is
post-Roman
his
to a large extent painted
also supported by the fact
no drawings by Caravaggio survive. He a
good deal
in
one
Peterzano's studio, but he seems to have re-
be inclined, as generations have been, to
versed .Mannerist procedure once he was on his
Looking
at his early
regard Caravaggio as an
work
artist
in particular,
who
renders what
he sees with meticulous care, capturing
all
the
idiosyncrasies of his models. Caravaggio himself
above all, were
must, of course, have drawn
St John.
may
that
life
abandoned work-
models and that
Adoration of the Shepherds, the closely packed in the
in space.
observations lead one to conclude
ing from
symmetry of the coactors
more convin-
senselessness of the crime are
cingly exposed than could ever have been done
Messina
to the solid triangle of figures in the
to
them out of of the mourners only
seems
to have spread this legend, but
have already seen how
little it
corresponds
we to
own. Compared with the Renaissance masters, late
.Mannerists neglected studies from nature;
they used stock poses for their preparatory
designs and cartoons.
It
Caravaggio, by contrast,
may be surmised that made many incidental
the facts. .Moreover, apart from his recognizably
sketches from nature, which one would not
he developed what can only be
expect to survive, but dispensed with any form
repertory ot idiomatic formulas
of cumbersome preparation for his paintings. In
autograph called his
style,
own
for attitudes
which
and poses, the recurrent use of
was surely
independent of any
life
fact
it is
straight
well
on
known
that he
to the canvas,
abound
worked
and
this
is
alia
prima,
the reason
which
model.-' In addition, he sacrificed by degrees
whv
the interest in a logical disposition and rational
can often be discovered with the naked eye. This
co-ordination of the figures in favour ot the
procedure, admirably suited to his mercurial
his pictures
BIBLOSARTE
in pentimenti,
THE PKRIOD
54
TRANSITION AND THE EARI.V UAROQLE
Ol
temperament, makes
and im-
for directness
falls
on them, models them, and gives them
mediacy of contact between the beholder and
robust three-dimensional quality.
the picture, whereas distance and reserve are
may
obvious concomitants of the
the
method'^ of arriving
'classical'
work by
at the finished
seems
come from
to
with
a
ever,
shows
paratory drawings
w ere never entirely excluded, approach
this 'impressionist'
to the canvas
two consequences which seem natural a painterly softening
it
:
had
led to
of form and to an emphasis
on the individual brush-stroke. In Caravaggio's work, however, the forms always remain
stroke
is
is
is
powerfully
thin,
solid,
and consequently the brush-
hardly perceptible. In his middle period
begins to be more noticeable, particularly
the highlights, while in his
in
post-Roman pictures
that his light
is
it
in fact less realistic
in
Rembrandt's pictures
and darkness
light
become
light to
tangible; light can penetrate
darkness and make twilight space a vivid experience.
The
light creates
Impressionists discovered that
atmosphere, but theirs
With Caravaggio
light isolates;
it
something negative; darkness not,
may
be painted with
and few transitions between
light
little
and
- resulting in near-abstractions. Certain
passages in the Seven Works of Mercy illustrate this trend very fully. Side
by side with
development can be found what
is,
son, an extremely loose technique: the face of
rendered by
Lazarus, for example,
is
brush-strokes
Instead
a
upon
few bold
and
it is
is
where
light
for this reason that light strikes
his figures
and objects as upon
solid,
im-
penetrable forms and does not dissolve them, as
happens
in the
work of Titian, Tintoretto, or
Rembrandt.
The setting of Caravaggio's pictures is usually
this
by compari-
creates neither
space nor atmosphere. Darkness in his pictures
is
bodies and heads
is a light
without darkness and therefore without magic.
is
the one hand, forms harden and stiffen, and
are
of the same substance; darkness only needs
two new conflicting tendencies are apparent.
dark
it
and
than Titian's or Tintoretto's. In Titian's as later
On
detail
realistic;
a definable source,
camera ohscura. Further analysis, how-
stemmed from
Caravaggio's ad hoc technique
it
be inclined to agree with the traditional
view that his lighting
Venetian tradition, but in Venice, where pre-
his paint
a
one
first
has even been suggested that he experimented
slow stages.
a
.\x
outside the realm of daily a
life.
narrow foreground close
His figures occupy to
the beholder.
Their attitudes and movements, their sudden
careful
foreshortenings into an undefined void, heighten
prevalent during the
the beholder's suspense by giving a tense sen-
middle period, or the daring simplification and
sation of impenetrable space. But despite, or
petrifaction
only.
form
definition of
still
of the
of form in certain post-Roman
because
of, its irrationality, his light
has power
faced in the Raising of Lazarus
to reveal
and
to conceal. It creates significant
with shorthand patterns symbolizing heads,
patterns.
The
study of a picture
arms, and hands.
St John the Baptist of about
works, one
is
Little has so far
conspicuous and
been said about the most
at the
same time the most
revolutionary element of Caravaggio's
With
art, his
monumental commis-
rives
like the
1600,-''
from the nudes of the Sistine
clarify this point.
The
Doria
which de-
ceiling, will
pattern created by light
and darkness almost gainsays the natural articulation of the body.
Light passages radiate from
sions he changed from the light and clear early
darker centre
the spokes of a wheel.
Roman
by superimposing
tenebroso.
his first
style to a
new manner-' which seemed
like
a stylized
a
Thus
play of light and
particularly suitable to religious imagery, the
shade over the natural forms, an extraneous
main concern during the
concept is introduced which contradicts .Michel-
are
now
rest
of his
life.
Figures
cast in semi-darkness, but strong light
angelo's organic interpretation of the
BIBLOSARTE
human
CARAVAGGIO
body. Caravaggio used wheel-patterns of light in
some of
the multi-figured compositions of
Roman
his later
dom of Si
years, for instance the
Miittlu'w, the Crucifixion
and the Death of
A
the Virgin.
Martyrdom
illustration of the
glance at the
[15] suffices to
see that the abstract pattern of light
precedence is
in the
Martyr-
of St Peter,
is
given
organization of the canvas.
It
the radiating light that firmly 'anchors' the
composition
same time,
plane and, at the
in the picture
singles out the principal parts of
dramatic import.
pictures of the middle
In
Language was
narrative method.
of the visual
advance
far in
Seventeenth-century painters
arts.
caught up with
55
\
it.
painter like Cigoli was well
able to render St Francis's psycho-physical
reactions [42]. But although he
made
true in his
painting the sensation described by Bonaventura,
he was
tive
method
tied to the traditional descrip-
still
vision
the
for
:
shown
itself is
bathed
in
heavenly light breaking through the
clouds.
It
must be remembered
of vision is
is a
state of
admitted;
is
it
man's
mind
that the ecstasy
which no outsider
to
perception and revelation
This was the way Cara-
period the areas of light are relatively large and
inside one
coherent and coincide with the centre of interest.
vaggio interpreted visions from the very begin-
In the late pictures darkness engulfs the figures
ning. InhisEcstasyofStFrancisot'uhout 1595-'
and
flashes
flickers
of light play over the surface,
heightening the mysterious quality of the event depicted. This
is
nowhere more
striking than in
soul.
he showed the saint state
in
of trance one eye
is
;
a carefully
closed
;
observed
the other, half
open, stares into nothingness and the body,
the Raising of Lazarus, where heads, pieces of
uncomfortably bent backward, seems tense and
drapery, and extremities break through the
stiff.
Mystery
light
breaking through the dark evening sky.
- a real-unreal
surrounding darkness
which broods an
scene over
The
ineffable sense of mystery.
From the very beginning of Christian imagery light has
been charged with symbolism. God's
invisible
suggested by the glimmer of
is
is
not
made
visible,
but we are
allowed to wonder and to share a wide scope ;
left for
the imagination.
It is
is
the light alone that
down
presence in the Old Testament or Christ's in the
reveals the mystery, not light streaming
New
from the sky or radiating from the figure of
is
associated with light, and so
is
Divine
Revelation throughout the Middle Ages, whe-
Bonaventura.
ally
is
tion,
it
never loses
its
illumination. Light, without heavenly assist-
in
supernatural connota-
and the Baroque age did not break with
ance, has the
power
to strike Saul
transform him into Paul, the words of the Bible
shone round about him
imagery were always faced with the seemingly
and he
insoluble problem of translating visions into
unto him
Describing
St
Francis's
stigmatization, St Bonaventura says
'when the
vision
language.
had disappeared,
it
left a
in his [St Francis's] heart'.
wonderful glow
Giotto was quite
incapable of translating the essence of these
words into after
to express the
of mystical union with
God
:
to the earth
Saul, Saul,
me.'' Paul, eyes closed,
which the
is
from Heaven a voice say
why persecutest thou mouth open, lies com-
mirrored in the moving expression of
By excluding sanctified light
human
experience
connotation.
a descriptive.
a light
and heard
enormous horse.
and many
by
down and
accordance with
pletely absorbed in the event, the importance of
He
pictorial language.
him had
fell
in
'Then suddenly there
:
this tradition. Nevertheless, painters of religious
pictorial
the last
rendered vision solely on the level of inner
and even atmospherically, particularly
Venice,
The mature Caravaggio drew
rendered naturalistic-
Although
century onwards light
Christ.
consequences. In his Conversion of St Paul he
Abbot Suger, or St from the fifteenth
ther one turns to Dante,
a
heavenly source, Caravaggio
and gave
One may
symbolic use of light
BIBLOSARTE
it
a
new symbohc
return to the study of his in
the
Calling of St
56
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
•
Matthew, where Christ stands
semi-darkness
in
and the wall above him shines bright, while a beam ol light falls on those who, still under the large
shadow of darkness, are about
verted. It
is
precisely the antithesis
to
be con-
between the
extreme palpability of his figures, their closeness to the beholder, their -
vulgarity
in a
uncomeliness and even
word, between the
'realistic'
Borromeo
St Charles
Neri
in
a purely
express this aspect of reformed religion. His
humanized
It
work of Caravaggio's
in the
has been shown in the
followers.
among And
Caravaggio had devoted patrons
minded Roman
liberally
is
chapter that
first
aristocracy.
the yet,
The
refused with almost clockwork regularity.-"*
approach
to
imagery
religious
new territory; for his work milestone on the way to the representation
a
a vast
of those internalized 'private' visions which his
own
period was
still
unable and unwilling to
render.
The aversion of the people to his truly popular
were criticized or
his large religious pictures
them he regarded
God as a tangible experience on human level. It needed his genius to
illumination by
opened up
found
Ignatius's Spiritual
pleaded through his pictures for man's direct gnosis of the Divine. Like
creates the strange tension which will not be
and the unapproachable magic
Milan and St Philip
Like these reformers, Cara\aggio
Exercises.-'
light that
figures
in
Rome as well as in St
art is not the
only paradox in Caravaggio's
life.
case of the Death ofthe Virgin throws an interest-
In fact the very character of his art
ing Hght on the controversy which his works
and the resulting feeling of awe and uneasiness
aroused and the fervour of the partisanship.
may have
was rejected by the monks of Scala, the
Maria
della
church of the Discalced Carmelites;
but Rubens,
at that
time in Rome, enthusiastic-
advised his patron the
ally
S.
Duke
of
Mantua
acquire the painting for his collection. Before left
It
Rome, however,
to it
the artist enforced a public
exhibition and great crowds flocked to see the
work. Caravaggio's opponents,
it
seems, were
paradoxical,
is
contributed to the neglect and mis-
understanding which darkened his fame. There is
work
in his
a contrast
between the tangibility
of figures and objects and the irrational devices of light and space; between meticulous study
from the model and disregard
for representa-
tional logic
and coherence; there
between
ad hoc technique and
on
solid
his
form between ;
sensitivity
is
a contrast
his insistence
and
brutality.
mainly recruited from the lower clergy and the
His sudden changes from
mass of the people. They were disturbed by
ness of feeling to unspeakable horror seem to
theological improprieties and offended by
what
appeared an irreverent treatment of the holy stories
and
a
lack
of decorum.
They were
shocked to find their attention pinpointed by such
He
capable
is
of dramatic clamour as well as of utter silence.
He
violently rejects tradition but
hundred ways.
St Matthew and the Madonna di
orthodoxy and
and prominent
and tender-
unbalanced personality, oscillating
between narcissism and sadism.
details as the dirty
realistic
feet in the
reflect his
a delicacy
He is
is
tied to
it
in a
abhors the trimmings of
adamant
in disclaiming the
Loreto or the swollen body of Mary in the Death
notion that supernatural powers overtly direct
of the Virgin. Only the cognoscenti were able see these pictures as works of art.
face with the experience of the supernatural.
It
is
a
to
but brings the beholder face to
But when
all is
was
from the
common
can
and
heartily distrusted
for the people,
by the people;
for
it
scarcely be denied that his art was close in spirit
religion
affairs,
paradox that Caravaggio's religious
imagery, an art of the people
to that
human
popular trend
in
Counter-Reformation
which was so marked
in the activity
of
said
and done,
chosen
light reveal his passionate belief that
the simple in spirit, the
who
his types
people, his magic realism
humble and
it
was
the poor
held the mysteries of faith fast within their
souls.
BIBLOSARTE
CHAPTER
3
THE CARRACCI
At the beginning of the that
it is still
last
customary
chapter
to see
it
was noted
Caravaggio and
Annibale Carracci as the great antagonists
in
Rome
eenth centuries
still
regarded as the finest flower
of art and the supreme test of a painter's
com-
This approach, which was deeply
petence.
at the dawn of the seventeenth century. The differences between them are usually summed up in pairs of contrasting notions such
cal
as naturalism-eclecticism, realism-classicism,
the other hand, to raise Annibale Carracci to his
This erroneous
revolt-traditional.
historical
rooted in their theoretical premises and histori-
background, was detrimental
to the fortunes
of the easel-painter Caravaggio.
It
exalted position, for, next to Raphael's Stanze
conception has grown over the centuries, but
and Michelangelo's Sistine Ceiling,
before the obvious divergencies to be found in
in the
their art
hardened into such antithetical patterns,
helped, on
his frescoes
Farnese Gallery were regarded until the
end of the eighteenth century
as the
most im-
contemporaries believed that the two masters
portant landmark in the history of painting.
had much
And now
collector tiniani,
in
common. Thus
the
open-minded
and patron Marchese Vincenzo Gius-
who
has often been mentioned in these
we
that
are beginning to see rule
rather than freedom in Caravaggio's work, are
able once again
also
more
to
we
appreciate and
positively than writers of the last
pages, explained in a famous letter' that, in his
assess
view, Caravaggio, the Carracci, and a few others
150 years- the quality of Annibale's art and his
were
at
because
the top of a sliding scale of values, it
was they who knew how
in their art maniera
as he says, that
:
'has
in
his
combine
and the study from the
model maniera being, artist
to
imagination,
which the
without
the maniera in Caravaggio and also implied by
wording
realism
was
(i.e.
that the mixture of maniera
work done
directly
different in Caravaggio
and
from the model)
and the Carracci.
Even though our terminology has changed, we are inclined
nowadays
to agree with the opinions
Nevertheless racci
it
was, of course, Annibale Car-
and not Caravaggio who revived the time-
honoured values
in Italian art
and revitalized
again
we can savour
which were inaccessible
'classicism'
dividualist
and
One must and see him
'realist'
to the in-
Caravaggio.
study Annibale's
artistic origins
in relation to the other painters in
his family in order to
understand the special
circumstances which led up
to the
climax of his
career in the frescoes of the Farnese Gallery.
Among
the various attempts at reform during
the last decades of the sixteenth century Bologna
soon assumed a leading position, and
due entirely
of the shrewd Marchese.
Once
those virtues in Annibale's bold and forthright
any
model'. Vincenzo Giustiniani clearly recognized
his
historical mission.
Agostino
racci.
this
to the exertions of the three (i
557-1602)
was Car-
Annibale
and
(1560- 1 609) were brothers; their cousin Lodovico
( 1
555- 16 19) was their senior by
a
few years.
was Lodovico without any shadow of doubt
the great tradition manifest in the development
It
of painting from Giotto to Masaccio and on to
who
Raphael. Caravaggio never worked in fresco.
the complexity, sophistication, and artificiality
was monumental fresco-painting that
of Late Mannerism. In the beginning the three
But
it
educated Italians of the seventeenth and eight-
first
artists
pointed the way to a supersession of
had
a
common
BIBLOSARTE
studio, and during the
58
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
•
not
nerism, give his work a distinctly down-to-
*
earth quality; by comparison. Central Italian
After 1582 they opened a private 'academy',
High Renaissance paintings appear cold and
period of their collaboration
early
is
it
always easy to distinguish between their works.
which had, however, This active school, was
on
laid
in
which
special
emphasis
drawing, soon became the
life
rallying point of
a quite informal character.
all
progressive tendencies at
Bologna. At the same period, '
in the early
become
the personalities of the three Carracci
more
defined, and from
clearly
onwards a well-documented
5805,
1
about
1585
series of large altar-
pieces permits us to follow the separate develop-
ments of Annibale and Lodovico.
man
of considerable intellectual accomplish-
a
devoted teacher with
also, so
a real
communicating the elements of
it
knack of
his craft.'
As
a
from Correggio and the Venetians. These
masters rather than Raphael were from the beginning of his career his consciously elected
Man-
guides in the revolt against contemporary nerism.
The
erine
in fact, the first picture in
is,
John and St Cath-
Virgin with St
which Anni-
bale's turn to a Central Italian type of composi-
tion
x\gostino, a
ments, was primarily an engraver and seems,
remote. Annibale's rich and mellow palette derives
is
evident.
Individual motives prove that even at this
important to
moment Annibale was more indebted
North than
to Central Italian
models: the
borrowed from Veronese, the medallion on the throne from Corregfigure of St Catherine
is
throne in the Virgin with St Francis (Dres-
painter he attached himself to Annibale rather
gio's
than Lodovico.
therefore, justifiable to
den), and the Child resting one foot on His
concentrate on the two latter artists and begin
Mother's foot from Raphael's Madonna del
It
is,
with a study of some of their fully developed
Cardellino (Louvre).
Bolognese works as
almost undisguised, for everyone to
a
springboard to
a correct
assessment of the pre-Roman position.
juncture
Annibale's Virgin with St John and St Cath-
im-
erine of 1593 (Bologna, Pinacoteca) [16]''
calls to mind works of the Central High Renaissance of 1510-15. Three
is
it
may
These models were used see.
be asked whether such
a sterile imitation,
an
'eclectic'
At
this
a picture
mosaic selected
from acknowledged masterpieces. The reader
mediately
hardly needs to be reminded that until fairly
Italian
recently the term 'eclectic' was liberally
powerfully built figures are joined by the compositional device of the triangle, well
from
High Renaissance
paintings,
known
and are
placed in front of a simple and massive classical architecture.
Moreover the contrapposto
is
ex-
Renaissance racci
in
and that of the Car-
art in general
particular;
nor has this designation
disappeared from highly competent specialized studies.' If the
term 'eclecticism' implies the
tended from governing the unit of each figure to
following of not only one but
determining the greater unit of the whole, for
and even many masters, Annibale,
the two saints,
artists
left
and right of the central
form balanced contrasts. This tional
method
first
the composi-
is
practised by
axis,
Leonardo and
followed by Raphael, Fra Bartolommeo, and other
High Renaissance
masters. Also the firm
more than one like so
traditional
Renaissance
method;
a
proper road to a distinguished
style.
This pro-
cedure came into disrepute only with the adulation of the naivete of genius in the era." If 'eclecticism' is used,
But
method
advocated, for instance, by Leonardo as the
expressions of Annibale's figures are reminiscent art.
many
before and after him, availed himself of a
stance and the clear, unequivocal gestures and
of early sixteenth-century Florentine
em-
ployed to support the condemnation of post-
to
Romantic
however, as
a
term
expose a lack of co-ordination and trans-
Annibale's deep, warm, and glowing colours,
formation of models
replacing the pale, often changeant hues of Man-
justifiably
be used
-
BIBLOSARTE
-
and
then
it
in this
sense
does not
fit
it
may
the case
i6.
Annibale Carracci:
The
Virgin with St John and St Catherine, 1593.
BIBLOSARTE
Bol(it;na,
Pinacoteca
6o
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
•
under review;
every great
for, like
bale did create something entirely
artist,
Anni-
new from
his
Bolognese works continued
to
be pre-eminently
Venetian right to his departure from Bologna;
moved away from Correggio towards
models: he wedded Correggiesque sfumato and
he
warm Venetian
and clear definition of attitudes and expressions
tone values to the severe
compo-
solidity
sitional
and figure conceptions of the Central
and towards an impressive structural firmness
Italian
High Renaissance, while
of the whole canvas.
same
at the
time he gave his figures a sculptural quality and
which
palpability
the
will
be sought in vain during
High Renaissance, but which conform
to
His cousin Lodovico turned
A
direction.
Francis of 1591
Museo
(Cento,
makes
texture.
ception of such a picture has
of the steps by which Annibale arrived
important phase of his development
at this
The
be retraced.
years
(Bologna,
common
little in
with Titian, as a comparison with the Pesaro
latter's
Madonna may show. The principal group
recurs in both pictures: the Virgin on a high
Mannerist beginnings.
throne with St Joseph beneath and St Francis
later,
Baptism of Christ
the
in
Gregorio),
S.
this
Crucifixum of 1583 (Bologna,
S. Niccolo) illustrates his
Two
may
Civico) [17]
abundantly evident. The basic con-
the seventeenth-century feeling for mass and
Some
in a different
study of his Holy Family with St
the
Correggiesque
who recommends donors
with a pleading gesture the
right-hand
the
in
quality cannot be overlooked, although formallv
different
and colouristically Annibale
and weight of Lodovico's
is
here
still
strug-
gling against the older conventions. After that
different in essence
how bulk
figures
make
his
work
from any Renaissance paint-
Moreover, St Joseph and St Francis have
date he surrenders increasingly to Correggio's
ing.
colour and emotional figure conceptions. This
exchanged places, with the
development may be followed from the Parma
trast to Titian's
and Bridgewater House Lamentations over
Yet
The mere
corner.
the interpretation!
is
result that, in con-
work, the relation between the
the
donors, St Francis, and the Virgin runs zigzag
Body of Christ (the latter destroyed) to the Dresden Assumption of the Virgin of 1587. From
across the picture. Lodovico's figures are deeply
then on, Titian and Veronese begin to replace
and glances
with
Correggio,
important
consequences:
Titian's dramatic colour contrasts replace the lighter
Parmese
tonality,
and Venetian com-
posure and gravity Correggio's impetuous sen-
To
engaged and
their is
mute language of gestures
profoundly
from Titian's reserve
felt -
very different
as well as
from the cold
correctness of the Mannerists. this a
It
is
precisely
emphasis on gesture and glance that
strikes
new note St Francis's eyes meet those of the :
assess this change, one need only
Virgin and emotions quiver; the mystery of
compare the Assumption of 1592 (Bologna, Pinacoteca) with the earlier versions of the same
also implied in the spontaneitv' of the Child's
sibility.
subject.
But already the Dresden Virgin with St
John, St Francis, and St Matthew of 1588 was essentially Venetian, as the asymmetrical,
nese-like
None
composition
immediately
the less Correggio's grace and
vade the picture, and in spite
it
must be
Vero-
reveals.
charm per-
said at once that
of his reduced influence, the Correg-
giesque component remained noticeable even in
Annibale's
development
Roman is
years.
The
trend of his
clear: the character of his late
Divine Grace has been humanized, and
reaction. All the registers are pulled to
beholder into the picture.
He
real
\ irgin and Child, in a
down
and painted space and,
time, the strong sotto
remain
imagine him-
behind the saint; the close
viewpoint helps to break
between
draw the
faces the Virgin,
as does St Francis - indeed, he can self kneeling directly
this is
in
m
the
barrier
at the
same
su ensures that the
spite of their nearness,
world removed from that of the
beholder. Titian, by contrast, has done every-
BIBLOSARTE
17
Lodovico Carracci: The Holy Family with St Francis, 1591. Cento, Museo Civico
BIBLOSARTE
62
PERIOD OF TRANSITION AND THE EARLY BAROQUE
THF.
•
thing to guarantee the inviolability of the picture
and,
figures
show the
Lodovico's,
with
coinpared
plane
restraint
his
and aloofness of a cult
image.
Although
for the sheer
and the immediacy of
volume of the
figures
their presence the
two
cousins form here in the early nineties what a 'united Seicento front', the
might be called
never forgetting of course that there
work
and that
am, therefore, stretching the terms
I
beyond
their permissible limits.
proviso
it
may
But with
be said that Lodovico
beginning of the nineties had evolved
Baroque manner bale's
in their
is
which we have noticed,
that close affinity
this
the
at
a painterly
in contradistinction to
Anni-
temperate classicism. Although pictures
closer to that
of such importance as the MaJaniia det Bargellini
of the Renaissance masters than to Lodovico's,
of 1588 and the Preaching of St John of 1592
Annibale lacks Lodovico's intense emotion-
(both Pinacoteca, Bologna) are essentially Vene-
spirit
for
informing Annibale's
alism.
It
approach
is
to
art
is
only to be expected that their colour would also be fundamentally
conforming
different. Annibale,
to the
Renais-
sance tradition, used light and shade, even in
most painterly Bolognese works, primarily
his
to stress
form and structure. Lodovico, on the
tian with
- in the
Correggiesque overtones
John he followed Veronese and Tintoretto
for the light -
trend in these years
Lodovico's whole
towards the colossal, the
is
passionate, dramatic, and heroic, towards rich
movement and
surprising and capricious light
word, away from Venice and towards
other hand, created patterns of light and dark
effects ; in a
often independent of the underlying organic
the style of Correggio's fresco in the
form; and he even sacrificed
Parma Cathedral. The
clarity
One need
colouristic principle.
to this
only compare
St
composition
for the
this
tendency
is
principal
dome
of
document of
Transfiguration of 1593
the
the right knee and leg of the Virgin in illustra-
(Bologna, Pinacoteca) pictures like the dramatic
how
Conversion of St Paul of 1 587-9, the Flagellation
tions i6
and 17
to see
and Lodovico's ways
decisively Annibale's
part.
It
is
evident that
Lodovico owed much more than Annibale to the study of Tintoretto, those
irrational flicker
which conveys emotion and
sense of mystery. art,
namely
meant very
whose pictures one finds
in
and sudden highlights, that
brilliant
The
clear definition of space little
an
to
painterly tradition.
It
a
basic quality of classic
is
artist
and form,
steeped in this
characteristic of this
approach that foreground stage and background scenery are often unrelated in Lodovico's pictures; in the
nade looks
like
Cento
altarpiece [17] the colon-
an added piece of stage property,
;
and Crowning with Thorns of 1594-5 (^H three Pinacoteca), even the ecstatic St
Bologna,
Hyacinth of 1594 (Louvre),
que
taste.
To a
illustrate this
certain extent, therefore,
Baro-
Lodo-
vico and Annibale after their common Mannerist
beginnings developed
With advancing
in different directions.
age, however,
and
after the
departure of his cousins from Bologna, Lodovico's
work became by degrees retrogressive, his late pictures show a return to
and some of patently
Mannerist
principles.'
signal exceptions, there
was
at the
With some same time
notable decline in the quality of his
art.
a
The
and the acolyte behind St Francis emerges from
better pictures of this period, like the Meeting of
an undefined cavity. Such procedure frequently
St Angelas with St Dominic and St Francis, the
makes the
'readability' of
Lodovico's settings
For the sake of
clarity,
we may now
define
the difference between Annibale and Lodovico as that
Martydom of St ing over the
elusive.
between the Classical and the Baroque,
Sea
Angelas, and St
Raymond walk-
three 1608-10,'" Bologna,
(all
Pinacoteca and S. Domenico), appeal by the
depth of mystical surrender and by
and decorative grace
BIBLOSARTE
;
his failures
their linear
show
a studied.
THE CARRACCI
mask-like expressions,
classicism,
superficial
before Agostino's arrival.
On
63
•
the ceiling and in
veneer of elegant sweet-
the lunettes he painted scenes from the stories
ness." Lodovico's sense for decorative patterns,
of Hercules and Ulysses, which have, in accor-
and
tired gestures,
a
his emotionalism,
and above
Baroque approach
to
his painterly
all
colour and light contained
which were eagerly seized on by
potentialities
dance with contemporary
over danger and temptation.'-
Lanfranco and Guercino; taken
framework
in all his
which the
in
influence on the formation of the style of the
dependent on North
younger Bolognese masters cannot be over-
lar
manner
of
estimated. But
up
it
was mainly
which attracted them, while
to about 1600
his less satisfactory later
manner had
often an
who were
appeal to minor masters
irresistible
The
decorative
stories are set
models,
Italian
is still
in particu-
on the monochrome decorations in the nave Parma Cathedral; but in the structure of the
mythological scenes and
in
the treatment of
individual figures the impact of
be noticeable.
was
It
Rome
begins to
developed
fully
in
the
dependent on him, such
Gallery of the same palace, the decoration of
Francesco Brizio (1574- 1643), Lorenzo Gar(1580- 1654), and even Reni's pupil Fran-
which began in 1597 and may not have been completely finished until 1608.''
directly or indirectly as
his earlier
a
they illustrate the victory of virtue and effort
masters of the next generation, particularly by all
not only
taste,
mythological but also an allegorical meaning:
bieri
cesco Gessi (1588- 1 649).
It is
Lodovico was not the man
then evident that
to lead painting
The
hall of
about 60 by 20
feet has,
above the
back
projecting cornice, a coved vault which Anni-
monumentality. Such
bale was asked to decorate with mythological
qualities were, however, manifest in Annibale's
love scenes chosen from Ovid's Metamorphoses
work of the 1590s and were even
[18]. It
to
classical
poise and
implicit in his
was therefore more than
pictures of the
1
mere chance
that he, rather than Lodovico,
580s.
It
accepted Cardinal Odoardo Farnese's invitation to
come
to
Rome
to paint
monumental
frescoes
With Annibale's departure studio broke up.
followed
programme
him,
Two
leaving
in
1
595 the
com-
years later .Agostino
Lodovico
alone
Bologna. During his ten active years
in
in
Rome,
made probable
that Cardinal
for the ceiling'^
and that
stages Annibale's learned friend,
Giovan
Battista Agucchi,
adviser.'^
in his palace.
mon
has been
Farnese's librarian, Fulvio Orsini, wrote the
The theme
conquering
love, to
is
in the final
Monsignor
may have the
acted as
power of
all-
which even the gods of
antiquity succumb. In contrast to the emble-
matic character of most Mannerist cycles of frescoes the
programme of this ceiling is centred
between 1595 and 1605, Annibale fulfilled the promise of his late Bolognese work he became
on mythology, and Annibale painted the
the creator of a grand manner, a dramatic style
holder
buttressed by a close study of nature, antiquity,
taining spectacle before his eyes rather than
:
Raphael, and Michelangelo.
It
was
this style,
stories
with such vigour and directness that the beis
absorbed by the narrative and enter-
distracted by the less obvious symbolical and
equally admired by such antipodes as Poussin
moralizing imphcations.'*" In this joyful and
and Bernini, on which the future of
buoyant approach
painting depended for the next
Annibale's
first
work
1
in the
'official'
w ill be noticed
Farnese Palace
and Psyche frescoes
was the decoration with frescoes of a comparatively small room, the so-called Camerino Farnese,
executed between
to classical antiquity a return
50 years.
1595
and
1597,
It
to the spirit of in the
Raphael's Cupid
Farnesina.
was precisely at the moment when Caravag-
gio began his career as a painter of monumental religious
pictures
BIBLOSARTE
that
Annibale
turned
to
64
•
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
monumental mythologies on an unprecedented scale.
And
just as
Caravaggio found
a
popular
idiom for religious imagery, Annibale perfected his highly civilized
manner
to cater for the re-
fined taste of an exclusive upper class. fact that his patron, a Prince
one, moreover,
who
The
very
of the Church and
bore that family name,
surrounded himself with frescoes of this nature is
indicative of a considerable relaxation of
counter-reformatory
morality.
convey the impression of vivre, a
a
new blossoming of
energy long repressed.
The
frescoes
tremendous yo/V de vitality
and of an
For the organization of the whole work Annibale experimented with a ties.
for
He
number of possibili-
rejected simple friezes, suitable only
rooms with
flat
ceihngs, a type of decoration
used by him and his collaborators
Fava and Magnani-Salem
at
in the Palazzi
Bologna. Other
Bolognese reminiscences,'' however, were have
a
more
lasting
influence,
to
namely the
Ulysses cycle in the Palazzo Poggi (now the University), where Pellegrino Tibaldi had
bined pictures painted
like easel-paintings
comwith
figures in the corners of the ceiling perspectively foreshortened for the
BIBLOSARTE
view from below.
65
1
8.
Annibale Carracci
The Farnese
Gallery, begun 1597. Frescoes. Rome, Palazzo Farnese
This
well
a
is
Logge
combination
first
in the Vatican,"*
known
found
in
Raphael's
which were, of course,
to Annibale. Illusionist architec-
tural painting
( quadratiira ),
aimed
at
extend-
gnesePopeGregory XIII (1572-85) summoned Tommaso Laureti and Ottaviano Mascherino from Bologna
to paint in the Vatican Palace,
quadratura gained
a
firm foothold in
Rome.
It
ing real architecture into an imaginary space,
had
had existed ever since Peruzzi had 'opened up'
and Cherubino Alberti's decoration of the Sala
the Sala delle Colonne in the Villa Farnesina
Clementina
about
1
5 16,
but
it
was not
until the
second half
of the sixteenth century that quadratura on ceilings really
came
into
own. Bologna,
dt
most resounding triumph in the Vatican,
1596 and 1598, that
began his Farnese then the
last
word
is
Giovanni
executed between
exactly
ceiling.'"
in wall-
in
when Annibale
Quadratura was
and ceiling-painting,
was the centre of this
sanctioned, moreover, by the highest papal
which required an intimate knowledge
authority. Annibale, however, decided not to
scienze maestra (Bellori), practice,
its
its
of the theory of perspective.
When
the Bolo-
use pure quadratura but to follow the Palazzo
BIBLOSARTE
66
19.
•
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
Annibale Carracci: Polyphemus.
Farnese Gallery
Poggi type
[cf.
18]
of mixed'
decoration. Like Tibaldi,
he painted the mythological scenes as riportati, that
is,
as if they were
cpiadri
framed
easel
the four corners and supported
all
round the
room by a carefully-thought-out system of herms and atlantes [19]. It is this whole frame-
pictures transferred to the ceiling, and incor-
work, together with the sitting youths handling
porated them in a quadrature framework. His
garlands, that
decision to use quadri npartati for the principal
point of the spectator. Since
was slmost certainly influenced
scenes
Michelangelo's
by
is
contrived as
is
if
it
foreshortened for the view-
were
all
this decoration
real - the seated
youths
was
of flesh-and-blood colour, the hermsand atlantes
doubtless also convinced that the mythological
of simulated stucco, and the roundels of simu-
Sistine
ceiling,
but he
representation, as belonging to the highest class
lated bronze - the contrast to the painted pic-
of painting,-" should be rendered objectively
tures in their gilt frames
is
and
break
therefore
in isolating frames.
bale's
ceiling
is
Thus, although Anni-
much more complex
than
Raphael's Logge or libaldi's Ulysses cycle,
remains
in the
same
it
consistency
emphasized, and the strengthens
rather than disrupts the unity of the entire ceiling.
The crowding
within a relatively small
compromise
space of such great variety of illusionist painting,
quadratura framework
elements ofthe over-all plan, logical and crystal-
tradition of
the overlapping and superimposition of
solutions.
Annibale devised
in
a
consisting of a large cornice fully visible only in
clear
and nowhere ambiguous as
BIBLOSARTE
it
many
would surely
THE CARRACCI
•
67
(t^r5C3PW^™*5 V-'-^Mft'lBP)
Annibale Carracci The Triumph of Bacchus and Ariadne. Faniese Gallery [cf. 18] 20.
;
be in
a similar
Mannerist decoration, the subtle
build-up from the corners towards the centre all
this gives this
different
a
dynamic quality quite
from the steady rhythm and compara-
tive simplicity to
work
-
of Michelangelo's Sistine ceiling,
which Annibale evidently owed so many of
his constituent ideas. for the first
time
on from the
There
is
here, moreover,
a noticeable continuity leading
real architecture
of the walls to the
painted decorative figures of the ceiling, and this
contributes perceptibly to the dynamic
largest
centre of the ceiling
ter,
is
dominated by the
and most elaborate composition
in the
scheme, the Triumph of Bacchus and Ariadne Surviving drawings show
how
while individual
figures
paralleled by classical types.
can be closely
On the other hand,
the fresco has a flowing and floating a
movement,
richness and exuberance which one would
seek in vain either in antiquity or in the
The composition
Renaissance.
between firm tive
freedom
which sides,
by
unity of the entire Gallery.
The
retained something of the classical relief charac-
a
;
classical structure it
consists of two
rise gently
and imagina-
crowded groups
from the centre of the two
and the caesura between them
maenad and
High
strikes a balance
is
bridged
a satyr following the beat
of the
tambourine with an impetuous dance. The Bacchic retinue
and
is
compositionally enlivened
same time held together by the undurhythm of the flying cupids and by the
at the
closely
lating
Annibale had studied Bacchanalian sarcophagi;
telling
in fact, the train of revellers in the fresco has
below, reclining figures which have a framing as
[20].
conlrappostn of the satyr and
BIBLOSARTE
nymph
68
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
•
well as a space-creating function. This richness
new
ot compositional devices heralds a
Each
age.
single figure retains a statuesque solidity
without a
unthinkable
thorough study and
understanding of classical sculpture, and Anni-
imparted something
bale
this
ot"
sculptural
dating from the early 1590s (Bologna, Pinacoteca).
His complete conversion
Roman manner is evident which display
somewhat
a
to Annibale's
Parma
the
in
His premature death
classicism.
frescoes,
metallic and frozen in
1602 pre-
vented the completion of this work.-'
many preparatory chalk drawings.
One other aspect of the I'arnese ceiling should
Nevertheless these magnificent drawings remain
here be stressed. In his preparatory work Anni-
quality to his
at the
same time
close to nature, since, true to
the traditions of the Carracci 'academy', every
was intensely studied from
single figure this
is
new
between naturalism and
alliance
models
classical
life. It
- so
often in the past a
life-
bale re-established, after the Mannerist inter-
method of Raphael and Michelangelo. of preparatory drawings must have existed, of which a fair number survive, lude, the
Many hundreds and
in these
every single part of the ceiling was
giving formula in Italian art, but with what
studied with the greatest care. Annibale handed
different results! - that accounts for the bois-
down
Roman manner.
terous vitality of Annibale's
His classical
style, full-blooded
and buttressed by
and imaginative
study of nature,
a loving
keeps the beholder at a certain distance, however,
and he always remains conscious of a noble was
reserve. Clearly, Annibale's vival that contained it
a
way
many
led to Poussin's
a classical re-
potentialities.
From
pronounced classicism
freedom of Rubens and the High
to his school this
Renaissance method of
slow and systematic preparation, and ably not too
much
to say that
prob-
it is
was mainly
it
through his agency that the method remained in
vogue
for the following
down only
in the
Romantic
200 years.
when
era,
that such a tedious process of
broke
It it
was
felt
work hampered
inspiration.
Annibale's development in
Rome was
rapid,
com-
him at the beginning of the new century were crowded with important
bination oi qiiadratura and the qiiadro riporlato
works. Again, the fate and careers of Caravaggio
as well as to the
Baroque.
had only
On
the other hand, Annibale's
a limited following.
The broad
current
of the Italian development turned towards
complete
a
and the few years
left to
and Annibale run strangely
parallel.
return, Annibale retired from
illusionist spatial unification.
During the execution of the Gallery, Anni-
At about
Rome, never
the time Caravaggio fled from
life
deep melancholia, and during
stricken
to
by
a
his last years
bale had the help of his rather pedantic brother
hardly touched a brush.-'' In his later canvases
Agostino for three years (1597 1600).-' Con-
we can
temporary sources attribute large frescoes of Cephaliis
and
so-called Galatea,--
to
him
the two
and Aurora and the
this is
borne out by the
cool detachment of these paintings, which lack
economy in
Maria del Popolo fully
1600 Agostino
the
out with his brother,
Rome, and went
to
left
Parma, where he decorated
with mythological scenes a ceiling in the Palazzo del Giardino for the
Agostino's earlier in his carefully
masterpiece,
Duke Ranuccio
manner may
Farncse.-'
best be studied
constructed, strongly Venetian
the
Comtntinion
of St Jerome,
the compositions.-"
a
growing
The Assumption
of the Virgin of 1601 for the Cerasi Chapel
the brio and energy of Annibale's manner. In fell
follow a progressive accretion of mass
and sculptural qualities coupled with
developed
first
is
a characteristic
Roman manner
in S.
work of his
[21].
Here
for
and only time Annibale and Caravaggio
worked on the same commission, and the to the chapel naturally lets his eye
one master
to the other. In
Annibale's Assumption
even laboured, but just as in
it
is
such
visitor
wander from a
comparison
may appear tame and worth observing
that,
Caravaggio's Conversion of St Paul
BIBLOSARTE
THE CARRACCl
69
the Paris Laineiitatiou, are reminiscent of clas-
Contemporaries realized that
tragedy.
sical
.Annibale was deeply concerned telian
problem
had taken up
berti's days,
w ith the
.Aristo-
17) which, since Al-
(Poetics,
a central position in
any consideration of the highest classof painting,
namely how
to represent in
forceful visual
the
human
retical
form the
soul.
an appropriate and
ajjetti,
the emotions of
Annibale had neither the theo-
mind of an
Albert! nor the experimental
passion of a Leonardo; he was, in fact, opposed to theorizing
sensed, as
and
age,
it
and
were
man
a
of few words. But he
intuitively, the
concern for the
in his
temper of the of
telling use
gestures and expressions one has no difficulty in
recognizing a new rationalist spirit of analysis.
To
base the rendering of the
affetti
on
rational
and generally valid findings became an important preoccupation of seventeenth-century artists.
Poussin learned his lesson from Annibale,
and the same problems were philosophical
analysis
later
submitted to
by Descartes
his
in
Passions de I'Ame of 1649.
A new
sensibility characterizes the seven-
teenth century, and this manifests 21.
Annibale Carracci:
The Assumption
in
what may appear
to us
itself not
nowadays
as the
only
con-
of the Virgin, 1601.
ventional language of rhetoric, but also in highly
Rome, S. Maria del Pupolu. Cerasi Chapel
charged subjective expressions of feeling, grief the over-
and melancholy. The rational medium of design
powering bulk of Annibale's figures that domi-
gives conventional gestures an objective quality,
[13]
and
his Cnictfixwn of St Peter,
it is
medium
nates the canvas. In spite of this triumph of the
while the irrational
massive sculptural figure, Annibale's Assump-
conveying those intangible marks which are not
tion
shows that he never forgot the lesson
learnt
from Titian and Correggio. By fusing Venetian colour with
Roman
proach with
of colour adds to
readily translatable into descriptive language.
The
early
Roman
Bacchus playing the Lute
to
ap-
Silenus (London, National Gallery) exemplifies
classical severity of
form, Anni-
very well this important element in Annibale's
bale demonstrated in practice - as
was correctly
oeuvre.
seen in his
own
design, a
that these old contrasts,
day-'
about which so
painterly
much
ink had been spilt in
There
pervading this
is
an atmosphere of melancholy
little
picture,
and
this is
due
to
the wonderfully rich Titianesque evening sky
sombre mood over the wide deserted
theoretical discussions of the sixteenth century,
casting a
were no longer irreconcilable.
landscape behind the figures. Characteristically,
In their measured and heroic expressions
many of Annibale's London Domme Qiio
late pictures,
such as the
Vadts, the Naples Piet a, or
this
mood
is
transmitted through the landscape,
and, as in Venice, landscape always plays an
important part in Annibale's canvases as a
BIBLOSARTE
foil
THE PKRIOD OF TRANSITION AND THE EARLY BAROQUE
70
22.
The
Annibale Carracci:
Flight into hgjpt,
c.
1604. Rome, Galleria Dana-Pamphili
against which to set oft and underline a picture's
prevailing
spirit.-*"
Considering this Venetian
evaluation of the landscape element,
it
is
not
landscape
-
and by the
middle distance; nor
protected, as
bale's career.
castle
first
landscapes,
constructed
loosely
peopled with huntsmen and fishermen (Louvre), are essentially Venetian.
But
in
accordance with
the general trend of his development and under the impression,
it
would seem, of the severe
forms of the Campagna, Annibale
in
Rome
re-
above
carefully arranged
This
Flight
into
Egypt
(Rome,
[22], dating
panoramas
integral part of these
work of man verticals
is
An
always the
composed of horizontals and
and placed
landscape.
Doria-
and houses, turrets and
castles
bridges, severely
Galleria
from about 1604.-'
at
conspicuous points in the
The architectural motif in the centre
of the Doria Flight into Egypt
is
framed by a
it is
placed at
river; thus figures
pattern of the landscape.
neither Nature untouched and wild
is
where the northern
Pamphih)
and, in addition,
and buildings are intimately blended with the
landscapes by carefully constructed landscape
The most celebrated example of new landscape style is the lunette with a
were, by the firm lines of the
it
it
formed by the sheep and the
- as in
panoramas.
Holy
the meeting points of two spatial diagonals
placed the freedom and rusticity of his early
this
trees to the right in the
the position of the
Family fortuitous: the group moves forward
strange to find pure landscapes early in Anni-
His
is
role of man shrinks into insignificance
the landscapes of artists
working
some contemporary Rome, above all
in
Paul Brill and Jan Bruegel nor is it on the other hand the fairy-lands which Elsheimer created in his Roman years; instead it is a heroic and aristocratic conception of
Nature tamed and
ennobled by the presence of man.
It
was Anni-
bale's paintings of ideal landscapes that pre-
pared the way for the landscapes of Domenichino and Albani, of Claude and Poussin. Annibale's grand manner of the
may
rightly be regarded as his
Roman
years
most important
cluster of large trees in the left foreground -
achievement, but the formal side of his art had
such trees become de
an interesting counterpart of informality. Both
rigueiir in this
type of
BIBLOSARTE
THE CARRACCI
Annibale and Agostino had an intimate, genrelike
idiom
at their
disposal. This,
found expression more often in pictures,
ings
do
in
although a number of genre paint-
exist
the
seems,
drawings than
and many more must have
existed,
A
picture
judging from contemporary notices. like
it
Butcher's
Oxford, makes
it
Shop
Christ
at
Church,
evident that the Carracci at
Bologna had come
in contact with,
and were
two or three years before Caravaggio's Bacchus in the Uffizi [i ij.
Compared with
it,
Annibale's
painting strikes one as 'impressionist' and progressive
;
first
moreover, genre pure and simple.
it is,
from contemporary sources
It is clear
Bolognese
-
artists
two Carracci
the
that
down on paper
or too uninteresting to be jotted
manner of Pieter Aertsen."' Annibale's homely portrait sketch in oil of a smiling young man (Rome, Galleria Borghese) and, above all, the half-length of a Man with a Monkey looking
draughtsmen and
their curiosity
They had an eye
for the life
common
and labours of the
hfe,
and
immediacy of approach
will
and even obscene happenings of daily something of
the trend with an admirable and entertaining
also be noticed in their
picture was probably painted
tireless
was unlimited.
people, for the amusing, queer, odd,
for lice in his master's hair (Uffizi) [23] illustrate
last
the
brothers regarded nothing as too insignificant
on the spur of the moment. They were
candour. This
- in
place from Malvasia, the biographer of
deeply impressed by, northern genre painting in the
71
this
grand manner. But with
these two idioms, the official and the unofficial, at their
command,
a duality
was possible which
would have been unthinkable Raphael.
on two
By being
levels, the
able to
the age of
in
work simultaneously
Carracci reveal a dichotomy
which from then on became more and more
pronounced culminated a
in the
work of great
artists
and
in the dual activity or aspirations
of
Hogarth or a Goya. It is
not at
all
astonishing that this mentality
predestined the Carracci to become the originators of modern caricature: caricature, that in the
people's shortcomings.
It is
well attested that
Annibale was the inventor of art."
is,
pure sense, as a mocking criticism of other
The
this
new form
of
caricaturist substitutes a primitive,
timeless technique for the established conventions of draughtsmanship,
and an uninhibited
personal interpretation for the objective rendering of reality
which was the principal require-
ment of the Renaissance tradition. The artist who 23.
Annibale Carracci:
Man
before 1595. Florence, Uffizi
with
a
Monkey,
was acclaimed as the restorer of that tradition also forged
dangerous weapons
BIBLOSARTE
to
undermine
it.
BIBLOSARTE
CHAPTER
4
CARAVAGGIO'S FOLLOWERS
AND THE CARRACCI SCHOOL
Annibale Carracci alone had
a school in
IN
Rome
ROME
painters Orazio Gentileschi
accepted sense of the term. Not only were
out.
he and the other members of his family good
tica
in the
Next
to
him
{ 1
563- 1 639' ) stands
Antiveduto Grama-
artists like
(1571-1626) and Giovanni Baglione
(c.
The founda-
573- 1 644) are of only marginal interest. The most important younger artists were Orazio
tion of the school was, of course, laid in the
Borgianni (1578 or earlier- 1616), Bartolomeo
teachers, but his art, particularly his
manner,
lent itself to being taught.
Roman
Bolognese 'academy', and his young pupils and friends
who
followed him to
Rome
arrived
1
Manfredi
{c.
(1579'- 1620),
1
587- 1620/
1),-
Giovanni
Carlo Saraceni Caracciolo
Battista
and
1637), Giovanni Serodine (1600-30),
there well prepared. Caravaggio on the other
(d.
hand, a bohemian, turbulent and uncontrolled,
Artemisia Gentileschi
never tried to train a pupil, nor indeed could he
from
have done so since the subjective qualities of his
Italo-Frenchman Valentin (1594- 1632) should
style, his
improvisations, his ad hoc technique,
his particular
mystique of
light,
and
his
many
inner contradictions were not translatable into easy formulas. Yet, what he had brought into
power of
the world of vision was a directness, a
(1593-r.
of northerners,
a host
1652),
apart
among whom
the
here be mentioned.
These names make
it
at
once apparent that
Caravaggio's manner was taken up by painters
with very different backgrounds, traditions, and training.
Few among them were Romans; example, came
from
immediate appeal that had an almost hypnotic
Gentileschi,
fascination for painters, so that even Carracci
Saraceni from Venice, Manfredi from near
pupils and followers
fell
under
his spell
certain stages of their development.
at
Moreover,
for
Mantua, and Serodine from Ascona. In contrast to the
Bolognese followers of the Carracci
common
generations of painters inside Italy and even
who shared
more outside her confines sought
similar principles, these artists never
from
his work. Nevertheless
plates the
life
and
art
inspiration
when one contem-
of Caravaggio and of
a
training
and believed
a
homogeneous group. Caravaggio's idiom was
a
kind of ferment giving their art substance and direction for a time; but with
Rome during the first quarter of the seventeenth
was
like a
century seems almost a foregone conclusion.
was
to
this
most of them
be discarded when they thought
respect
Orazio
Gentileschi's
He was
in
fit.
In
career
is
Rome from
1576 on
and came under Caravaggio's influence
in
followers actually
met him
Rome, but most of them were deeply moved
by his work while forceful.
The
list
its
impact was
of names
is
masters of real distinction.
still
fresh
and
early years of the
new
in the
century. But a typically
Tuscan quality always remained noticeable his
work
it
leaven not fully absorbed and which
symptomatic.
Few of Caravaggio's
in
formed
Annibale, the pattern of the development in
The Caravaggistt
Pisa,
- so
much
so that his pictures are
in
on
long and contains
occasions reminiscent of Bronzino and even of
Among
Sassoferrato
the older
:
witness his clear and precise con-
BIBLOSARTE
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
74
tours, his light
and cold blues, yellows, and
violets as well as the restraint
his compositions. idyllic
and simplicity of
Moreover, his
temperament
is
far
lyrical
and
removed from Cara-
vaggio's almost barbaric vitality.
out problems, for dated pictures are few and
One of
career. 5
far
his chief works, the graceful
Annunciation in Turin [24], painted for Charles
its
Caravaggesque types must have
Rome
in
at
an early period of his
Examples of Orazio's
manner may
later
be seen in a picture such as the Rest on the Flight into
The chronology of Orazio's ceuvre is not withbetween.
scuro, and
been created
Egypt (known
ham; the
J.
in four versions in
Birming-
Paul Getty Coll., Los Angeles;
Vienna; and the Louvre),'' datable in his principal
work
in
1626, and
c.
England, the nine com-
partmental pictures for the
hall of the Queen's House, Greenwich, probably executed after
now
1635, and
mutilated condition in
a
in
Marlborough House." The difference between the two latter works makes it evident that the longer he was away from
came
Rome
able that in the setting of the
with
the thinner be-
the Caravaggesque veneer.
its
It is
undeni-
London Court,
progressive tendencies represented by
Rubens and Van Dyck, the work of Gentileschi appears almost outdated.
The development
""
of Orazio Gentileschi
is
characteristic of much of the history of the early
Caravaggisti.
But
in the case
of an
Giovanni Baglione the emphasis different.
is
somewhat
known
Baglione, nowadays chiefly
of sixteenth- and
biographer
the
as
such as
artist
seventeenth-century
Roman
early
belongs
artists,
academic phase of ManAn exact contemporary of Caravaggio's,
essentially to the late
nerism.
he was that a brief
artist's bitter
moment
enemy. However,
in his career,
than the rank and
file
and even
for
earlier
of the Caravaggisti, he
was overwhelmed by the impact, although never 24.
Orazio Gentileschi:
The
Annunciation,
fully
understanding the implications, of the
probably 1623. Twin, Pinacnteca
great master's work. His Sacred Love subduing
Emanuel I of Savoy, probably in 1623, clearly shows him developing away from Caravaggio,
competition with Caravaggio's Earthly Love for
and the pictures painted
creation where a Caravaggesque formula hardly
Profane Love (Berlin), painted after 1600 in
England carry
in
this
after he settled
1626 as Charles Ts court painter
tendency
extremely light
still
in colour,
further.
work
its
like
They
are
and the Florentine
note supersedes his Caravaggismo. a
in
By
contrast
the Dublin David and Goliath with
powerful movement, foreshortening, chiaro-
Cardinal Benedetto Giustiniani,
is
a
hybrid
conceals Late Mannerist rhetoric'
The and
art
of Orazio Borgianni, Carlo Saraceni,
Bartolomeo
Manfredi
represents
very
different facets of Caravaggismo. Borgianni, a
Roman who grew up
in Sicily
and spent several
years in Spain, returned permanently to
BIBLOSARTE
Rome
CARAVAGGIO
S
FOLLOWERS AND THE CARRACCI SCHOOL
Em.-
BIBLOSARTE
•
75
76
THK PERIOD OF TRANSITION AND THE EARLY BAROQUE
Holy Nail
the
1615, S. Lorenzo in Lucina)
(c.
and the Miracle of St Benno and Alartyrdom of Si Lamhertinus deir.Anima).
1617
(c.
Saraceni,
both S. Maria
18,
however,
never
can
compete with Caravaggio's dramatic Roman
manner nor did he ever ;
lenehroso.
It
fully
absorb the
latter's
remains true that even before these
monumental
pictures one does not easily forget
that his real talent lay in the petite mantere.^* In
1620 Saraceni returned to Venice, where he died the same year.
Manfredi's known work into the period 1610 20.
approximately
falls
He was one
of the few
close imitators ofCaravaggio and interpreted the
master in a rather rough style which
later
genera-
tions came to regard as characteristic ofCaravag-
gio himself; for
it
manner
was Manfredi possibly more
who transformed
than anyone else
Caravaggio's
into proper genre, emphasizing the
an 10 the neglect of Guard-room and tavern
coarse aspects of the latter's his other qualities.
scenes as well as religious subjects suffer this
metamorphosis. Valentin's choice of subjects
St
Raymond
preaching,
c.
artists
161 4.
Rome. Chiesa della Casa Generalizia dei Padri Alercedan
have often been confused.
Italian,
tin settled in
Rome
in
latter's
Rest on the
work
from
Caravaggio's tense and mysterious scene into a
manner
homely narrative enacted before a warm
Caravaggista.^^
mer' landscape.
One much
spirit
emotions and passages of
in
Rome
longer than almost any other
really belongs to a
Like Valentin, Serodine
would, therefore, not of Caravaggio's
younger generation, but both died so young
among
during Saraceni's Caravaggesque period which
that they should be included
begins in the second decade, after Elsheimer's
generation of Caravaggio followers. Yet
death. Yet in these pictures the format as well
Serodine arrived
as his vision grows.
One can
follow this process
His
disciplined
drama. Valentin carried on Caravaggio's
real
expect to find
after 1620.
more
than Manfredi's, but also exhibit an extensive scale of differentiated
of 1606 in Frascati'- shows: Saraceni translated
'Elshei-
son of an
about 1612. Most of his
to date
pictures are not only infinitely
Flight into Egypt with the former's similar
The
coming from France (Boulogne), Valen-
known work seems comparison between the
is
and indeed the two
similar to that of Manfredi,
26. Carlo Saraceni
vaggio was
little
in
Rome
in
more than
the
first
when
about 1615, Cara-
a legend.
By
far the
Raymond Adriano, now
greatest colourist of the whole group, Serodine
Chiesa della Casa Generalizia dei Mercedari)'^
the Caravaggesque Calling of the Sons ofZehedee
of monumentalization from the St preaching
{c.
16 14, formerly S.
[26] to the St Charles
Borrumeo and the Cross of
can be followed
at
Ascona
(r.
in his rapid
1622),
BIBLOSARTE
development from
which combines remini-
CARAVAGGIO
scences of Caravaggio's AUit/oiimi
S
FOLLOWERS AND
CARRACCI SCHOOL
TMF.
77
Lorelo and
Jt
of Borgianni's palette, to his masterpiece, the
immensely touching of the
mid
i()20s
//;«.!iism() did not
begin to spread to any considerable extent until the third decade of the century, that
moment when
Rome
in
itself
at a
is,
was moribund
it
or even dead.
The Bolognese
in
Rome
and Early Baroque Classicism I
have already indicated that the Carracci school
presents a picture vastly different from the
A
Cciravaggisti. artists,
him
follow
phalanx of young Bolognese
observing Annibale's success, chose to to
Rome; nor
They had
The Brandy-Vendor,
bale's unrivalled authority circle
astonishing
phenomena
in the history of art.
The names of Terbrugghen, Crabeth and Honthorst,
Baburen, Pynas and Lastman, Jan Jans-
sens,
Gerard Seghers, Rombouts, and Vouet,
most of them working
in
Rome
at
some time
during the second decade of the century, indicate the extent of his influence;
now that
neither Rubens,
and we know
who had
very early in
his career experienced Caravaggio's direct in-
fluence in
Rome, nor Rembrandt, Velasquez,
and Vermeer, would have developed
as they
did without the Caravaggio blood-transfusion.
But while elements of Caravaggism became
permanent feature of European painting, repeat that
many
of those
to their
home
a
must
who were responsible
and could
on
rely
a
of wealthy and powerful patrons. More-
over, they were
all
masters of the fresco tech-
nique and were, therefore, both able to
Annibale
in his
own work and
to
assist
monuown ac-
execute
mental fresco commissions on their
count. In addition, during the short reign of
Gregory
XV (1621-3), who was himself born in
Bologna, they were in undisputed
command
of
the situation.
Guido Reni (1575 1642) and Francesco Albani (1578- 1660) appeared in after April
Domenichino ( 1 58 1 - 64 1
much
the
younger
1 )
work
shortly
and came soon after, and
Guercino
arrived in 1621. Annibale used for
Rome
1600, Lanfranco (1582-1647)
1666)
(1591
Domenichino
in the Galleria Farnese,-"
and
it
was
mainly Albani, assisted by the Parmese Lan-
countries in favour of current
franco and Sisto Badalocchio, also from Parma,
it
on
As an example, the Frenchman Vouet,
after an
a
their return
for its dissemination discarded
styles.
I
thorough train-
They were supported by Anni-
reached Rome.
after 1625.
Rome. Gdlleria Nazionale
a
academy and had acquired
background even before they
classical
solid
van Laer(?):
recommend them-
They had undergone
ing in the Carracci 28. Pieter
to
that
was incorrect.
and foremost they were excellent
selves. F"irst artists.
much
besides
show
did events
their assessment of the situation
intense early Caravaggesque phase,
submitted entirelv to an easv international Baro-
who
carried out from .\nnibale's designs
most
of the frescoes in the S. Diego Chapel in S.
Giacomo
degli Spagnuoli
BIBLOSARTE
between 1602 and
CARAVAGGIO'S FOLLOWERS AND THE CARRACCI SCHOOL
At the same time Innocenzo Tacconi,--
1607.-'
the frescoes on the vault of the Cerasi Chapel in
Maria del Popolo,
for
on the vault of the room 1608: Oratory of St
which Annibale painted
artists firmly established a style in
rationalist
and
Farnese
the
strengthening of the
Domenichino and Lanfranco, however, the time spent in
Rome
by these
consecutive
nor
protracted.
Rome. The apse decorated by Reni with God the Father
1
was neither
corated by Domenichino with scenes from the Legends of St Nilus and St Bartholomew.
6 1 7 and
and Lanfranco, who was once absent from
Rome
left for
1
The commission was due
62 1
Rome
Naples only
and from 1612-^
to 1614,
Odo-
1609: Palazzo Giustiniani (now Odescaluhi), (di Sutri) Romano. The ceiling of a room painted by Domenichino with stories of the myth of Diana, in the manner of
Bassano
in
small
between 1600 and 1604 and again from 1
to Cardinal
ardo Farnese on Annibale's recommendation
the other hand Reni, after visits to
1607 to 161
and Angels.
1608-10: Abbey of Grottaferrata. Chapel de-
Domenichino
artists
he returned to Bologna between
On
Andrew
sioned by Cardinal Scipione Borghese.
stayed for a period of almost thirty years, though
1633-4.
Ma-
Gregorio
1608-9: S. Silvia Chapel, S. Gregorio Magno,
With the exception of
between 1610 and 161 2,
S.
of St Andrew by Domenichino, commis-
Rome which
classical tendencies inherent in
ceiling.
Andrew,
large frescoes of St
adoring the Cross by Reni and the Scourging
In the succeeding years these Bolognese
a
Rome. The
gno,
the Assumption of the Virgin.
by and large shows
79
of Christ, and Pentecost
figuration, Ascension
another Bolognese of the second rank, executed
S.
•
made
the Farnese Gallery.
On
The frescoes of the large
Bologna his permanent home, remaining there
hall
except for a few relatively brief intermissions
bani represented the Fall of Phaeton and the
by Albani.
the ceiling of the hall Al-
until his death in 1642. Albani did not leave
Council of the Gods, the latter placed in tight
Rome
groups round the edges of the vault
until
mid
1617,-^ to return only for short
periods of time
;
and Guercino's years
Holy City were confined
in the
whole an unsuccessful attempt
to the reign of Gregory
unification.
- the
at illusionistic
Along the walls there are eight
XV, from 162 to 1623. From about 1606 onwards these masters were
scenes illustrating the consequences of the
responsible for a series of large and important
Giustiniani.-^
1
cycles of frescoes. Their activity in this field
is
Fall.
1609- 1
an impressive testimony to their rapidly rising star.
by
A
feeling for the situation
listing in chronological
cycles executed
is
by the whole group during the
crucial twelve years 1606-18.
1
patron was the Marchese Vincenzo
Chapel of the Annunciation, Quirinal
:
Palace.
best conveyed
sequence the major
The
The whole
decorated by Reni and his
Bolognese assistants, see 1
p. 33.
6 10, 1612; Cappella Paolina, S. Maria giore.
Reni
is
Mag-
responsible mainly for single
figures of saints.
1612 14: Choir, S. Maria della Pace. Albani
1606-7: Palazzo Mattei di Giove, Rome. Three
rooms with
ceiling frescoes in the south-west
sector of the piano nubile, blessing Jacob,
by Albani
:
Isaac
Jacob and Rachel, and Jacob's
Dream.-' 1608: Sala delle
in the sixteenth century.
16 1 3- 14: Casino dell'Aurora, Palazzo Rospigliosi,
Reni
Nozze Aldobrandini, Vatican.
Reni's Stories ofSamson (repainted).-^ 1608: Sala delle
completes the mariological programme begun
Dame,
Vatican. Reni's Trans-
Rome. The Aurora
ceiling painted
for Cardinal Scipione
Borghese
1613-14: S. Luigi de'Francesi, Rome.
by
[32J.
Dome-
nichino's scenes from the Life of St Cecilia [29].^«
BIBLOSARTE
8o
•
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
1615: Palazzo Mattel di Giove,
c.
Rome. Lan-
the most classical
at
moment between
and Potiphar's Wife).-' These frescoes are
riportato appears isolated on the
inspired by Raphael's Logge.
the vault. Thus, Guido's .Aurora was framed
and
16 1 5
later:
Palazzo Costaguti,
Domenichino: The Chariot
Rome.
oj Apollo in the
centre of the ceiling of the large hall, set in a
1613 and 1615, the qiiadro flat
centre of
with stuccoes, leaving the surrounding area entirely white.
in the
The principle was perhaps followed
Palazzo Mattei and certainly in the Rape
Tassi quadratiira.^" Lanfranco: the ceiling
of Dejanira ceiling
with Polyphemus and Galatea
(destroyed,
probably the only room which survives undis-
replica in the Doria Gallery); the ceiling with
turbed from the period around 1615. These
Justice
by
and Peace TprohzbXy 1624" (quadraturci
Tassi.'');
the third ceiling with Nesstis and
Deianeira, previously given to Lanfranco,
now
attributed to Sisto Badalocchio.'-
is
The
Armida carrying
ceiling with Guercino's
off
Rinaldo, once again in a Tassi quadratura,
century
second decade
in the
Bolognese
were
artists
form of classicism.
of course, Domenichino in whose work
It is,
this
development
is
most obvious, and
it
typifies
the general trend that his St Cecilia frescoes of 16 1 3- 14 are far
previous work.
more
rigidly classical than his
Corresponding to the requirements of deco-
phase.
Rome. Lanfranco's decor-
ation of the Chapel of St Augustine.
''
:
Rome. Albani
:
ceiling of the hall with
The
Apollo and the Seasons.
artist's
rum,
his Scourging
place on a
1616 Pajazzo Verospi (now Credito Italiano), Corso,
the
inclining towards an extreme
and Romanelli's frescoes belong
to a later
Palazzo Costaguti,
in the
examples are evidence that of the
was painted between 1621 and 1623. Mola's
1616: S. Agostino,
c.
was dropped and,
ation,
franco (Joseph interpreting Dreams znA Joseph
Carrac-
stage
is
;
the carefully prepared
closed by the wall and columns of a
temple placed its
of St Andrew of 1608 takes
Roman piazza
parallel to the picture plane,
rigidity contrasts with the
cesque style has become more decidedly
arrangement of the ancient
Raphaelesque, and reliance on the Cupid and
in the left
Psyche cycle in the Farnesina
is
evident.
'^
city
and
freer
and landscape
background. In order to safeguard
the foreground scene against visual interference
1616-17: Sala de' Corazzieri, Quirinal Palace.
For Lanfranco's contribution
somewhat
to the frieze of
from the crowd assembled under the temple portico,
Domenichino introduced an unusual
device; disregarding the laws of Renaissance
this large hall, see p. 33.
1616-18: Stanza di Apollo, Villa Belvedere
perspective, he
made these figures unduly small,
(Aldobrandini), Frascati. Eight frescoes with
much
smaller than they ought to be where they
myth of Apollo, painted by Domenichino and pupils at the instance of Monsignor Agucchi for Cardinal Pietro
stand.
The principal actors are divided
carefully
Aldobrandini (now National Gallery, Lon-
astonished and frightened spectators. Firmly
scenes of the
into
the figure of the saint, the other consisting of the
constructed though these groups are, there
don).^5
two
composed groups, the one surrounding
is a
certain looseness in the composition and, par-
All these
frescoes are closely connected
characteristics of style.
by
Not only are most of the
ceiling decorations painted as quadri riportati,
but they are also more severely
classical
than the
ticularly in the onlookers, a distinct lack of
definition. In the St Cecilia frescoes the
depth
of the stage has shrunk and the scenes are closed [29].
The
figures have
Farnese Gallery. .Annibale's rich and complex
portance; each
framework, reminiscent of Mannerist decor-
expresses
its
is
mood by
BIBLOSARTE
grown
clearly
in size
and im-
individualized and
studied gestures.
Many
CARAVAGGIO'S FOLLOWERS AND THE CARRACCI SCHOOL
2C).
8l
Domenichino:
St Cecilia before the Judge, 1613 14. Fresco.
Rome, S.
Liiigi
de Francesi
figures are directly derived
archaeological
from classical Statues,
tiously introduced,
and the
permeates the work
to
But
At
spirit
of Raphael
an even greater extent."'
same time Domenichino has seen
at the
all this
more conscien-
elements are
through the eyes of Annibalc.
this
and the
circle
of his friend
note
is
added
and Michelangelo.
who
Rome, Agucchi must have artist in
regarded the St Cecilia frescoes as the apogee
single incidents are
ornamented
nichino
pursue the same course which
the figures
theoretical
position.
^^
History,
never logical and so, after his performance Luigi de' Francesi,
ning to turn
own
however,
is
in S.
we find Domenichino begin-
in a different direction. In his
most
important commission of the next decade, the choir and pendentives of S. .\ndrea della Vallc
to
seemed be tempted by the new Baroque trend. This
is
clearly
622, not
( 1
1
624,-8),^^ this arch-classicist
visible
in
the Evangelists on the
that
Lan-
anguish was given
dome. A development
will also
the apse of the church
One would have expected Dome-
accorded so well with Agucchi's and his
to outshine his rival
to the former's
towards the Baroque
Raphael
may be supposed
celebrated scenes from the
of painting. to
It
Domenichino wished tranco,
strong Correggiesque
a
to the reminiscences of
the commission for the
moment Domenichino was probably
acknowledged as the leading
where
pendentives,
(c.
still
be noticed
life
of St
in
1623-6). While the
strictly
ribs, the stage
in the
Andrew
is
separated by
widened and on
it
move in greater depth than formerly, some of them in beautiful co-ordination with the rich landscape setting. In addition, borrowings from
Lodovico Carracci make
ance,*' another indication of drifting
their appear-
Domenichino's
away from the orthodox
classicism of
ten years before. In
1
'''* 63 1 Domenichino left Rome for Naples,
where he was under contract pendentives and
naro
in
to execute the
dome of the Chapel of S. Gen-
the cathedral.
BIBLOSARTE
Here he
built
on the
82
•
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
tendencies already apparent in the pcndentives
Annibale's more severe approach.
of S. Andrea and amplified them to such an
the
extent that these frescoes appear as an almost
created a landscape style which was to have an
He
important influence on the early work of Claude.
complete break with his
manner.
earlier
filled
the spherical spaces to their extremities
with
a
which
mass of turgid, gesticulating at the
petrified.
same time seem
The
figures
have become
to
principal interest of these paint-
ings lies in their counter-reformatory content,
which Emile Male has recounted but ;
it
cannot
be denied that Domenichino's powers, mea-
The
art
the
grand,
By
allying
Domenichino
of Albani follows a more limited
Domenichino he had
course. Like
started as a
pupil in Calvaert's schooP^ and later removed
At
to the Carracci.
Peter, Oratorio S.
and on Annibale Pinacoteca,
harmonious achievements, were on the de-
a
1
somewhat on was
cline/"
later
the
ner. It
is
(
vacillating
first
dependence on Lodovico
sured by the standard of his most perfect and
Nor was his attempt to catch up with spirit of a new age successful. The hostility
and
pastoral
(e.g.
Colombano, Bologna, 1598) Virgin and Saints, Bologna,
599), his early slight
to
between
Repentance of St
and
become
work already shows
lyrical quality
which
the keynote of his
therefore not at
all
man-
surprising that in
he met with in the course of executing his work
Rome he was particularly captivated by Raphael
Naples and which may have contributed
(Palazzo Verospi frescoes) without abandoning,
in
his failure
dramatic
more
is
known
well
flight
north
in
to
however, after his
however, his connexion with Lodovico, as one
1634 he returned once
of his ceilings in the Palazzo Mattei shows.^'^
;
to Naples, but left the
unfinished at his death in
1
work
in the chapel
Domenichino's reputation has always
re-
mained high with the adherents of the classical doctrine, and during the eighteenth century he is
Although he worked
for
Reni
in the
chapel of
the Quirinal Palace, he remained in these years
64 1
essentially devoted to
Domenichino's type of
classicism, but lacked the latter's precision
unfailing sense of style.
and
Even before returning
often classed second only to Raphael. But this
reputation was not based only on his work as a 30.
Francesco Albani
fresco-painter. Oil-paintings such as the Vatican
Earth, one of a series of
Last Communion of St Jerome of 1614 or the
1626-8. Turin. Pinacoteca
Borghese Hunt of Diana^^ of 1617, done
for
Cardinal Pietro Aldobrandini but acquired by force by Scipione Borghese, reveal
more
him
refined colourist than his frescoes
as a
would
These two works, painted
lead one to expect.
during his best period, show the breadth of his range.
The
St Jerome, more carefully organized
and more boldly accentuated than
his model,
Agostino Carracci's masterpiece,
has
by
failed to carry conviction
depth
of religious
Domenichino's
he was capable of
never
sincerity
and
Coming from one may note with
feeling.'-
frescoes,
surprise the idyllic
its
mood
in the
Diana, but that
by
a
pure landscapes which he painted.
'^
it is
attested
particularly the later ones,
show
number of These, and
a relaxing
of
BIBLOSARTE
The Four
Elements,
^?i^?
CARAVAGGIO'S FOLLOWERS AND THE CARRACCl SCHOOL
to
Bologna his special
gift led
him towards lightmyth
balance by contrappostal attitudes and gestures.
hearted and appealing representations of
Moreover, Reni's essential unconcern
and allegory
mary requirements
in
landscape settings'" of the sort
83
is
exposed by the
for pri-
irrational
perhaps best exemplified by the Four
behaviour of the executioners: they seem to act
Elements in Turin, painted in 1626-8 [30]. In
automatically without concentration on their
that
is
his later years
Albani became involved
retical speculations ter.
Although he had
in the early
in theo-
task.
of a strictly classical characa relatively
moment
strong
1630s {Annunciation, S. Bartolom-
Reni's
opposite.
than a provincial interest, often combine in-
in
empty and boring
symmetry of arrangement. Guido Reni was an infinitely more subtle colourist than Domenichino. In retrospect it
is
in telling contrast to the static
quality of Domenichino's fresco on the wall
meo, Bologna, 1633), during the last period his large canvases, many of which have little more fluences from Reni with an
great fresco, the St AnJreir led to
first
Alartyrdom,
The
figure of the saint, forming part
of a procession from
left to
right
which moves
an arch curving towards the front of the
picture,
is
caught in a
moment of
time as he
adores the Cross visible on the far-away
There
is,
tration
and
however,
a lack
hill.
of dramatic concen-
a diffusion in the
composition w hich,
far sur-
while allowing the eye to rest with pleasure on
passed those of his Bolognese contemporaries.
certain passages of superb painting, distracts
would appear
that his vision
and range
His fame was obscured by the large mass of
from the story
standardized sentimental pictures coming from
contrast,
his studio
during the
last
recently,
fairly
It is
itself.
How lucidly organized, by
the Domenichino!
And
yet
one has
life,
only to compare the figure of the henchman
only
seen from the back in both frescoes to realize
ten years of his
the majority the product of assistants.
is
and particularly through the
Reni's superior pictorial handling.
The
classi-
and more imagi-
Reni Exhibition of 1954, that the high qualities of his original work have revealed him once
cism of Reni
again as one of the greatest figures of Seicento
Guido was capable of adjusting
painting.
the subject-matter instead of conforming to a
Guido was
less
dependent on Annibale than
is
in fact far freer
native than that of Domenichino. In addition,
This may be indicated by men-
rigid pattern.
some works created during
the other Bolognese artists, and from the begin-
tioning
ning of his stay in Rome he received commissions
important years of his
of his own. Between 1604 and 1605 he painted the Crucifixion of St Peter (Vatican) in Caravaggio's
manner. That even Reni, despite having
gone through Lodovico's school
would
for a while
at
Bologna,
be drawn into the powerful
orbit of Caravaggio^^
might almost have been
foreseen; but although the picture shows an
extraordinary understanding of his dramatic realism and lighting the Cariivaggisti had
and that
come
at a
time before
into their
own
~
the
was classical and his approach removed from Caravaggio's. The
his style to suit
the
same
life.
In the Music-making Angels of the S. Silvia
Chapel
in S.
Gregorio Magno, and
the denser crowds of angels in the
still
more
in
dome of the
Quirinal Chapel, Reni has rendered the intangible beauty
and golden
the nature of angels.
light
which belong
to
A few years later he painted
the dramatic Massacre ofthe Innocents (Bologna, Pinacoteca).^'* Violence,
have thought the
But the
spirit
artist
of which one would incapable,
is
rampant.
of Raphael and of the ancient
basis of Reni's art
Niobids combine to purge
to painting far
structed canvas of any impression of real horror.
picture
is
composed in the form ot the tradipyramid and firmly woven into
tional classical
In the
this subtly
Samson (Bologna, Pinacoteca)
mitigated
the
con-
[31]^"
he
melancholy aftermath of the
BIBLOSARTE
84
•
THE PERIOD OF TRANSITION AND THE EARLY UAROQUE
^^yrz^:^^
'
i^f^VT/'ffl
bloodthirsty scene by the extraordinary figure
of the hero, standing alone in the twilit landscape in
a
pose vaguely reminiscent of Mannerist
moving
to the muffled
sound of
music, with no weight to his body.
Triumph
figures, as if
and desolation are simultaneously conveyed by the contrast of the brilliant warm-golden hue of the elegant
nude and the cold tones of the corpses
huddled on the
field.
I'he
monumental Papal
Portrait, probably painted a decade later,^"
Corsham Court,
at
is
now
a serious interpretation
of character in the Raphael tradition, showing
depth of psychological penetration which
a is
surprising after a picture like the Massacre,
where the expressions of all the ations
on the same theme.
mutes
in
faces are vari-
Finally, Reni trans-
the Aurora [32]^' a statuesque ideal of
bodily perfection and beauty by the alchemy of his
31 (lop). c.
Guido Reni: The Triumph of Samson,
1620. Bdlogna, Pinacoteca
light effects,
weld-
ing figures adapted from classical and Renais-
sance art into a graceful and flowing conception.
32 (above). Guido Reni: Aurora, 161 3- 14. Fresco.
Rome, Palazzo
glowing and transparent
Rospigliosi, Casino dell' Aurora
As
early as 16 10
emerge to
it
seemed
as the leading artist in
supreme eminence was open
would
that Reni
Rome. The road to him, not least
because of his favoured position
in the
house-
hold of Cardinal Scipionc Borghcse, through
whose good
offices
he had been given the
lion's
share of recent papal commissions. But he
BIBLOSARTE
CARAVAGGIO'S FOLLOWERS AND THE CARRACCI SCHOOL
•
85
himself buried these hopes when in 1614 he
Atalanta and Hippomencs (Prado) of the early
Domesituation. The
centration on graceful line, and the peculiar
change of domicile had repercussions on his
balance between naturalism and classicizing
decided to return to Bologna, leaving nichino in
command
rather than
style
on
of the
his
productivity.
masterpiece followed the other cession.
Among them
della Pietd
in
One
quick suc-
are the great
Madonna
of 161 6 (Bologna, Pinacoteca), which
composition could never have been painted in Rome, with
its
peculiar symmetrical
and the Assumption
in S.
and
hieratic
Ambrogio, Genoa,
same year, in which evident reminiscences of Lodovico and Annibale have been overlaid with a more vivid Venetian looseness and bravura [33]. This rich and varied phase of begun
in the
Reni's activitv reaches
its
conclusion with the
1
The eurhythmic
620s.
idealization of the figures,
epitome of Reni's
as an
warm
his
Guido Reni: The Assumption of Amhmgin
161 6- 17. Genoa. S.
the Virgin,
worked out
is
all
work
reveal this
He
art.
and the
palette,
the picture
has discarded
irrational lighting of in cool colours.
The
remaining years of his Bolognese activity, during
which he developed with
together
new colour scheme
this
thorough
a
readjustment
of
general principles, belong to another chapter.
Reni's influence,
was strongest
years,
particularly in
in
his
later
Bologna, from where
it
spread. Lanfranco, on the other hand, after
having been overshadowed by Domenichino during the
33.
composition, the con-
two decades of the century,
first
eventually gained in stature at the expense of his rival,
and
in the twenties secured his position as
the foremost painter in in
1582, he
first
Rome. Born
worked
at
Parma
there, together with
Sisto Badalocchio, under Agostino Carracci,
and both
it
was
after Agostino's death in 1602 that
artists joined
Annibale in the Eternal City.
From the beginning Lanfranco was the antipode of Domenichino. Their enmity was surely the result of their artistic incompatibility; for
Lan-
coming from Correggio's town, had adopted a characteristically Parmese palette franco,
and always advocated
a painterly
freedom
in
contrast to Domenichino's rigid technique. In fact the old antithesis
which
for a
between colour and design,
moment Annibale had
resolved,
was here resurrected once again. In his early
engaged on frescoes
Roman
all
by the
ever, in a
years we find Lanfranco more important cycles of Bolognese group, often, howthe
minor capacity. Beginning perhaps as
Annibale's assistant in the Farnese Gallery, he
had
a
share in the frescoes in the S. Diego
Chapel, in S. Gregorio Magno, the Quirinal Palace,
and even
Maria Maggiore.
in the
Cappella Paolina in S.
Of the
Lanfranco on his own
BIBLOSARTE
first
in
cycle painted
about 1605
by
in the
86
•
THE PERIOD OK TRANSITION AND THE EARLY BAROQUE
Camera
degli Ercmiti of the Palazzo Farnesc,
three paintings detached from the wall survive in the
neighbouring church of S. Maria della
Morte.''-
This work shows him already follow-
style.
The change may
cenza Si Luke of 161
be observed It
1.
Caravaggio's monumental to usher in Lanfranco's
in the Pia-
appears there that
Roman
style
new manner.
helped
.S7
Luke
ing a comparatively free painterly course, re-
combines motifs from Caravaggio's two Si
markably untouched by the gravity of Annibale's
Matthews
Roman manner. But
a graceful angel in
Lodovico's manner
and the whole
bathed
end of 1610
it
was
from the
home-town Parma
to 16 12 in his
that brought
his stay
inherent tendencies to sudden
maturity. Probably through contact with the late stvle
of Bartolommeo Schedoni"' he devel-
Parmese
for the altar
is
of the Contarelli Chapel;
in
is
added,
Lanfranco's new
tonality. After his return to
Rome
and
in a daring
composition such as the Vienna
oped towards a monumental and dynamic Baro-
Virgin with St
que manner with strong chiaroscuro tendencies.
about 1615-20'^ his new idiom appears
It
was the renewed experience of the
Correggio
and of Correggio seen
original
through
Schedoni's Seicento eyes that turned Lanfranco into the
champion of the
rising
High Baroque
he
gradually discarded the traditional vocabulary,
James and St Anthony Abbot of fully
developed.
Lanfranco's ascendancy over Domenichino in S.
Agostino (1616)
and was sealed with the huge
ceiling fresco in
began with the frescoes
the Villa Borghese of 1624-5 [34]-^^ "^n enor34.
Giovanni Lanfranco: The Gods of Olympus
(repainted) and Personifications of Rivers, 1624-5.
Detail of ceilins; fresco. Rome,
I
ilia
Borghese
mous illusionist cornice is carried by flamboyant stone-coloured caryatids between which
is
seen
the open sky. This framework, grandiose and at
BIBLOSARTE
35-
Giovanni Lanfranco;
The
Virgin in Glory, 1625-7. Fresco. Rome, S. Andrea della Valle, dome
BIBLOSARTE
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
88
•
the
same time easy,
reveals a decorative talent ot
the highest order. But although there
is
a
Baro-
of his time. His Virgin with Saints of 1616
Museum),
(Brussels
the
Martyrdom of St
Peter
que loosening here, the dependence on the
of 1618 (Modena), the Prodi^^al Son of 1618-19
Farnese ceiling
(Vienna), and the Louvre St Francis and St
cannot
be overlooked
the
:
quadratura yields on the ceiling to the large
Gods of Olym-
qiiadro ripnrtato depicting the
Compared with
pus.
the Farnese Gallery, the
and concentration on
simplification
few great
a
Benedict, the Elijah fed by Ravens (London,
Mahon
and particularly the St
Collection),
William receiving the Habit (Bologna, Pinacoteca),
all
of 1620, show a progression towards
accents are as striking as the shift of visual
Baroque movement, the merging of figures with
and
their surroundings, form-dissolving light ef-
import from the quadra riportato to the with
quadratura
airy
light
accessory
the
scenes.
Traditional quadratura of the type practised by
By
Tassi was reserved for architecture only.
making use of the his
figures as an inherent part of
scheme Lanfranco revealed
and
a
more
playful
fantastic inventiveness than his predeces-
sors, excellently suited to the villa of the
patron
The
who required
next important
step
in
forceful,
and there
which
often carried far
felt
Lanfranco's
seemed
torial,
a
which the prevailing
Correggiesque
illu-
Roman church
duced into
was
this that spelt the real
decoration, and
end
it
predomin-
to the
similar step
had been taken
few years
a
he executed, above
[36].
belonged
younger generation; thus already
known work,
carried out in his
birthplace. Cento, he reveals a breaking
from
Carraccesque
the
Although these frescoes of 1614
away
conception.
figure
in the
all,
Casa
in the
is
emotional and personal interpretations with
something of the quality of cabinet painting, foster the
There
is
mood evoked by
the
coming of light.
here an extraordinary freedom of
handling, almost sketch-like in effect, which
forms a dehberate contrast to the hard the architecture
in their flickering effect
way
a long
These atmospheric
to dissolve
qualities,
which
of light
cubic form. to a certain
appeared as
and must
a reversal
at the
of the traditional solidity
developed more
had
fully
and
during the next ten years.
his visit to
Rome
in
1621
Guercino painted a series of powerful altarpieces which
entitle
him
to rank
among
the
first artists
a
perman-
Roman
painters,
which might have assured Guercino ent place in the front rank of
16 16
lines of
time have
of the fresco technique. This work, however,
extent Guercino shared with Lanfranco, were
Between
.\t
end the figures of Day and Night,
racci in the Palazzo Fava, Bologna, they contrast
which goes
XV
the very antithesis of
Casino Rospigliosi.
Provenzale are derived from those by the Car-
with their model
change
the frescoes in the Casino
quadratura architecture
either
in his earliest
a
would be
classical taste
The boldly foreshortened Aurora charging
One
to a slightly
manner would
and hasten
Ludovisi for the Cardinale nipote oiGregory
Guido's fresco
artist
in 1621,
incapable of resisting. Between 1621 and 1623
before by Guercino in the decoration of palaces.
should not forget that this
Rome
through the sky which opens above Tassi's
ance of the classicism of the second decade.
A
in
rather violently Baroque
della Valle, 1625-7,^*'
[35].
beyond the capacity
appeared
create a deep impression
sionism of the grandest scale was here intro-
increasingly
foregone conclusion that his pic-
career, the painting of the
Baroque painting
become
an intensity of expression
the greatest admiration.'"
When Guercino it
dome of S. Andrea opens up a new phase of
is
is
of Lodovico, for whose early style Guercino
eminent
light-hearted grandeur.
and glowing and warm colours. In addi-
fects,
tion, contrapposto attitudes
for the artist an
Under
unexpected consequence.
the influence of the
Roman
atmosphere,
which was charged with personal and theoretical complexities, his confidence
BIBLOSARTE
began to ebb.
CARAVAGGIO
S
FOLLOWERS AND THE CARRACCI SCHOOL
36. Guercino: Aurora, 1621-3. Fresco. Rome, Casina Ludiivisi
Already in the great Burial and Reception into Heaven of St Petromlla of 1622-3 (Rome, Capitoline
Museum)
of an abandonment
there
is
a faint
beginning
of Baroque tendencies.
figures are less vigorous
and more
The
distinctly
more
easily appreciated classicism.
very picture where this idea of lowering the
open sepulchre
in
is
first
body of the
But
in the
manifest, the saint into the
which the beholder seems
to
stand has a directness of appeal unthinkable
defined, the rich palette
without the experience of Caravaggio.""' Thus
composition
painterly
than
in
is toned down, and the more classically balanced It is a curious the pre-Roman works.
historical
too
itself is
^"^
paradox that Guercino who,
it is
not
much to say, sowed the seeds in Rome of the
great
High Baroque decorations, should at this moment have begun to turn towards a
precise
and
Baroque
a foretaste
at this crucial
style,
a
an echo of Caravaggio,
of Baroque-Classicism combine
phase of Guercino's career.
The
aftermath, in the painter's home-town, Cento,
must be mentioned context.
BIBLOSARTE
later
on and
in a different
BIBLOSARTE
CHAPTER
5
PAINTING OUTSIDE ROME
The
of painting. These schools lived on into the
became a stagnant backWherever Florentines or Florentineinfluenced artists worked at the beginning of the
and provincial centres
Italian city-states
looked back to an old tradition of local schools
painters in Europe, water.
seventeenth century, preserving some of their
seventeenth century,
native characteristics. In contrast to the previous
free
two centuries, however,
(1528 or later- 16 1 2),- whose place
slight
importance was
their
compared with Rome's dominating
posi-
they produced painters of con-
tion. It is true
it
spelled a hindrance to a
development of painting. Thirdly, Barocci '
is
in a history
of sixteenth-century painting, has to be mentioned. All that can be said of
him here
is
that
Rome
he always adhered to the ideal of North Italian
that these masters could rise to the level of
colour and fused an emotionalized interpre-
siderable distinction, but
metropolitan
to
who
was only
seems
artists. It
the Bolognese
it
in
guess that
a safe
followed Annibale Carracci
Rome would have remained provincial if they Before discussing the contributions of the
may once again
local schools, the leading trends
(see p. 27) be surveyed.
draw
About 1600,
inspiration from,
back upon, three principal manners. diflferent facets
Mannerist figures and
Mannerist compositions. Whenever
artists at
the turn of the century tried to exchange rational
Late Mannerist design for irrational Baroque
had stayed at home.
painters could
tation of Correggio with
Italian
and
fall
First, the
of Venetian and North Italian
work was one of the
colour, Barocci's imposing
chief sources to which they turned. x'Vmong his direct followers in the
Andrea
Marches the names of
(1555-1610),' Alessandro Vitale
Lilli
(1580- 1 660), and Antonio Viviani (1560- 1620)
may
be noted. His influence spread to the
colourism: the warm, glowing and light palette
Emilian masters, to Rome, Florence, Milan,
of Veronese, the loaded brush-stroke of the
and above all to Siena, where Ventura Salimbeni
late
567- 1630) and Francesco Vanni (1563-
Titian, Tintoretto's dramatic flickering chiaro-
(c.
and Correggio's sfumato. Venetian 'impressionist' technique was surely the most
1610)^ adopted his
scuro,
important factor
Baroque painting.
bringing about the
in
new
Its influence is invariably a
sign of progressive tendencies,
and
it is
hardly
necessary to point out that European painting
remained permanently
down
to the
indebted
to
Venice,
French Impressionists. Secondly,
there was the anti-painterly style of the Florentine
Late Mannerists,
a style
of easy routine,
sapped of vitaUty, which remained nevertheless in
vogue
far into the
seventeenth century. But
1
manner
at certain phases of
their careers. x'\s
the century advanced beyond the
first
decade three more trends became prominent, the impact of which
was
throughout
and across her
Italy
to
be
felt
sooner or later frontiers,
namely the classicism of Annibale Carracci's school, Caravaggism,
Baroque, the
last
and Rubens's northern
resulting mainly
from the
wedding of Flemish realism and Venetian colourism. This marriage, accomplished by
a
great genius, was extraordinarily fertile and had
above all
northern
this style contained
no promise
for the future.
Florence, which for
more than
hundred years
At the end of the sixteenth and the beginning
had produced or educated the most progressive
of the seventeenth centuries provincial painters
a
a lasting influence
BIBLOSARTE
in
Italy.
92
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
•
could not yet have recourse to the
which were then
in the
new trends
making. But provincial
centres were in a state of ferment. Everywhere in Italy artists
were seeking
painting. This situation
is
a
new approach
to
not only cognate to
Barocci's Urbino, Cerano's and Procaccini's
Milan, Bernardo Strozzi's Genoa, Bonone's
as the authors of a series of
production
less their
Neither academic
essentially provincial.
is
in the sense
of the prevalent
Domenichino type of classicism nor fettered to Caravaggismo, their work is to a certain extent
Rome. The
Modena, but even
to
an antithesis to contemporary art
as
culmination of this typically Bolognese manner
an attempt to break away from Mannerist con-
On
emerge
powerful and vigorous masterpieces. Neverthe-
and may be characterized
Ferrara, and Schedoni's Cigoli's Florence,
second decade of the seventeenth century that these artists
occurs
about
years
fifteen
in
after
.^nnibale's
new emotional from formulas of com-
departure to Rome, when the powers of Lodo-
position and colour.^ Since the majority of these
were on the wane. In the ten years between 16 10
ventions.
all
sides are seen a
vigour and a liberation
artists
belonged to the Carracci generation,
much of their work was painted before
1
600. They
were, of course, reared in the Late Mannerist tradition,
and from
this, despite their protest
against it, they never entirely emancipated themselves. It
was only
in
vico,
both as painter and as head of the Academy,
and 1620, above
all,
the artists of the Carracci
school fulfilled the promise of their training;
but on the return of Guido Reni
to
Bologna,
they relinquished one by one their individuality to this
Bologna, due mainly to the
much
superior painter.
was the most
If Mastelletta
original of this
pioneering of the Carracci 'academy', that at the
group of
beginning of the Seicento a coherent school
undoubtedly Cavedoni and Tiarini. After
arose which hardly shows traces of a transitional
brief Florentine phase in his early youth" the
style.
As regards the other provincial towns,
by and large more appropriate sitional
manner brought about by
the efforts of
individual and often isolated masters,
whose names have
just
be discussed
some of
been mentioned. The
special position in the Venice of will
it is
to talk of a tran-
end of
at the
Lys and
Fetti
this chapter,
while the lonely figure of Caracciolo
may more
latter
artists,
returned
developed
a
where he soon
Bologna,
to
a characteristic style
of his own. His
masterpiece, St Dominic resuscitating a Child, a
many-figured
picture
of
huge
dimensions,
painted in 1614-15* for S. Domenico, Bologna, is
dramatically
lit
and composed
[37].
Since he
was hardly impeded by theoretical considerations, Httle
is
to
conveniently be added to the names of the later
practised at this
Neapolitan painters (see
Rome. While
p. 356).
the most highly talented were
be found here of the classicism
moment by
his compatriots in
the solidit}' of his figures and their
studied gestures reveal his education in the
BOLOGNA AND NEIGHBOURING The foremost names
Carracci school, his 'painterly' approach to his
CITIES subject proves
of Bolognese artists
did not follow Annibale to
who
Rome are Alessandro
Tiarini (1577- 1668), Giovanni Andrea
Don-
on
whom
him
he also
a close follower of Lodovico,
relies for certain figures
temple and column. During the next years he
manner
compositions with
ducci, called Mastelletta (1575- 1655), Leonello
intensified this
Spada (1576-1622), and, in addition, Giacomo Cavedoni from Sassuolo (1577- 1660).'' They
sombre and somewhat coarse
all
begin by adopting different aspects of the
Carracci
teaching,
on occasion coloured by
Caravaggio's influence.
It is,
however,
in the
and
the unco-ordinated back-drop of the antique
sive gravity.
in
figures of impres-
Characteristic examples are the
Pieta (Bologna, Pinacoteca) of 161 7, and St
Martin
resuscitating
the
Widow's Son
in
S.
Stefano, Bologna, of about the same period.
BIBLOSARTE
PAINTING OUTSIDE ROME
37. Alessandro Tiarini:
St
Dominic
38.
Bologna, S. Domentco
According
to Malvasia's report he
latter's Incredulity
was deeply of the
a version
of St Thomas,
at the
time in
Bologna, was gleefully copied by him. In the twenties Tiarini uses a lighter range of colours; his style
tense,
becomes more
rhetorical
and simultaneously an
nese and Pordenone
is
and
less in-
Vero-
interest in
noticeable. His latest
Virgin and Child with SS. A16 and Petronius,
6 14. Bologna. Ptnacoteca
1
impressed by Caravaggio, and
93
Giacomo Cavedoni
The
resuscitating a Child, 1614-15.
•
decade a sense for
a quietly expressive
which he renders with erly
technique.
Carracci
is
a looser
If his
mood
and more painton Lodovico
reliance
the dominant feature of his work, a
Correggiesque
note
probably
through Schedoni, with affinities - as
can be seen
whom
reaches
him
he has certain
in the frescoes
of 1 612-
14 in S. Paolo, Bologna. In his masterpiece, the
work, under the influence of Domenichino and
Virgin
above
Petronius of 16 14 (Bologna, Pinacoteca) [38],
all
Reni, hardly bears testimony to his
promising beginnings.
his
Cavedoni lacks the dramatic power of Tiarini's early style,
but he displays
in the
second
and Child
in
Glory with SS. Aid and
glowing palette shows him directly depend-
ent on
sixteenth-century
This
surely one of the most
is
BIBLOSARTE
Venetian painting.
commanding
94
•
THF.
PERIOD OF TRANSITION AND THE EARLY BAROQUE
pictures produced at Bologna during the period.
this
would appear
Cavedoni
his
Bolognese nickname of scimmia del Cara-
never
again
such
achieved
full-
blooded mastery. It
seems
Caravaggio
suppose, the epithet was doubtless acquired by
Spada accompanied
virtue of his liberal use of black and his realistic
His early manner is close Mannerism (Abraham and MeUhi-
genre scenes (Musical Party, Maisons Laffitte)
that
to Malta.'
sedek, Bologna,
his
vaggio ('Caravaggio's ape') might lead one to
report
to Calvaert's
conspicuous than
Malvasia's cir-
difficult to discard
cumstantial
slightly less
home-town,
c.
in
or in
more
proved by the fresco of
Abel
in
1605). In 1607 he
as
is
and detailed rendering of close-up figures
was
still
blood-thirst)- contexts (the Catn
Naples or the
Hay to
Calvary
in
in
and
Parma).
The Miracle of the Loaves and Fishes in the Ospedale degli Esposti. There is no trace here
His use of Caravaggio's
of Caravaggio's influence, and
of the instruction of the Carracci academy. But
in
Spada's later pictures,
the artist's mind.
Only
who in
it is
is
Lodovico, as
uppermost
in
the course of the
moderated by
himself to Caravaggio, and although nowadays
1616
:
The Rest on
is
always
acknowledgement
unsuited to monumental tasks, for there trace of
c.
however,
he seems to have regarded Caravaggism as
second decade do we find him subordinating
39. Mastelletta
art,
a substantial
in
it
S.
is
no
Burning of heretical Books of Domenico, Bologna, where the
in Tlie
the Flight into Egypt,
1620. Bologna, Pinacoteca
BIBLOSARTE
PAINTING OUTSIDE RON4E
packed and sharply columned architecture fall tightly
commonly
lit
figures before a
with the style
in
practised at Bologna during these
95
and Carlo Bonone (1569- 1632). The former belongs essentially to the
late sixteenth
century,
but in his small landscapes with their sacred or
years. In his late period
Spada worked mainly
Reggio and Parma
Ranuccio Farnese, and
nique of Venetian painting and the colour of
Marriage of St Catherine (Parma) of 1621 shows that under the influence of Correggio his
Jacopo Bassano with the tradition of Dosso
for
in
his
style
becomes more mellow and
that his Cara-
vaggism was no more than a passing phase.
must be mentioned. Both these unorthodox unexpected
Bolognese
in the
who
setting. Faccini, a painter of rare talents
had been brought up
in the
590s he followed the Carracci lead, but
very
last
He
thus becomes an important link with
his influence
Mastelletta
is
on an Emilian master
probably greater than
realized. In Carlo
16 10
shows
in his
40. Carlo
free
:
dell'
Abate, Correggio, and Barocci seem to have contributed. His Virgin and Saints in Bologna is
evidence of the
developed
new manner which
fully
is
in the self-portrait (Florence, Uffizi),
possibly dating from the year of his death. This
curious disintegration of Mannerist and Carrac-
cesque formulas gives
to
his
works an
last
almost eighteenth-century flavour. Mastelletta painted on the largest scale in a maniera furbesca (Malvasia),
and the two huge scenes
Domenico, Bologna,
in
S.
reveal that in 161 3-15 he
was not bound by any doctrinal interest for the
His chief
ties.
modern observer
lies
in
his
small and delicate landscapes in which the influence of Scarsellino as well as Niccolo dell'
Abate may be discovered. '° They are
in a
dark
key, and the insubstantial, brightly-lit figures
emerging from
their
shadowy surroundings
contribute to give to these pictures an ethereal effect [39]. artist
The most
of his generation
imaginative and poetical in
Bologna remained,
might be expected, an isolated today his work
is
figure,
as
and even
almost unknown."
At the same period Ferrara can claim two artists
in his best
Bonone The Guardian Angel,
Ferrara, Pinacuteca
and delicate man-
which Niccolo
ner, to the formation of
who
a close aflfinitv to
years there was a radical change to-
wards an extraordinarily
of distinction, Scarsellino'-
(i
like
present
Bonone Ferrara possessed an
early Seicento painter after
is at
period
Schedoni.
Mannerist tradition,
died in 1602 at the early age of forty. In the 1
Dossi.
early seventeenth-century landscape painters,
and
Together with Mastelletta, Pietro Faccini
artists are totally
profane themes he combines the spirited tech-
551 -1620)
BIBLOSARTE
1610.
q6
•
THE PERIOD OF TRANSITION AND THE EARI.Y BAROQUE
Though
not
discarding
the
local
tradition
stemming from Dossi, nor neglecting what he had learned from Veronese, he the
fully
shows him not surprisingly returning typically Ferrarese Late
Bartolommeo Schedoni (1578 1615)"
absorbed
new tendencies coming from Lodovico
calibre.
Maria
in
mostly
Name
ofGod{i()\-;~zo), he based himself upon
Correggio without, however, going so
wards Baroque unification
Rome.
as
far to-
Lanfranco did
Parallel to events in the
in
neighbouring
Bologna, his decline begins during the twenties.
Modena
phase certainly an
his latest
Carracci [40]. In his fresco in the apse of S.
Vado, depicting the Glorification of the
to
He was bom at
in
artist
Modena
predominantly Mannerist
more
of 1606 7 are in their
1
6 10 there
is
in
still
dependence his style
But beginning
flowing.
in
Modena and worked
on Niccolo dell'Abate, although already
is
of greater
Parma, where he died. His frescoes
the town-hall at
a
Mannerism.
in
is
about
an almost complete break with this
early
manner. Pictures of considerable origin-
The Miracle of the Well (1624-6) and the Holy
ality
such as the Christian Charity of 161
Family with Saints (1626), he displays a provin-
Naples
In his two dated works in the
cial eclecticism
Guercino and picture,
by following
in the other
in the
Gallery,
one case
Veronese. His
last
The Marriage at Cana (Ferrara) of 1632,
of
1
[41], the Three
Parma, and the unfinished St Sebastian
in
Naples, Mtiseo Nazioiuile
161
1.
Women (Naples) prove that who has provided the main inspinew style. It is marked both by an
attended by the Holy
Correggio
ration for this
Bartolommeo Schedoni: Christian Charity,
in
6 14, and the Deposition of the same period,
both
it is
41.
1
Maries at the Sepulchre
intensity
and peculiar aloofness of expression
and by an emotional use of areas of bright yellows and blues which have an almost metallic surface quality. His colour scheme, however, far
removed from
is
that of the Mannerists, for he
limits his scale to a few tones of striking brilliance.
The
treatment of themes with low-class
types as in pictures like the Charity probably resulted from the experience of Caravaggio or his followers. It
that
is
a pointer in the
Schedoni often placed
neutral background. Yet
Caravaggio there
is
is
how
from
different
the result! In Schedoni's case
a strange contrast
ground and the
same direction
his figures before a
figures
between the dark
which shine
like
precious
jewels.'^ It
appears from this survey that the Emilian
masters owed more to Lodovico than to any other single personality, but
it is
equally evident
that the style of the outsize canvases like Tiarini,
many
by
artists
Spada, and Mastelletta, with the
narrative incidents, the massive figures,
and the studied academic poses, did not
join
the broad stream of the further development.
Only of Schedoni, the master
BIBLOSARTE
less
obviously
PAINTING OUTSIDE ROME
connected with the Carracci tradition, can said that he
had
impression he
a lasting influence,
made on
be
it
through the
the youthful Lanfranco.
97
•
Sarto and Pontormo, but the manner which he
developed
in the
second and third decades of
a peculiar compound of the Mannerism and a rich, precise, and sophisticated colour scheme in which
the
new century
is
older Florentine
FLORENCE AND SIENA It
yellow predominates. Venturi was reminded
has already been indicated that the role of
Florence
in the history
of Seicento painting
is
disappointingly but not unexpectedly limited.
Not
a single artist
produced there
of really great stature was
tradition
tempts
Italian colour
baran, and similar colouristic qualities
be found
in his rare
and attractive
To
a greater or
the arrangement of which
tied to their
northern tradition.
of draughtsmanship, and their at-
to adjust
(Vienna) of the palette later developed by Zur-
remained
at this period.
lesser extent Florentines
before a picture such as the Susanna of 1600
themselves to the use of North
were more often than not half-
By
far the
II
however,
also
lifes,"
dependent on the
most eminent Florentine
this generation,
called
is
may
still
is
Cigoli (1559-1613).
artist
of
Ludovico Cardi,
An
architect of
hearted and inconsistent. Furthermore, neither
repute and a close friend of Galilei,'^ he went
drama and
further on the road to a true Baroque style than
the emotionalism of Barocci nor the
impetuosity of Lanfranco and the young Guercino were suitable to Tuscan doctrine and tem-
perament. Bernardino Poccetti's (1548- 161 2) sober and measured narrations (Chiostro di S.
42. Cigoli:
The
Florence, S.
Marco, 1602) remained the accepted artists like
Domenico
Ecstasy of St Francis, 1596.
Marco, Museum
and
style,
Cresti, called Passignano
(1558/60-1638), were faithful to this manner far into
did,
the seventeenth century. Passignano
however, make concessions to Venetian
show
a richer
palette than those of his
contem-
colour, and his pictures tend to
and warmer
poraries. Similarly, Santi di Tito (1536- 1603)
softened his style towards the end of his career,
but his paintings, though often simple and appealing, lacked vigour and tension and were
never destined to transmit new
life.
This
was continued anachronistically by Tito's ful pupil c.
Agostino Ciampelli
1575-1642).'^
It is likely
(c.
style
faith-
1568- 1630, not
that the
Veronese
Jacopo Ligozzi (1547- 1626),"' who spent most of his life in Florence, was instrumental in imposing northern chromatic precepts upon the artists in the city of his choice.
A
painter of considerable charm,
serves special mention,
is
who
de-
Jacopo Chimenti da
Empoli (1551/4-1640). He began in Poccetti's studio with a marked bias towards .Andrea del
BIBLOSARTE
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
98
any of his Florentine contemporaries. In the
who have been mentioned.
beginning he accepted the Mannerism of his
(157 1 -1639), Vanni's pupil, was also not un-
teacher, Alessandro Allori. At a comparatively
affected by Barocci's manner.
changed under the influence of
early date he
conversion to Caravaggism
Manetti
Rutilio
But only with
in his
his
Death of the
Barocci (Baldinucci). In his Martyrdom of Si Stephen of 1597 (Florence, Accademia) Vero-
Blessed Antonio Patrizt of 1616 (S. Agostino,
one
distinction. In the following years his vigorous
nese's influence
clearly noticeable, while
is
of his most advanced works, the Last Supper of 1
(Empoli,
591
Collegiata),
The
clarity, directness,
plicity of interpretation of the
as
dependent on
colouristically, but not formally,
Tintoretto.
him
reveals
and sim-
event show him
almost on a level with the works of the Carracci at the
same moment. In some of his Ecce
like the
Homo
(Palazzo
later
works,
Pitti), a typically
Monticiano) does he emerge as an
famous
he gives vent
[42],
Ecstasies of
to the
St Francis
new emotionalism.
Nevertheless, he hardly ever fully succeeded in casting off his Florentine heritage.
Rome
in 1604,
brief intervals. His largest
frescoes in the S.
He
went
to
returning to Florence only for
dome
Roman
work, the
of the Cappella Paolina in
Maria Maggiore (1610-13),
of
are, in spite
spatial unification, less progressive than they
may
at first
12),
those of Cupid and Psyche from the Log-
appear. In his
getta Rospigliosi
last frescoes
(now Museo
di
genre scenes are reminiscent of Manfredi and
From
the beginning of the thirties there
falling off in
quality, for
fifteen years
is
Florentine narrative style of the
Poccetti-Passignano type, which was adopted
by Manetti early
in his career,
Rome but also in
only in
which
it
While
in
Genoa
it
and the Fleming Giovanni than these masters
is
contemporary Matteo Rosselli ( 1 578-
He owed
his
position, however, not to his intrinsic qualities
was the head
of a school which was attended by practically all
the younger Florentine artists. -°
Siena
at this
was imported
out variation, in Milan
it
directly, with-
was blended with new
tendencies in an effort to produce a distinctly 'native'
manner.
Roma), he
(1576- 1644), adhere to a transitional
as a painter but to the fact that he
to
(1611-
best of Cigoli's followers, Cristofano
1650), a pupil of Passignano.
a success not
was put was not everywhere the same.
Charles Borromeo
their exact
was
the North, particularly
and Lombardy. However, the use
in Liguria
franco as well as to Annibale himself.
More important
a
exhausted.-'
The popular
Seicento painting
style. ^^
is
the St
pupils, the energy displayed during the previous
the
Allori (1577- 1 621)
in
great extent executed with the help of
to a
extent that they were once attributed to Lan-
Biliverti
example
Eligius of 1 63 1 at Siena; in his latest production,
accepted the Carraccesque idiom to such an
Even the
of
Valentin or even the northern Caravaggisti.
Seicento immediacy of appeal will be found; in others, like his
artist
(d.
in the first chapter.
kept alive by his
Borromeo.
It
Milan developed under
great counter-reformer St 1584),
His
a cycle of paintings to
from St
his life
in
1602 commissioned
honour St Charles's
large canvases depicting scenes
were increased
Charles's
discussed
of devotion was
nephew Archbishop Federico
was he who
memory. These
who was
spirit
in 16 10, the year
canonization,
to
over
forty
of to
include portrayals of his miracles (the whole cycle
in
Milan Cathedral).
Many
of these
pictures were due to the three foremost Milan-
period had at least one painter
worth recording apart from the Barocci
in
shadow of the
fol-
lowers Ventura Salimbeni and Francesco Vanni,
ese painters of the early Seicento, Giulio Cesare
Procaccini
(1574- 1625),--
Crespi, called Cerano
BIBLOSARTE
(t.
Giovanni
Battista
1575- 1632), and Pier
PAINTING OUTSIDE ROME
Francesco
Mazzucchelli,
•
9Q
Morazzone
called
(1573-1626),-' and a study of their work gives the measure of Milanese 'history painting' at this period
:
influences from Venice (Veronese,
and
Pordenone) (Tibaldi),
from
Florentine,
and northern Mannerism
Emilian
(e.g.
have been superimposed upon
ger)
Spranlocal
a
foundation devolving from Gaudenzio Ferrari.
To
a lesser degree than
Genoa, Milan
moment was
historical
at this
focus of cross-
the
currents from south, east, and north. But this
Milanese intensity
art
marked by an extraordinary
is
which has deep roots
popular devotion epitomized
in the spirit
in the
of
pilgrimage
churches of the Sacri Monti of Lombardy. (See also illustrations 221, 222.)
Cerano, born
Novara, was the most com-
at
prehensive talent of the Milanese group. Archi-
and engraver apart from
tect, sculptor, writer,
he became in
his principal calling as painter, 1
62 1 the
first
Director of Federico Borromeo's
newly founded Academy. In the
Borromeo family
and he remained the end of his
had the cycle.
life:
in close contact
1
590,
with them to
no wonder, therefore, that he
lion's share in the St
Charles Borromeo
in
he shows, characteristically,
Virgin of the Rosary,
Rome
(1586-95),
in his early
work
a
Marco, Milan, and although no straight develop-
ment of his
style can possibly be construed,
of such impressive simplicity
sitions
Madonna Virgin
del Rosario in the Brera [43]
Barocci as well as to Flemish and even older
which he humanized the
Tuscan Mannerists {Archangel Michael, Milan, Museo di Castello).-^ But he soon worked out a
by
Saints, 1600, Berlin, destroyed)
which
removed from the formalism of
Mannerism around 1600 of the rising Baroque. sion and an almost
many and
as
An
{Franciscan is
as far
international
from the palpability
often agonizing ten-
morbid mysticism inform
falling
Few
Although he never superseded nerism, as
may be
his mystic
Man-
seen in one of his greatest
works, the Baptism of St Augustine of 1618
in S.
are
known of Cerano's
time date the impressively compact
chrome
latest
mono-
modelli for the sculpture over the doors
of the fa9ade (Museo delFOpera, Cathedral)
which were translated into Vismara.-"
is
in
religious experience
statuary works of Milan Cathedral, and from this
famed
which he
Pa via, both of about 161 5,
period. In 1629 he was appointed head of the
by Andrea
clear scale of tones for
the
back on the older Milanese tradition.
pictures
of his canvases, and the silver-grey light
lend support to the spiritual quality of his work.
as
and the
and Child with St Bruno and St Charles
in the Certosa,
formula of his own
he
produced during the second decade compo-
yet
strong attachment to Gaudenzio,-^ Tibaldi, and
Mannerist
1615.
Milan, Brera
fact his relation to
dates back to about
Despite his long stay
The
Cerano:
43.
Biffi,
G.
flaccid
marble
reliefs
and Gaspare
P. Lasagni,
Like Cerano, Morazzone had been early in his life in
work
Rome
{c.
in the Eternal
1592-8), and
City can
still
(frescoes in S. Silvestro in Capite).
BIBLOSARTE
some of
be seen
his
in situ
But Moraz-
44-
Morazzone: Ecce
Homo
Chapel, 1609-13. Frescoes. Varallo, Sacro Alonte
BIBLOSARTE
PAINTING OUTSIDE ROME
zone's style was even
more
formed
radically
Cerano's on Gaudenzio Ferrari.
than
home, he made
his
debut as
Back
a fresco painter in
the Cappella del Rosario in S. Vittore at Varese
(1599 and
Rho
1
61 5- 17). Large frescoes followed at
1602-4) and
collaborators.
elder Camillo
The more
lOI
•
gifted brother of the
1560- 1629), Giulio Cesare
{c.
had moved with his family from Bologna
Milan
in
about 1590; but
if
to
any traces of his
Bolognese upbringing are revealed
in his
work,
'Ascent to Calvary'
they point to the older Bolognese Mannerists
Chapel of the Sacro Monte, Varallo (1605). In
rather than to an influence from the side of the
the frescoes of the 'Flagellation' Chapel of the
Carracci. In Milan he began as a sculptor with
{c.
in the
Sacro Monte near Varese (1608-9) ^nd the 'Ecce
the reliefs for the facade of SS. Nazaro e Celso
Homo' Chapel at Varallo (1609-13)
(1597-1601),^°
zone's characteristic style
fully
is
[44]
Moraz-
developed. In
and
a
statuesque
quality
evident in his paintings during the
first
is
two
1614 he finished the frescoes of the 'Condem-
decades. Apart from his contacts with
nation to Death' Chapel at Varallo, and between
zone and Cerano, the important stages of his
6 16 and 1620 he executed those of the 'Por-
career are indicated by his renewed interest in
1
ziuncola' Chapel of the Sacro
Monte
at Orta.-'
once evident that Morazzone,
It is at
like his
contemporary Antonio d'Enrico, called Tanzio da
Varallo
steeped
in
(1574/80-1635), the
enterprises, in
tradition
which the
was thoroughly
of these collective
spirit
sculpture after 1610, by his stay in
army of
Circumcision (Galleria Estense), and his sojourn at
Genoa
in 1618. x'\fter
mercy of Correggio and
Modena he was his
and artisans
contributed between the sixteenth and eighteenth centuries.-" Morazzone's reputation as a fresco painter, solidly founded on his achieve-
ments
in the Sanctuaries,
opened other great
opportunities for him. In 1620 he painted a
chapel in S. Gaudenzio at Novara and in 1625, shortly before his death, he began the decoration of the
dome
of Piacenza Cathedral, the
GuerMorazzone as a master of the grand decorfresco went further than his Milanese
greater part of which was carried out by cino. ative
contemporaries lar
the
in
promoting the type of popu-
realism that was part and parcel of the art of Sanctuaries.
But
that
the
intentions of
Morazzone, Cerano, and Procaccini apart
is
picture',
the in the
The
lay not far
proved by the famous 'three-master-
Seconda
S.
Martyrdom of SS. Rufina and Brera of about
1620.-''
Rufina painted by Giulio Cesare Pro-
caccini in the lower right half of this carries the signature of a precious
work
manner and
a
bigoted piety very different from those of his
45. Giulio
St
Cesare Procaccini:
Mary Magdalen,
c.
16 16. Milan. Brera
BIBLOSARTE
at the
Parmese followers.
of the medieval
artists
Modena
between 1613 and 1616, where he painted the
miracle plays was revived and to the decoration of which a whole
Moraz-
46.
Antonio d'Enrico,
il
Tanzio: David,
c.
1620. I'arallo. Pmacoteca
BIBLOSARTE
PAINTING OUTSIDE ROME
above
Parmigianino, as his Marriage of Si
all
Catherine
(Brera)
(Brera) [45] prove. tact with
and the Mary Magdalen
Genoa brought him
in
con-
Rubens, and the repercussions on
style will easily
be detected
his
such works as the
in
Deposition of the Fassati Collection, Milan, and the Judith and Hulufernes of the
Museo
del
Castello.
be said about Tanzio, the most
temperamental, tense, and violent of this group of Milanese
he was 161
5,
in
artists. It is
Rome some
now
fairly certain that
time between 1610 and
and the impact of Caravaggtsmo
mediately
felt in
is
im-
the Circumcision at Fara
San
Martino (parish church) and the Virgin with Saints
in
(Abruzzi),
the
Collegiata
at
Pescocostanzo
works which appear deliberately
archaizing and deliberately crude.''
The im-
portant frescoes at Varallo as well as those in the 47. Daniele Crespi: St Charles (".
Chiesa della Pace, Milan,*- show him returning
Borromeo
at
Cerano and the \'ene-
to the local traditions, to
tians; nevertheless,
Caravaggismo seems
to
have
kept a hold on him, as later pictures attest,
among them the
the obsessed-looking David with enormous polished sword and the almost
obscene head of Goliath (Varallo, Pinacoteca) [46]
A word must
103
and
most extraordinary Battle of
the
Sennacherib (1627-9, S. Gaudenzio, Novara; bozzetto in the
Museo
Civico),
compromising realism ghostlike
the
where an un-
transmuted into
a
drama with frightfully distorted figures
which seem
To
is
petrified into
names of these
that of the
permanence. '"
artists
should be added
younger Daniele Crespi
1630), a prodigious worker
who
{c.
1598-
derived mainly
from Cerano and Procaccini, but whose
first
recorded work shows him assisting Guglielmo Caccia, called
II
Moncalvo
Supper,
1628. Milan, Chiesa delta Passione
BIBLOSARTE
{c.
1565-1625),'^ in
104
'
PERIOD OF TRANSITION AND THE EARLY BAROQUE
TH^-
dome
the frescoes otthe
of S. VittOre at
In his best works Daniele
rcahsm and parsimonious handhng of
means with
Milan.
combined severe pictorial
a sincerity of expression fully in
sympathy with the
religious climate at Milan.
Supper
His famous St Charles Borrotneu
at
(Chiesa della Passione, Milan,
1628) [47]
comes nearer to
c.
the spirit of the austere devotion
of the saint than almost any other painting of the period and
is,
moreover, expressed without
recourse to the customary religious and sitional
compo-
props from which the three principal
promoters of the early .Milanese Seicento were
The
never entirely able to detach themselves. question has been raised to
if Daniele
was indebted
Zurbaran's contemporary work. Whether or
not the answer
is
in the affirmative,
he certainly
was impressed by Rubens and Van Dyck,
as
is
among his followers must be numbered Lazzaro Tavarone(i 556-1 64 i),BatSeicento, and
Castello
tista
(1547- 1637), and
brother
his
Bernardo (1557- 1629). But
it
much
Mannerists
sought-after,
tame
was not these
who
brought about the flowering of seventeenthcentury Genoese
Genoa grew
art.
impor-
to
many
tance as a meeting place of artists from
There was
difterent quarters. to
Tuscan group
a
which the Sienese Pietro Sorri (1556- 1622),
Francesco Vanni, and Ventura Salimbeni be-
Lomi (1556- 1622) from Pisa Genoa between 1597 and 1604, and Gio-
longed. Aurelio
was
in
vanni Battista Paggi (1554- 1627),
who had worked brought back the
Florence
in
latter's
manner
Genoese
a
with
Cigoli,
to his
home-
town. In accordance with their training and
on the whole
tradition these artists represent
More
a
revealed in his principal work, the cycle of
rather reactionary element.
frescoes in the Certosa at Garegnano, Milan
contact with the progressive Milanese school,
(1629).
A
similar cycle painted in the Certosa
of Pa via in the year of his death
may be regarded
as an anti-climax. Daniele's career
was prema-
This
turely interrupted by the plague of 1630.
event, immortalized by Manzoni, spelled to intents and purposes the end of the
first
all
and
greatest phase of Milanese Seicento painting.
vital
was the
and the impact of Giulio Cesare Procaccini, working
Of
Genoa
in
in 16 18,
was
certainly great.
equal and even greater importance for the
future of Genoese painting were the Flemings.
They had
long regarded
Genoa
as a suitable
place to try their fortunes, and works by artists
such as Pieter Aertsen were already collected there in the late sixteenth century. Snyders was
probably
GENOA
de Wael
Genoa
in
in 1608,
(1592- 1667)
and
Cornelius
later
became an honorary
While the most important period of Milanese
citizen
painting was over by about 1630, a local Seicento
Their genre and animal pictures form an impor-
school began in
Genoa somewhat
flourished
hundred
later
but
and leader of the Flemish colony.'^
tant link with the greater figure of G. Benedetto
During the
Castiglione,
and
seventeenth century the old maritime republic
(Italianized:
Giovanni Rosa) should
for
a
had an immensely their
money
years.
rich ruling class
for the
who made
most part by world-wide
banking manipulations; and the international character of their enterprises the artistic
field. It is
previous century
Cambiaso
is
also reflected in
true that at the end of the
Genoa had possessed
(1527-85)
a
great
Capable of working on the
native
in
Luca artist.
largest scale, his
influence remained a vital force far into the
in
this
context Jan
Roos
at least
be
mentioned. But the names of all these Flemings are dwarfed
by that of Rubens, whose stay
in
the city in 1607 {Circumcision, S. .\mbrogio)
and dispatch, Ignatius (S.
in
Dyck's sojourns vaggio, in it
seems,
1620, of the Miracle of St
Ambrogio) were
Genoa
in
as decisive as
Van
1621-2 and 1626-7. Cara-
for a short while in 1605, left,
no deep impression
ment. Caravaggism gained
BIBLOSARTE
at
a foothold,
that
mo-
however,
PAINTING OUTSIDE ROME
through Orazio Gentileschi and Vouet, who
were
in
Finally
Genoa it
beginning of the twenties.
at the
should not be forgotten that the
Genoese appreciated the
The
art of Barocci
and of
1638),
Domenico
Fiasella, called
II
105
Sarzana
(1589-1669), Luciano Borzone (1590-1645),
and Gioacchino
.\ssereto (1600-49) runs to a
certain extent parallel.
They begin
traditionally
former's Crucifixion for the
enough: Fiasella and Strozzi deriving from
cathedral was painted in 1595; and pictures by
Lomi, Paggi, and Sorri; Ansaldo from the
the Bolognese.
Domenichino, Albani, Reni,'" and others reached
Genoa
at
an early moment.
Velasquez made visit in
in
Genoa
The
at the
impression
time of his
1629 seems worth investigating.
It
can,
therefore, be seen that in the first decades of the
seventeenth century tact
with
all
Genoa was
in active
con-
the major artistic trends, Italian
The development native
of the early seventeenth-
Genoese
Strozzi (1581-1644),
48.
show
these artists school,
and only
Rome from
Gioacchino Assereto:
painters
Bernardo
Andrea Ansaldo (1584-
The Supper
at
Emmaus,
Towards
the twenties
the influence of the Milanese Fiasella,
who had worked
1607 to 1617,
is
really
in
swayed by
the Caravaggisti.^'' In the course of the third
decade they
all
attempt to cast away the
vestiges of Mannerism
and foreign. century
mediocre Orazio Cambiaso, Luca's son; and Assereto from Ansaldo.
naturalistic
manner,
of Rubens and
and turn towards
largely
Van Dyck.
last
a freer,
under the influence It
should, however,
be said that, lacking monographic treatment,
after 1630.
Genoa, Private Colleclion
BIBLOSARTE
106
•
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
neither Borzone nor Ansaldo and Fiasella are
defined personalities;
clearly
that the prolific Fiasella,
was much cracy,
who
lived longest
fashion with the
in
must be regarded
would seem
it
Genoese
and
aristo-
as the least interesting
tried not unsuccessfully to recapture
something
of the spirit of Titian's early period; Palma
Giovane, basing himself on late
mixture of the
a
Titian and Tintoretto, was the most
and sought-after but
fertile
same time the most
at the
and original of this group of artists. By contrast
monotonous of
Assereto, through Longhi's basic study, has
these masters had
become
potentialities of the loaded brush-stroke. .\s a
an
for us
contours."* In his
with clear
artistic personality
work
after 1630, for
example
Genoa Martyrdom of Si Bartholomew or Genoa Supper at Emmaus [48], he achieved
in the
the
of composition and a complete
rule
the three.'" Strangely enough,
understanding for the
little
canvases are
their
colouristically
dull,
lacking entirely the exciting surface qualities of
the great sixteenth-century painters.^' Deeply
under the influence of these
facile artists, their
freedom of handling which places him almost
contemporaries
Ferma,
on
Bergamo, and Brescia, bear witness to the popu-
a unification
a level
The
with Strozzi
in his
Venetian period.
genius of this generation, surpassing
his contemporaries,
was Bernardo
Strozzi.
all
His
early style,
from
vacillations
between Veronese, Caravaggio, and
the Flemings,
is
his 'Tuscan' beginnings to his
not yet sufficiently clear [235]. *"
In 1598 he became a Capuchin
monk, but
in
larity
in the Terra
was, in fact, the degeneration of the
great Venetian tradition in Venice
gether with the rise of progressive
art, that
Rome
they had had two young
his Order,
to-
determined the pattern of
Italy.
San Pier d'Arena. Imprisoned by
itself,
as the centre of
seventeenth-century painting for the whole of
1610 he was allowed to leave the monastery.
at
Verona,
of what had by then become a moribund
style. It
Between 1614 and 1621 he acted as an engineer in his home-town and from 1623 to 1625 he painted the frescoes in the Palazzo Carpanetto
in
In 1630 probably few Venetians realized that artists in their
midst
who had aroused painting from its 'eclectic slumber'. They were neither Venetian by birth,
he went after his release in 1630 to Venice,
nor were they ever entrusted with important
where he lived
commissions
sion of his
until his death in 1644. Discus-
work may be postponed,
since his
great Venetian period belongs to a later chapter.
1620, and by 162
year
which they had
in the city in
Giovanni Lys came
settled.
Domenico
1
was
Fetti
in
to Italy in
about
Venice. In the same
had
his
first
taste
of
Venice. Both artists excelled in cabinet pictures
VENICE
and both died young. They each developed
a
In the smaller centres of northern Italy a Late
manner
Mannerist
of over-riding importance, and by this means
out the
style prevailed practically
first
through-
half of the seventeenth century.
This was primarily due tion of Venice,
where the leading
played by three eclectic Negretti, called
to the influential posi-
roles
were
namely Jacopo Palma Giovane (1544- 1628), artists,
Domenico Tintoretto (1560- 1635), and
in
which the spirited brush-stroke was
they re-invigorated Venetian colour and became the exponents of the most advanced tendencies.
They tic
are the real heirs to the Venetian colouris-
tradition; with their rich,
palette
and
their laden
warm, and
light
brush-work they are
as
1648).
removed from the tenebroso of Caravaggio as from the classicism of the Bolognese. Lys was born in Oldenburg in North Germany in
influence; Padovanino in his better pictures
died at the age of thirty-four in 1623; Lys was
sandro
Varotari,
called
Ales-
Padovanino (1588-
Domenico Tintoretto continued his father's manner with a strong dash of Bassani
far
about 1597, and Fetti in
BIBLOSARTE
Rome
in 1589. Fetti
PAINTING OUTSIDE ROME
even younger when he was carried
off
IO7
•
by the
Venetian plague of 1629-30. Their aeuvres are therefore limited, and their influence, although
considerable - particularly on Strozzi
should
not be overestimated. Fetti's first
came
master was Cigoli, after the
Rome
to
in
association remained close until 161 3,
dence of Cigoli's transitional covered
in Fetti's
must have
work. In fact
any
v-iggio himself, at
evi-
be dis-
Rome
Fetti
not of Cara-
rate of those followers
in
sympathy with Venetian
is
known about
Fetti's
in
if
such as Borgianni and Saraceni
would have been
little
style can
the influence,
felt
latter
1604; but although their
who were more Not much
colour.
Roman
period, but
in this circle that
it
he developed
popular genre. At the same time
his taste for the
he must have been deeply impressed by the art of
Rubens, whose transparent red and blue he adopted.
flesh tones
to
Mantua
as
When
Court Painter
in 161 3
to
he went
Duke
Ferdi-
nando, he again found himself under the shadow 49.
of Rubens, but while working there, he became
Domenico
Fetti:
The Good Samaritan, Museum
c.
1622.
Nevp York, Metropolitan
increasingly dependent on Venetian art, particularly that of Titian
and Tintoretto.
Fetti
was
not a master capable of working on a large
and
scale,
to a certain extent the official paint-
ings he had to execute in the ducal service
must
trating parables set in
must have
homely surroundings,
attracted the
same public
as the
Bambocciate in Rome, and the numerous repetitions of the
same subjects from the
artist's
own
have been antipathetic to him. Apart from the
hand
fresco of the Trinity in the apse of the cathedral,
pictures with their loose and pasty surfaces
now
attributed to
1608),^- the
Ippolito Andreasi (1548-
most massive of these commissions
was the Miracle of the Loaves and Fishes (Mantua, Palazzo Ducale) where the intricate composition with
below
the
its
high
manifold large figures standard
passages of painting. Fetti's
falls
shown in many early work is rather
dark, but slowly his palette lightened, while he intensified the surface pattern
complementary his
removal
to
by working with
local colours.^' It
Venice
brief remainder of his
in 1622^^ life
was only
after
and during the
that he
was able
to
devote himself entirely to small easel pictures [49].
These
little
works,
many of them
illus-
attest their popularity. ^^ It
was
in these
punctuated by rapid strokes of the brush, giving an a
eff^ect
of vibrating
light, that Fetti
imparted
recognizably seventeenth-century character
to the pictorial tradition of Venice.
new
stage in the history of art
is
A
decisively
reached
at this
point.
Although Fetti himself went
a long
way
to-
wards discarding the established conventions it was Lys who took a step work opens up a vista on the
of picture-making,
beyond
Fetti
:
his
future of European painting. his career in
Lys had
started
about 161 5 in Antwerp and Haar-
lem, where he
came
of local painters,
into contact with the circles
in particular
BIBLOSARTE
Hals and Jor-
I08
THE PERIOD
•
Ol
TRANSITION AND THE EARLY BAROQUE
daens. In Venice he formed a friendship with
and, after the latter's death, with the
Fetti
Frenchman Nicolas Regnier in 1627.
1590- 1667),
a
Rome who moved
to
Only one of Lys's pictures
is
follower of Caravaggio in
Venice
(c.
dated, namely the Christ on the
Mount of Olives
about 1625, since despite comparatively firm in
Pr////
that the longer he stayed
his
Northern upbringing. Not only did he
exclude from his repertory the rather rustic
The
picture
is
Almost
all
handling.
turbulence
and
freedom
His development during
his
of
few
Venetian years must have been astonishingly rapid.
Such
the Denis its
a picture as the Fall
Mahon
Collection,
of Phaeton in
London,
^'^
velvety texture and an intensity which
may
reader
50.
Vision of St Jerome,
Venice, S. Nicolo da Totentino
c.
1590.
Most of them began
their training with a
Late Mannerist and retained throughout their
Mannerist traces
lives
may
degree.
1628.
over-all
this rapid survey.
the artists mentioned in this and the
to a greater or lesser
Only the youngest, born
who were
after
1590,
here included because, like Lys and
an early age, grew up
Fetti, they died at
The
what the
well ask
emerges from
that
previous chapters were born between 1560 and
with
be compared with Rubens, must date from
Giovanni Lys:
the works of
CONCLUSION
northern types, but he also tended towards an ever-increasing
mind even
to
call
[355].''^
away
from Holland the more he dissociated himself from
the
(Berlin) or the Vision of St Jerome (Venice,
form which
would appear
is still
On
Nicolo da Tolentino) [50] show a looseness and freedom and a painterly disintegration of the Guardi
it
it
S.
been read both
1628 and 1629. For the rest
softness
structure.
other hand later pictures like the Ecstasy of St
(Zurich, private collection), and the date has as
its
its
in a
post-Mannerist atmosphere or were capable of discarding the Mannerist heritage entirely.
The
majority matured after 1600 and painted their
works
principal
1610.
after
common bond between
all
What
creates a
these provincial
masters
is
Viewed
in this light, a Tiarini, a Schedoni, a
a spirit
Cerano, and gether than it
a Cigoli
is
belong more closely to-
generally realized.
counts very
more
longer or
of deep and sincere devotion.
little
On
persistently to Mannerist con-
ventions than the other, for they are
divorced by a deep
from the
rift
national
Mannerism of
and they
all
Mannerists
way
wrong
to
first
is
genera-
guidance
would, therefore, be
underestimate the revolutionary
character of their style and to regard as
equally
or another to the
in their search for
to a truly emotional art. It
as
all
facile inter-
the late Cinquecento,
return in one
great Renaissance masters and the tion of
this level
whether the one clings
it
simply,
often done, as a specific type of Late
Mannerism
as
it
would be
BIBLOSARTE
to stress too
much
PAINTING OUTSIDE ROME
its
continuity into the Baroque of the
The beginnings of the
century. to
style date
mid back
Lodovico Carracci of the early nineties and
to Cigoli
of the same period.
It
1600; by and large
it
is
solemnity, mental excitation, and eflfervescence
could not be maintained for long.
To
explore
further the possibilities which were open to
most
artists
roughly from the beginning of Urban
work around
VIITs
reign
finds
intense expression in Caravaggio's
109
its
the idiom of Cara-
Second
Part.
onwards
will
be the task of the
But meanwhile the reader may
compare the change of
religious
Borgianni, and of the Emilian and Milanese
an
to
masters, mainly during the second decade; and,
Strozzi [235, 236], a telling experience which
vaggisti like
been shown again and again
as has
pages,
Orazio Gentileschi, Saraceni, and
it
in these
slowly comes to an end in the course of
is
may be
'Mannerist',
a
temper from
late,
'Baroque',
repeated a hundred times with artists
of the generation with which
we were here
concerned.
the third decade. It
early,
important to notice that this
art
If it
is
is
at all possible to associate
manner with
any one style
strongest, or even arises, in the provinces at a
or
moment when
one would not hesitate to single out
Rome. This
is
the temper began to change in
revealed not only in the Farnese
Gallery but also in Annibale's religious work after 1600,
where studied severity replaces emo-
tional tension. In the provinces the
intensity of this style, the
enormous
compound of gravity,
the spirit of the great reformers, this art
between about 1590 and 1625/30, and whether or not this will be agreed to, one thing that the period
under review carries
is
certain,
its
terms
of 'Late Mannerism' or 'Transitional Style' or 'Early Baroque' on\y
BIBLOSARTE
fante
de mietix.
51. Carlo
Maderno: Rome,
S.
Susanna, 1597- 1603
BIBLOSARTE
CHAPTER
6
ARCHITECTURE AND SCULPTURE
ARCHITECTURE
based on an almost mathematically lucid proconcentration of bays, orders, and
gressive
Rome: Carlo Maderno (7556-/629^ In
the
first
chapter the broad pattern was
Rome
sketched of the architectural position in
during the early years of the seventeenth century.
The
The
decoration towards the centre.
revolutionary character of Maderno's
of the wall
jection
number of
is
triple
pro-
co-ordinated with the
bays, which are firmly framed by
orders; the width of the bays increases towards the centre and the wall surface
gradually
is
was he who
eliminated in a process reversing the thickening
broke with the prevailing severe taste and re-
of the wall - from the Manneristically framed
placed the refined classicism of an Ottavio
cartouches to the niches with figures and the
Mascherino and a Flaminio Ponzio by a forceful,
entrance door which
work has already been
manly, and vigorous after
indicated.
style,
generations,
several
It
which once again, had
considerable
pediment
conceived as a lighter realization
is
of the lower
many masons and
to the half-
from the North; he was born lago on the
Maderno came in
1556
Lake of Lugano, went
his four brothers acquired in 1588.^ city
He began work
under
his uncle,
Roman
Capo-
In this fa9ade
Rome
Roman
citizenship
Domenico Fontana.
After
the latter's departure for Naples he was on his
own, and before 1600 he had made himself But his early period and, his relationship to
mains
The
a
name
for
in particular,
Francesco da Volterra re-
to be clarified.
year 1603
as a turning
point in Maderno's career; he was appointed 'Architect to St Peter's' and finished the facade
of S. Susanna fa9ade as
To
[51].-^
must have been
as
the cognoscenti this
much
of a revelation
Annibale Carracci's Farnese Gallery or Cara-
vaggio's religious imagery. In fact, with this single work,
Maderno's most outstanding per-
derno imparted
movement
in its present
is
easy to follow
:
it is
-
did
Nor
della Vittoria
and
But the dome of the
Rome
it
is
built
facade of
della Valle -
Maderno achieve an
after
that
Maderno's genius
life
or of logical
much
did he find
develop his individuality
in
in his
Andrea
equal degree of intense dynamic
scope to
in the interiors
S.
latter
Andrea church
-
the largest
of St Peter's
at its best.
from Michelangelo's dome,
of S.
della Valle.
-
shows
Obviously derived it
is
of majestic
Compared with the dome of St Maderno raised the height of the drum
simplicity.
Peter's
the expense of the vault and increased the
area that
governing this structure
Neither
form mainly the work of Carlo
Rainaldi (p. 283)
revolutionary events in painting. In contrast to buildings, the principle
units.
St Peter's nor in that of S.
Maria
Ma-
dynamic
directed,
clearly
a
to the structure horizontally as well
up of individual
at
many Mannerist
and indigenous
Italian
as vertically, in spite of the fact that
formance, architecture drew abreast of the
so
North
traditions are perfectly blended.^
integration.
must be regarded
with pilasters corresponding
tier,
at
in a subordinate capa-
under the simple triangular
and three-quarter-columns below.
to
before Sixtus V's pontificate, and together with
the entire central bay.
tier
sculptural and chiaroscuro qualities. Like so architects,
fills
The upper
was
to
be reserved for the windows,
and these changes foreshadow the development.
BIBLOSARTE
later
Baroque
112
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
•
Long
periods of his working
in the service
were spent
life
of St Peter's, where he was faced
with the unenviable task of having to interfere
The
with Michelangelo's intentions. the nave, which presented
tact,
amount
a large
The
be followed very closely indeed.**
unassail-
design of
able data are quickly reported. In 1625 Cardinal
immense difficulties,'
Francesco Barberini bought from .\lessandro
proves that he planned with circumspection
and
memoranda and drawings, and
of documents which allow the construction to
desirous to clash as
little
as
was pos-
Duke
Sforza Santafiora,
of Segni, the palace
A
the 'Quattro Fontane'.
at
year later Cardinal
under the circumstances with the legacy
Francesco presented the palace to his brother
of the great master. But, of course, the nave
Taddeo. Pope Urban VIII commissioned Ma-
sible
marred
for ever the
view of the
dome from
the
square, with consequences which had a sequel
down
to
own days
our
(p. 195).
For the design
of the fa9ade [1,112, 257] he was tied more fully
than
generally realized by Michelangelo's
is
derno
and
to redesign the existing palace
enlarge
it.
The
ations dates
first
payment
to
new foundMaderno died
for the
from October 1628.
on 30 January 1629, and the Pope appointed Bernini his successor.
To
intents
all
and pur-
system of the choir and transepts (which he had
poses the palace was completed in 1633, but
to continue along the exterior of the nave) and,
minor work dragged on
requirement of the
moreover, by the
ritual
large Benediction
Loggia above the portico.
The
proportions of the original design are
impaired as
a result
-
add towers, of which only the substructures
These
the last bay at each end - were built [109].
appear at
now
to
form part of the fa9ade. Looked
without these bays, the often criticized re-
lation of width to height in the fa9ade
Maderno's
satisfactory.
by Borromini) was responsible entire
to
failure
is
entirely
the
erect
in a
design was to serve for palace.
alterations,
and
it
was used At
east wings."
all
four sides of the
some not unimportant
In fact, with
for the present north
this stage, in other
corresponded to the traditional
a designer
of palaces
Maderno
is
best
1598 and finished in 1616." brick facade
shows him
local tradition. In the
The
in
noble, austere
in the grip
courtyard he
use of ancient busts, statues, and
of the strong
made
subtle
reliefs,
and
at
Farnese, and an inscription explains that the
reported in
As
drawing
model of the Palazzo
bays, fashioned after the
Maderno made
represented by the Palazzo Mattel, begun
assisted
almost the
the Uffizi which shows a long front of fifteen
towers was to have repercussions which will be a later chapter'' (p. 190).
for
work of execution.
Maderno's design survives
of the papal decision of
1612, after the actual facade was finished, to
until 1638. It is clear
from these data that Bernini (who was
scheme
a
words,
by and
that
Roman
large
palace,
consisting of a block with four equal sides and an
arcaded courtyard. But there that this
was Maderno's
present palace, the plan of which to
an
H
[52], the traditional
doned and replaced by
a
is
no certainty
last project.
In the
may be likened
courtyard
is
aban-
deep forecourt. The
the connexion with such Mannerist fronts as
main fa9ade
those of the villas Medici and Borghese
is
three storeys, linked to the entirely different
four-flight staircase decorated
system of the projecting wings by a transitional,
evident.
But the
with refined stuccoes
is
an innovation
in
Rome.
more thoroughly the major problem of Maderno's career, his part in It
remains
to scrutinize
the designing of the Palazzo Barberini [52, 53].
The still
history of the palace
is
to a certain extent
obscure, in spite of much literary evidence.
consists of seven bays of arcades in
bay
slightly receding
was responsible tional block
At
form
to the
first sight, it
like this
had been
each side [53].
Who
change from the
tradi-
at
for the
new plan ?
would appear that nothing built before in
Rome
and,
moreover, qua palace, the structure remained
BIBLOSARTE
500 KT
52 (left).
Rome, Palazzo
Barberini, 1628-33.
Plan adapted from a drawing by N. Tessin
showing the palace before rebuilding off. 1670 53. Carlo Maderno and Gianlorenzo Rome, Palazzo Barberini,
1628-33. Centre of fa9ade
BIBLOSARTE
Bernini:
114
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
•
isolated in the
Roman
setting
Psychologically
cession.
one prefers
to associate the
it
had no suc-
intelligible that
is
it
change
ot plan
with
young genius who took over from Maderno
the
rather than with the aged master. Yet neither
it
In fact, there
this.
document
the irrevocable
is
Vienna (Albertina) of an un-
in
of its own.
It is
with designing three arcaded
satisfied
On
the other hand,
it is
surrounds with feigned perspective,
differences, corresponds with the execu-
one regards the palace, as one should,
tion. If
as
monumentalized
a
suburbana', the
'villa
plan loses a good deal of character, and to attribute
its
it
to
windows of the
The
Maderno's.
one other occasion,'- made
at least
reduce the area of the window-openings;
was necessary
rangement.
to
howMaderno
are,
to
this
Maderno had
tier, set in
device, used by
for reasons
One may assume
richment of the orders
Sforza palace which
third
on
revolutionary
then no longer surprise us.
The old
ever,
celebrated
Maderno
will
second
tier,
-
it
possible
of internal ar-
that even the en-
engaged columns
incorporate into his design rose on elevated
pilasters in the third tier - occurred while
no was
The
palace overlooked the Piazza Bar-
berini but could never
was
it
form one of its
sides.
possible to align the west front of the
Nor new
palace with the Strada Felice (the present Via
new
Sistina).
In other words, whatever the
design,
could not be organically related to the
it
nearest thoroughfares.
A
block-shaped palace
worth mentioning. The ground
Mannerist architects and also by Maderno."
Although
in
a
untraditional manner,
rather
Borromini often returned not
at all
unlikely that
it
way.
To what
determine.'^
have to be abandoned and replaced by the type
we
traditional for the 'villa subur-
are
on
As
it.
It is
therefore to
Maderno's design
in
extent the internal organi-
Maderno
zation deviates from
foregone conclusion that the block-shape would
to
was Borromini's idea
this
which became
is
and piano
ing bands, a device constantly employed by Late
dissociated from an intimate relationship with
was, therefore, almost a
floor
wings are articulated by fram-
nohile of the long
articulate the bare walls of
It
Mader-
Another external feature
still alive.
with arcaded courtyard cannot, however, be
the street front.
in the
coupled with two half-
pilasters
ground high above the ruins of an ancient temple."'
of
certain that adjust-
The
minor
tiers
ments of Maderno's design outside as well as inside were made after Bernini had taken over.
Maderno by Borromini) which,
from
in
almost equal value.
finished elevation of half the facade (drawn for
apart
it
even questionable whether
Bernini, given a free hand, would have been
the external nor the internal evidence goes to
support
grand Baroque character and places
its
a class
difficult to
is
far as the details are
fairly firm
concerned
ground, and Bernini's as
well as Borromini's contribution to the design of
bana' from Peruzzi's Farnesina on and which
doors will be discussed
only recently Vasanzio had used for the Villa
large staircase with the four flights ascending
Borghese
along the square open well, traditionally ascribed
In addition the arcaded centre
[8].
between containing bays and projecting wings
to Bernini,
was
as the
familiar
from such buildings as Masche-
rino's cortile of the Quirinal Palace
garden front of the
There
is,
therefore,
and the
Mondragone" [9]. no valid reason why MaVilla
derno should not be credited with the design of the Palazzo Barberini
were ready
at
hand, and
it
is
scale rather than the design as
:
all its
final
elements
the magnificent
such that gives
may
later (p. 198).
But the
well be Maderno's.
It is
deep portico, the enormous
hall
as
new
of the
piano nohile lying at right angles to the front,
and the inter-connected oval
One
is
tempted
by Borromini had here
a freer
exterior, but at present these in
hall at its back.
to believe that Bernini assisted
abeyance and
may
solved.
BIBLOSARTE
hand than on the problems are
still
never be satisfactorily
ARCHITECTURE AND SCULPTURE
By
Maderno
the time
died, he
had directed
Roman architecture into entirely new channels. He had authoritatively rejected the facile academic Mannerism which had belonged
to his
impressions in Rome, and although not
first
revolutionary like Borromini, he
left
a
behind,
guided by Michelangelo, monumental
largely
work of such stance that
it
seriousness, and sub-
solidity,
was equally respected by the great
•
II5
Domenico Fontana and the in Rome. Just as his great work, the Idea deW Architettura
part to the style of
elder Martino theoretical
Longhi
L'uiversale of 16 15, with
and
its
hieratic structure
its
codification of classical rules, concluded
new
an old era rather than opened a
one, so his
architecture was the strongest barrier against a
towards Baroque principles
turn
belonging to Venice.
territories
in
One
all
the
should
compare Sansovino's Palazzo Corner (1532)
antipodes Bernini and Borromini.'^
with Scamozzi's Palazzo Contarini dagli Scrigni Architecture outside
North of
In the
of 1609'" in order to realize fully that the
Rome
academic and linear classicism
Italy the architectural history
of the second half of the sixteenth century
The
position.
Ga-
mozzi's architecture must be regarded as a
number of
Luca Cambiaso, Pellegrino Ti-
and Ascanio Vittozzi come
mind. By contrast, the
first
at
once
to
quarter of the seven-
names of the one exception of F.M.
teenth century cannot boast of
same rank, with the
On the whole, what has been Rome also apphes to the rest of Italy
said
Ricchino.
about
reaction against the tion of
are concerned, a deli-
berate stepping back to a pre-Sansovinesque
great masters.
a
leazzo Alessi, baldi,
volume and chiaroscuro
latter's
as far as plastic
Palladio, Scamozzi, Sanmicheli,
dominated by
names of
is
is,
more extravagant
the
:
applica-
Mannerist principles, which had gene-
rally set in
towards the end of the sixteenth
we new
Moreover,
in
many
revision of his teacher Palladio by
respects
way of revert-
ing to Serlio's conceptions. Their calculated intellectualism
makes Scamozzi's buildings pre-
cursors of eighteenth-century Neo-classicism.
His special brand of tional note of
countrymen and
his
to come.^'
But
frigid classicism, a tradi-
Venetian
was not
art,
left its
mark
lost
upon
for a long time
in the next generation the rising
genius of Baldassare Longhena superseded the brittle, linear style
more
of his master and reasserted
exuberant, imaginative, and
century, led to a hardening of style, so that
the
are often faced in the early years of the
painterly facet of the Venetian tradition.
century with a severe form of classicism, which,
Sca-
vital,
Even where Scamozzi's
influence did not
however, was perfectly in keeping with the
penetrate in the terra ferma, architects turned
exigencies of the counter-reformatory church.
in the
On
Sanmicheli's
the other hand, the
North
Italian architects
Thus Domenico Curtoni, nephew and pupil, began in 1609 impressive Palazzo della Gran Guardia at same
direction.
of this period also transformed their rich local
the
more imaginatively than the Romans. The work of Binago, Magenta, and Ricchino is infinitely more interesting than most of what
Verona, where he applied most rigidly the pre-
tradition
Rome had they
to offer,
who prepared
and
it
was
Milan, in particular, became
remained the leading master is
after the turn of
immediately apparent that his
dry Late Mannerism
is
the Venetian counter-
at the
turn of the
century the stronghold of an uncompromising classicism.
In Venice Vincenzo Scamozzi (1552-1616)
them of any Man-
nerist recollections."*
to a large extent
the stylistic position of the
High Baroque.
the century. It
cepts of his teacher, ridding
It
was probably St Charles Bor-
romeo's austere
spirit rather
than his counter-
reformatory guide to architects, the only book of
its
kind,^" that provided the keynote for the
masters in his and his nephew's service.
BIBLOSARTE
The
Il6
54.
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
Fabio Mangone: Milan, Colkiiui
(Archivio di Stato),
first
t
courtyard, begun 1608
Milanese Fabio Mangone (1587- 1629), of Alessandro Bisnati, was the
As him
nal Federico's heart. tion he appointed
man
a sign in
a pupil
after Cardi-
of his apprecia-
1620 Professor of
Lelio Buzzi had begun. nal entrance
classicism
Architecture to the newly founded Accademia
with in
two
remained the focus of
in
1
Milanese
still
artistic life,
tect tried there to
and every
artist
and archi-
climb the ladder to distinction.
Mangone achieved
this goal; in
1617 he suc-
facade of the origi-
as
is
the
large
courtyard of the
Collegio Elvetico (now Archivio di Stato) [54]
Ambrosiana. Throughout the seventeenth century the cathedral
The
as characteristic of his rigorous
is
its
long rows of Doric and Ionic columns
tiers
under straight entablatures, begun
608.-° His facade of S.
Maria Podone (begun
1626) with a columned portico set into a larger
temple motif points to
a
knowledge of Palladio's
church fa9ades, which he transformed and sub-
ceeded Bisnati as Architect to the Cathedral
mitted to an even sterner classical discipline.
and remained
Thus Milanese
in
charge until his death in 1629.
Assisted by Ricchino, the portals were executed
by him during this period (with Cerano in charge
would be
of the rich decoration, p. 99), but his severe
spirit
design of the whole fa9ade remained on paper.
Mangone's the
(much
earlier activity
rebuilt)
was connected with
Ambrosiana (161
1),
which
architects revert via Palladio to
ancient architecture in search of symbols which en rapport with the prevailing harsh
of reform in the
city.-'
A different note was introduced into Milanese architecture by Lorenzo Binago (called
1554- 1629),-- a Barnabite monk,
BIBLOSARTE
who
Biffi,
built S.
ARCHITECTURE AND SCULPTURE
•
II7
Alessandro, one of Milan's most important
churches (begun 1601,
setting the seal, as
it
unfinished in 1661).
still
Mangone's architecture
were, on Pellegrino Ti-
academic Mannerism. Binago, by con-
baldi's
created a work that has
trast,
Milanese,
strictly
is
its
place in an all-
Like a number of other great
Italian context.
churches of this period, the design of S. Alessandro
is
dependent on the Bramante-Michel-
angelo scheme for St Peter's.-' In order to be able to assess the peculiarities of Binago's work,
some of the major buildings of this group may be reviewed. In chronological sequence they
Nuovo
the Gesii
are:
(also
Naples (Giuseppe
at
Ambrogio
Valeriano, S.J., 1584); S.
G. Valeriano, 1587);-^
Milan;
Maria
S.
Nuvolo, 1602); the
della
S.
Rome
at
Naples (Fra
Sanita,
Duomo Nuovo
(G.B. Lantana, 1604); and S. Carlo in
Genoa
at
Alessandro
at
Brescia Catinari
ai
(Rosato Rosati, 1612). All these build-
ings are interrelated;
all
of them have a square
or rectangular outside shape and only one fa9ade (instead of four)
;
and
all
of them link the centra-
lized plan of St Peter's with an
longitudinal axis: the Gesii
emphasis on the
Nuovo by adding
pair of satellite spaces to the west S.
Ambrogio by adding
to the west
at
end; the
east
Brescia and
55. Lorenzo Binago: Milan, begun 1 60 1. Plan
S. Alessandro,
east ends,
a smaller satellite unit
and extending the
Duomo Nuovo
and
a
Carlo
S.
ai
Jules Hardouin Mansart's
dome of the
Invalides
in Paris.
The
joining of two centraUzed designs in one
Catinari by prolonging the choir, the latter,
plan had a long pedigree. In a sense, the prob-
moreover, by using oval-shaped spaces along
lem was already inherent
the
main
axis, S.
Maria
by enrich-
della Sanita
ing the design by a pair of sateUite units to each
of the four arms; S. Alessandro,
finally,
by
adding a smaller centralized group with saucer
dome
in Brunelleschi's
Sacristy of S. Lorenzo; but
North
Italian circle of
it
was only
Bramante
developed type emerged
in the
Old
in the
that the fully
form of
a co-
ordination of two entirely homogeneous centra-
domed
of different
an
to the east [55]. S. Alessandro, therefore,
lized
way
of
arrangement, incidentally, which had the sup-
large churches. It contains another important
port of classical authority.-'' Binago's S. Ales-
is
in a
the
most interesting of
this series
feature: the arches of the crossing rest
on
free-
standing columns. Binago himself recommend-
ed that these be used with discretion.
The motif
was immediately taken up by Lantana
Duomo Nuovo
at Brescia
and had
in the
a consider-
able following in Italy and abroad,
down
to
spaces
size,-""
sandro represents an important step towards a
merging of two previously separate units now :
the far
arm of
the large Greek-cross unit also
belongs to the smaller
domed
tion, the spacious vaulting
centralized groups
makes
BIBLOSARTE
space. In addi-
between the two
their separation
im-
Il8
•
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
possible.
Thus the
groups results
unification of two centralized
in a longitudinal design
of richly
and 1638, Ricchino himself held office to
In 1607 he designed his
varied character.
once evident that
It is at
form of
this
tory,
spatial
new
integration was a step forward into
of fascinating possibilities.
full
number of
reasons one
may
terri-
For
a
regard the whole
group of churches here mentioned
Late
as
this highest
which a Milanese architect could first
aspire.
independent
building, the church of S. Giuseppe, which was at
once
plan [56
a 1
consists of an extremely simple
The com-
The
large
masterpiece of the
first rank.-**
bination of two Greek-cross units.
congregational space
is
a
Greek cross with
Mannerist, not least because of the peculiar
between centralization and
vacillation
direction.
It
is
axial
precisely in this respect that
Binago's innovation must be regarded as revolutionary, for he decisively subordinated centralized contraction to axial expansion.
lay in this direction.
On
The
future
the other hand, the
derivations from the centralized plan of St Peter's found
little
teenth century, and
following during the sevenit
was only
in the eighteenth
century that they saw a limited revival,-' probably because of their Late Mannerist qualities.
The
next step beyond S. Alessandro was
taken by Francesco Maria Ricchino (15841658), through
whom
Milanese architecture
new phase. It was he, a contemporary of Mangone, who threw the classicist convenentered a
tions of the reigning taste overboard
and did
Milan what Carlo Maderno did
for
Rome. Al-
though
younger
almost
Maderno, fall
a
generation
his principal works, like
into the
first
studied, but
it
than
Maderno's,
three decades of the century.
work
Ricchino's
for
has
never
would seem
the balance sheet can be
been
that,
properly
when one day
drawn up, the
prize for
being the most imaginative and most richly
endowed
Italian architect of the early seven-
teenth century will go to Ricchino rather than
Maderno. Beginning work under Binago, he was sent by romeo, to
his patron. Cardinal Federico
Rome
Bor-
to finish his education. After
his return in 1603
he submitted his
first
design
for the facade of the cathedral. In 1605 he
was
capomastro, a subordinate officer under Aurelio Trezzi,
who was
Architect to the Cathedral in
1598 and 1604-5.
Much
later,
between 1631
56 and 57. Francesco Maria Ricchino: Milan, S. Giuseppe, begun 1607. Section and plan (above) and facade (opposite)
BIBLOSARTE
N
BIBLOSARTE
120
THt PERIOD OF TRANSITION AND THE EARLY BAROQUE
•
dwarfed arms and bevelled into coretti
pillars
which open
above niches and are framed with
three-quarter columns; four high arches carry the ring above which the
dome
rises.
The
small
could not achieve a proper dynamic relationship
between inside and outside,
a
problem that was
solved only by the architects of the High Baro-
que. As to the
first
point, the facade of S.
square sanctuary has low chapels instead of the
Giuseppe has no
real precursors in
Not only does the same composite order unify the two spaces, but also the high arch between them seems to belong to the con-
anywhere
North.
cross arms.
gregational
room
as well as to the sanctuary.
Binago's lesson of S. Alessandro was not
Ricchino employed here
a similar
lost.
method of
welding together the two centralized spaces,
which disclose
Bramante even tion.
their ultimate derivation after their
from
thorough transforma-
This type of plan, the seventeenth-century
version of a long native tradition, contained infinite
indicate here it
and
possibilities, its
to say that the
units with
ment and
it
impossible to
is
tremendous success. Suffice
new fusion of simple centralized consequences of spatial enrich-
all its
scenic effects
was constantly repeated
in the
On
Milan or
the other hand,
Ricchino was impressed by the facade of S.
Susanna, but he replaced Maderno's stepwise
arrangement of enclosed bays by one
which
in
the vertical links take prominence, in such a
way as
that the
whole front can and should be seen
composed of two high
The
the other.
Maderno's:
result
aedicules, one set into
is
very different from
for instead of 'reading', as
it
were,
the accretion of motifs in the facade in a temporal process, his
new
'aedicule front' offers an instan-
taneous impression of unity It
in
both dimensions.
was the aedicule facade that was
to
become
the most popular type of church fa9ade during the Baroque age.'"
Fate has dealt roughly with most of Ricchino's
He
and, mainly in Northern Italy, revised and
buildings.
further developed but Ricchino had essentially
churches, and most of them have been des-
;
solved the problem. S.
Giuseppe was
troyed;" finished in 1616; the fa9ade,
however, was not completed until 1629-30, although
it
was probably designed
earlier date-'* [57]. It represents a
in
two respects: Ricchino attempted
facade a unity hitherto
time to co-ordinate
it
to give the
with the entire structure of latter
problem had never been squarely large the Italian
much
unknown and at the same
As regards the
the church.
at a
new departure
point, the
faced.
By and
church fa9ade was an external
embellishment, designed for the view from the street
and rather independent of the structure
lying behind
of the lower
it.
tier
designs;'built,
(S.
builder of
his re-
while others were carried out by pupils
Maria
Castelli
alia
Porta, executed by Francesco
and Giuseppe Quadrio). In addition,
there was his interesting occasional
work" which
needs, like the rest, further investigation. In his later centralized buildings
he preferred the oval
and, as far as can be judged at present, he went
through the whole gamut of possible designs.
Of the
buildings that remain standing, five
cursorily be
mentioned
the Ospedale
by the height of the square body
Pessina, Fabio
by the
a
are only known through some have been modernized or
in size,
tier
all,
many
Ricchino determined the height
of the church and that of the upper
was, above
:
may
the large courtyard of
Maggiore (1625-49), impressive in collaboration with G. B.
but created
Mangone, and the painter G.
B.
Crespi, and therefore less characteristic of him
monu-
octagonal superstructure; at the same time, he
than the grand aedicule fa9ade of the
carried the order of the facade over into the rest
mental entrance to the Hospital; the palaces
from the
Despite this significant integration of the
Annoni (1631) and Durini (designed 1648), which look back by way of Meda's Palazzo
'show-front' with the whole building, Ricchino
Visconti (1598) to Bassi's Palazzo Spinola;'^ the
of the structure, as far as street.
it is
visible
BIBLOSARTE
ARCHITECTURE AND SCULPTURE
58.
Francesco Maria Ricchino: Milan, Collegio Elvetico (Archivio di Stato). Facade, designed 1627
from Varese correspond
to
the
Milan
at
the
To
the
Palazzo di Brera (1651-86), built as a Jesuit
Bernasconi
College, with the finest Milanese courtyard
severe classicism
which, having arches on double columns in two
beginning of the seventeenth century.
tiers,
marks, after the severe phase, a return to
Alessi's
Palazzo
Marino;'^
and
work of great vigour which
the
finally,
fa9ade of the Collegio Elvetico, designed in a
121
•
1
627,
has, moreover, the
modern
visitor
between the tecture
practised
there
is
a
in
peculiar
contrast
classicizing chastity of the archi-
and the popular realism of the tableaux
vivants inside the chapels.
If
anywhere, the
distinction of being an early, perhaps the earliest,
lesson can here be learned that these are two
concave palazzo facade of the Baroque [58]. With Ricchino's death we have already over-
complementary
stepped the chronological limits of this chapter.
Nobody of carry
his stature
remained
in
Milan
to
on the work he had so promisingly
facets of counter-reformatory
art.
In the
Duomo Nuovo
But
just as so often in
tion of the project
accomplished.
Mention has been made of the Sanctuary
at
Varese near Milan which Cardinal Federico
Borromeo had very much
at heart.
The
archi-
Brescia has an early
Seicento work of imposing dimensions
a
(p.
1
17).
medieval times, the execu-
went beyond the resources of
small city. After the competition of 1595 the
design
chosen
by Lantana in 1603.
The
(i
581 -1627)
was
finally
next year saw the laying of
1604 and was carried out
the foundation stone, but as late as 1727 only
through most of the century. "' As one would
the choir was roofed. Until 1745 there was a
expect, the fifteen chapels designed by Giuseppe
renewed period of
tectural
work began
in
activity
BIBLOSARTE
due
to the initiative
122
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
•
By
of Cardinal Antonio Maria Querini. The Mich-
in the nave.'"
elangelesque dome, however, was erected after
appears isolated from the
1
82 1 by Luigi Cagnola,
who introduced changes
virtue of this motif, the nave
domed
area. In addi-
tion, the large central chapels with arches rising
'"
to the
in the original design.
To the names of the two able Barnabite architects
Rosato Rosati and Lorenzo Binago, work-
ing at the beginning of the Seicento, that of
Magenta
Giovanni added.
He
during the
(1565-1635)'^
must
be
was the strongest talent at Bologna quarter of the century.
first
A man
of
great intellectual power, engineer, mathematician,
and
became
theoretician, he even
a
vast scale the cathedral of S. Pietro at Bologna,
accomplishing the
difficult
union with
nico Tibaldi's choir (1575), which he
Domeleft
impression that the nave
un-
centred upon
is
believe oneself to be in a Greek-cross unit
(without dome), to which
domed
is added a second, Whether one may or may not want Magenta's ambiguous design a Late
unit.
to find in
tively
Early Baroque in
was destined on
certain that he imagina-
it is
transmuted North
the
to exercise
planning
Italian conceptions.
massiveness, S. Salvatore
its
of
an important influence churches.
longitudinal
The design differs from St Peter's and the great Roman congregational churches in the
Magenta's church of S. Paolo, begun
alternating high and low arches leading into the
the traditional
touched.
aisles.
With its brilliant light and the eighteenth-
century
coretti,
added by Alfonso Torreggiani
(1765), the church looks
The
much
later
than
it is.
execution lay in the hands of Floriano
Ambrosini and Nicolo Donati. While they changed ject,'"
to a certain extent
the latter
church of
is
Magenta's pro-
fully responsible for the large
S. Salvatore,
designed in 1605 and
erected by T. Martelli between 161 3 and 1623 [59].
Inspired by the large halls of Roman ther-
mae. Magenta here monumentalized the North Italian tradition of using free-standing
columns
in 1606,
shows that he was even capable of enlivening
Gesu
type, to
which Roman
architects of this period did not really find an alternative.
By making
space for confessionals
with coretti above them between the high arches leading
into
the
he created, more
chapels,
effectively than in the cathedral, a lively
rhythm
along the nave, reminiscent of Borromini's later
handling of the same problem in
in S.
Giovanni
Laterano.
Parma, flourishing under her Farnese princes,
Giovan
had
in
his
pupil
Battista Aleotti (1546- 1636)
Giovan
Battista
Baroque
architects.
The
built the
impressively
former,
simple hexagon of S. Maria del Quartiere Giovanni Magenta
Bologna, S. Salvatore, 1605 23. Plan
19),^- the exterior
of the
and
Magnani (1571-
by Magnani,
1653)^' Early assisted
59.
itself.
on entering the church one may well
In fact,
Mannerist element,
in 161
General of his Order. In 1605 he designed on
whole height of the vaulting of the nave
look like a transverse axis and strengthen the
of which
pagoda-like
is
17,
twenty-two years
in
604-
build-up of geometrical
shapes taken up and developed
Guarini (Chapter
( 1
an early example
Note the
later
by Guarino
12). Aleotti
service
was
for
of Alfonso
d'Este at Ferrara, where he erected,
among
others, the imposing fa9ade of the University
(1610),
together with Alessandro Balbi, the
architect of the
Madonna della Ghiara at Reggio
Emilia (1597-1619), a building dependent on the plan of St Peter's though less distinguished
BIBLOSARTE
ARCHITECTURE AND SCULPTURE
than the series of buildings mentioned above. In Ferrara Aleotti also
made
his
debut as an
of theatres/' an activity that was
architect
crowned by
his
Teatro Farnese, built
at
Parma
Nuova (now 1
551.''^
But
123
Via Garibaldi), begun by him in
to his
contemporary Rocco Lurago
must be given pride of place
for having recog-
nized the architectural potentialities which the
between 16 18 and 1628. The Farnese theatre,
steeply rising
exceeding in size and magnificence any other
Palazzo Doria Tursi in Via Garibaldi (begun
before
it,
superbly blends Palladio's and Sca-
ground of Genoa
1568) shows for the
first
offered.
time the long vista
mozzi's archaeological experiments with the
from the vestibule through the
progressive tendencies evolved in Florence/^
staircase ascending at the far end.
The wide-open,
rectangular proscenium-arch
His
cortile to
the
Bartolomeo
Bianco (before 1590-1657), Genoa's greatest
together with the revolutionary U-shaped form
Baroque
of the auditorium contained the seeds of the
Palazzo Doria Tursi. His most accomplished
architect,^''
followed the lead of the
spectacular development of the seventeenth-
structure
century theatre. Heavily damaged during the
Jesuit College (planned 1630)'' along the Via
last
war,
it
has
now been
largely rebuilt.
Genoa's great period of architectural deve-
is
the present University, built as a
Balbi (the street which he began in 1606 and
opened
in
16 18);
it
presents an ensemble of
lopment
is
the second half of the sixteenth
incomparable splendour
century.
It
was Galeazzo Alessi who created
time he unified architecturally the vestibule and
Genoese palazzo type along the Strada
courtyard, in spite of their different levels; in
the
Bartolomeo Bianco; Genoa, University, planned 1630. Courtyard
60.
BIBLOSARTE
[60, 61].
For the
first
6i.
Bartolomeo Bianco: Genoa, University, planned 1630. Section and plan
BIBLOSARTE
ARCHITECTURE AND SCULPTURE
the cortile he introduced two tiers of lofty ar-
cades resting on twin columns ;^^ and
end he carried the
at the far
staircase, dividing twice, to
Thus
125
the Florence of the early seventeenth
own brand
century developed her ing
•
Mannerism, and
of a classiciz-
was by and
this
large in
the whole height of the building. Fully aware
keeping with the all-Italian position. But Flor-
of the coherence of the whole design, the eye of
ence never had a Maderno or a Ricchino,
the beholder in
all.
The
is
easily led
from
level to level, four
exterior contrasts with the earlier
Genoese palazzo
by the
tradition
plicity of the design without,
relative
sim-
however, breaking
away from the use of idiomatic Genoese motifs.^'-
Compared with
the
Bianco's
University,
Palazzi Durazzo-Pallavicini (Via Balbi
begun
i,
1619) and Balbi-Senarega (Via Balbi 4, after
Bianco or Longhena; she remained
and purposes anti-Baroque and hardly ever broke wholly with the tenets of the early seventeenth-century
Cosimo
1621),^^
the
Ferdinand
Tagliafichi (1729- 18 11), staircase.
who
grand
built the
Apart from the balconies and the
cornices resting on large brackets, both palaces are entirely bare of decoration.
mentioned manner.
This
is
usually
as characteristic of Bianco's austere
It is,
however,
much more
likely that
these fronts were to be painted with illusionist architectural detail (such as
niches, etc.)
and figures
in
supervised
undertakings during
Fs reign (1587-1609); Lodovico
559-1613), the painter (pp. 97-8) and
architect,^-
Maderno's unsuccessful competitor
for St Peter's, the builder of the choir of S. Felicita, of a
number
of palaces, and according
to Baldinucci also of the austere
though uncon-
ventional courtyard of Buontalenti's Palazzo
Nonfinito; and Giulio Parigi (1571-1635) and
famous
his son Alfonso (i6oo-f.
1656),''
theatrical designers of the
Medici court, who
imparted
a
as
scenographic quality to the Isolotto
keeping with
exerted a distinct influence on his pupil Callot
a late
and
bution of Tuscan architects to the
rise
Baroque architecture
One
rather limited.
of is
inclined to think that Buontalenti's ample and
manner might have formed
starting point for the
who
natural son,
and the theatre
In contrast to the north of Italy, the contri-
rich decorative
of the main
window surrounds,
sixteenth-century Genoese fashion.^"
is
(i
I's
architectural
large
CigoH
former was considerably altered in the
The names
teenth century are Giovanni de' Medici (d.
1620) are almost an anticlimax. While the latter
the
style.
practitioners at the beginning of the seven-
wasfinishedby Pier Antonio Corradi( 161 3-83), course of the eighteenth century by Andrea
a
to all intents
emergence of
a
a
proper
also
in the
BoboH
gardens. Giulio
on Agostino Tassi, whose scenic paint-
ings reveal his early training. ^^ Finally,
Nigetti
( 1
Matteo
560- 1 649),^' Buontalenti's pupil, must
be added, whose stature as an architect has long
been overestimated. His contribution Cappella dei Principi
is
less original
been believed, nor has he any share
to the
than has
in the final
Seicento style. Yet Ammanati's precise Late
design of S. Gaetano, for which Gherardo Sil-
Mannerism and, perhaps
vani alone
to a larger extent,
Dosio's austere classicism corresponded more
may
fully to the latent aspirations of the Florentines.
Chiesa
is
responsible (p. 301).^* His
manner
best be judged from his fa9ade of the di
Ognissanti (1635-7). Here, after forty
hardly an overstatement to say that towards
years, he revived with certain adjustments''" the
1600 an academic classicizing reaction against
academic Mannerism of Giovanni de' Medici's
Buontalenti set
fa9ade of S. Stefano dei Cavalieri
It is
in.
Nevertheless, Buontalenti's
decorative vocabulary was never entirely forgotten; one finds till
it
here, there,
and everywhere
the late eighteenth century, and even archi-
tects outside
Florence were inspired by
it.
at
Pisa (1593).
In order to assess the sluggish path of the
Florentine development, one
may compare
the
Ognissanti facade with that of Ascanio Vittozzi's
Chiesa del Corpus Domini
BIBLOSARTE
at
Turin, where
it
126
•
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
how by
can be seen
1607 the theme of S.
Stefano was handled in a vigorously sculptural Early Baroque manner.
During the
first
Medici together with
half of the seventeenth cen-
the
(1603-4).
and exhausted the treasury of the
marbles and precious stones, the chapel, lying
on the main
axis of S.
glittering viewpoint
Lorenzo, was to offer
a
from the entrance of the
the most
Giovanni de'
his collaborator,
Ales-
model which was revised by Buontalenti I he latter was in charge of the build-
tury the erection of the huge octagonal funeral
Medici court. Lavishly incrusted with coloured
among
artists,
sandro Pieroni, and Matteo Nigetti prepared
chapel (Cappella dei Principi) absorbed the interest
competition
to fruition. After a
distinguished Florentine
when
ing until his death in 1608,
Nigetti con-
tinued as clerk of works for the next forty years. ^** If in spite of such activity the chapel
remained
time to come,
a torso for a long
it
yet
epitomizes Medici ambition of the early seven-
church. Since the wall between the church and
teenth century. In the interior the
the chapel remained standing, this scenic effect,
quality takes precedence over the structural
essentially
the
Baroque and wholly
Medicean
was never obtained. As early had planned
in
keeping with
love of pageantry and the stage, as 1561
a funeral chapel, but
Grand Duke Ferdinand
I
it
Cosimo
I
was only
who brought
the idea
Roman
organization, and by
flat
decorative
standards of the
time the exterior [62] must have been judged
Rather sober and dry
as a shapeless pile.
in
drum and dome do not seem to substructure. Windows of differ-
detail, the large
with their
tally
ent sizes and in different planes are squeezed
Giovanni de' Medici, Alessandro Pieroni, Matteo Nigetti, Bernardo Buontalenti Florence, S. Lorenzo, Cappella dei Principi, begun 1603
62.
:
in
between the massive and
tresses'.
There
is,
in fact,
ill-articulated 'but-
no end
to the
obvious
incongruities which manifest a stubborn adhe-
rence to the outmoded principles of Mannerism.
Naples saw
in the last
two decades of the
sixteenth century a considerable intensification
of architectural activity, due to the enthusiasm of two viceroys. Lacking native talents, architects
had
to be called
Antonio Dosio
(d.
from abroad. Giovan
1609) and
Domenico FonThe former
tana (d. 1607) settled there for good. left
Florence in
isSg;^'' the latter,
difficulties after Sixtus
his
home
in 1592,
V's death,
where
running into
made Naples
as 'Royal Engineer'
he found tasks on the largest
scale,
among them
the construction of the Royal Palace (1600
Thus
Florentine and
Roman
assimilated in the southern kingdom.
phase of Neapolitan architecture the
2).
classicism were
is
A new
linked to
name of Fra Francesco Grimaldi (1543a Theatine monk who came from
161 3),
Calabria.""
His
first
important building,
S.
Paolo Maggiore (1581/3-1603), erected over the ancient temple of Castor and Pollux, proves
him an
architect of
BIBLOSARTE
uncommon
ability. In spite
ARCHITECTURE AND SCULPTURE
of certain provincialisms, the design of S. Paolo
may
has breadth and a sonorous quality that well be called Early Baroque.
The wide nave
with alternating high and low arches, opening respectively into
domed and
the (later) aisles,
is
work
Roman church
By
127
a flourishing school of architects.
that time the great master of the next genera-
Cosimo Fanzago, was already working.
tion,
But
it
was then
Rome
that
asserted her ascen-
vaulted parts of
dancy, and Naples as well as the
cities
of the
reminiscent of Magenta's
North, which had contributed so
much
to the
Bologna and more imaginative than
in
Naples had
•
designs of the period. In 1585
Grimaldi was called
to
Rome, where he had
rise
of the
new
were relegated once again
style,
to the role of provincial centres.
a
share in the erection of S. Andrea della Valle.
He must
have had the reputation of being the
leading Theatine architect.
Roman
Among
his post-
buildings, S. Maria della Sapienza (be-
SCULPTURE Rome
gun 16 14, with facade by Fanzago) returns, more sophisticated, to the rhythmic articulation
We
of S. Paolo, while S. Maria degli Angeli (1600-
the period under review.
Cappella del Tesoro, which adjoins the
10), the
cathedral and
is itself
the size of a church (1608-
and SS. Apostoli (planned
after 1613),
executed 1626-32) are
all
thoroughly
c.
1610,
Roman
in
character and succeed by their scale and the
Giovan Giacomo
to Grimaldi,
forto (d.
1
631) and the
(Giuseppe Donzelli)
ConDominican Fra Nuvolo
should
be
mentioned.
Conforto began under Dosio, was latter's
and
di
the
after
death architect of S. Martino until 1623,
built,
apart from the campanile of the
chapter that sculpture
in the first
reached a low-water mark during
By and
executed in the Chapel of Paul
large the
V
seventeenth century was
Mannerist standards
still
tied to the
set in Sixtus
and none of the sculptors of the Carracci generaStati,*"'
brogio Bonvicino,
Silla
da Viggiii,
Cordier, Ippolito Buzio
-
showed
a
Among
landed.
this
group there was hardly an
indication that the tired and facile formalistic
routine would so soon be broken by the rise of
young genius, Bernini, who was then already
beginning to produce his juvenilia.
Pendino, S. Agostino degli Scalzi,
1603-10, and S. Teresa, 1602-12). fascinating figure
is
Fra Nuvolo.
He
A more began his
way out of
the impasse in which sculpture found itself
Nuvolo, 163 1 ), three Latin-cross churches al
Am-
Paolo Sanquirico, Nicolo
a
Severo
Late
V's Chapel,
Chiesa del Carmine (1622, finished by Fra (S.
work
Maria
in S.
Maggiore during the second decade of the
tion - Cristoforo
vigorous quality of the design.
Next
have seen
Rome had
in
It
cannot
be denied that the older masters also created solid work. In particular, dier's,
some of Buzio's, Cor-
and Valsoldo's statues and busts have
career with S. Maria di Costantinopoli (late
undeniably high qualities, but that does not
dome
impair the assessment of the general position.
sixteenth century), where he faced the
with majolica, thus inaugurating the charac-
In a varying degree, they
teristic
Neapolitan type of colourful decoration.
models they followed
His
Maria
style.
S.
mentioned
(p.
della Sanita (1602-13) has
117); his S. Sebastiano, with a
very high dome, and S. Carlo
both
been
elliptical, are
Arena (1631), uncommonly interesting and all'
These first
is
translated the
tame and
St James off. 1615(8.
Giacomo degli
as well as for Cordier's Luisa Deti {c.
frigid
true for Buzio's Sansovinesque Incurabili)
Aldobrandini
1605, Aldobrandini Chapel, S. Maria sopra
Minerva), which goes back to Guglielmo della
progressive.
the
This
all
into a
brief hints indicate that
by the end of
quarter of the seventeenth century
Porta,"-
and
S. .Maria
for Valsoldo's St
Jerome
(f.
1612,
Maggiore), so clearly dependent on
BIBLOSARTE
128
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
•
Alessandro Vittoria. If one adds the tradition of the style of Flemish relief one has accounted, it
would seem,
primary sources of
for the
( helom).
63
in-
64 spiration of these sculptors.
Four other
artists, also
Maderno,
Mariani,
though
they
of
Francesco Mochi,
Roman
65 (far right ). Camillo .Mariani: St Catherine of .-Mexandria, 1600.
Rome, S. Bernardo
alle
Terme
sculpture after
bardy (1576- 1636) appeared
in
end of the sixteenth century.
He
for
Baptist,
I'alle
considerable share
a
Maderno from Bissone
1600. Stefano
name
Camillo
Bernini,
all,
who had
in the revitalization
John the
engaged on the Chapel
Pietro
above
and,
it is
(right ). Pietro Bernini: St
16x4-15. Rome. S. Andrea delta
of Paul V, have not yet been discussed, namely
Stefano
Stefano .Maderno: Hercules and Cacus,
1610. Dresden, Alheriinum
('.
Lom-
in
Rome
at the
soon made
a
himself with the marble statue of St
Cecilia (in S. Cecilia, 1600)
cording to
which depicts ac-
legend the body of the
a persistent
youthful saint exactly in the position in which it
was found
in 1599.^''
The
sentimental flavour
of this story apart, which helped to secure for
Maderno
his loftv' place in the history of sculp-
ture, the statue
simplicity,
is
imbued with
and many
martyr saints followed
monumental work ches
is
a truly
later statues
in
this
marble
moving
of recumbent
model. His for
Roman
later
chur-
not particularly distinguished;''^ but in
his small terracotta models, bronzes,
and
(rare)
marbles (Ca d'Oro, Venice; Palermo; Dresden
London; Oxford;
which derive from
etc.),''^
famous antiques, he combines a carefully studied classicism with solid realistic observations [63].
This was the early
As
artistic
work was
the father of the great Gianlorenzo, Pietro
Bernini (1562- 1629) est.*^
climate in which Bernini's
to rise.
commands
His career unfolds
early years in Florence
odd years last
in
decades
Paul V.
in
and Rome, the twenty-
Naples (1584- 1605/6), and the
Rome, mainly
The Neapolitan
in the service
setting held
for a Florence-trained sculptor, full
special inter-
in three stages: the
of
no surprise
and during the
years of his sojourn he adjusted himself
without reservation to the
whom
Rome
he changed to
a
more boisterous
and Mochi, and produced work
in
which he
combined the new Early Baroque hrio with a painterly approach which is not strange to find in
the pupil of Antonio
Tempesta
of the Virgin, Baptistery,
S.
{Assiimpttoii
Maria Maggiore,
1607-10; Coronation of Clement
I
III,
Cappella
pietistic climate of
Paolina, S. Maria Maggiore, 1612-13). But the
work of
bodies of his figures lack structure and seem
the southern metropolis, notable in the
Naccherino, with
In
manner, no doubt through contact with Mariani
he also collaborated.
boneless, and the texture of his
BIBLOSARTE
Roman work
is
ARCHITECTURE AND SCULPTURE
soft
and
flaccid [64]. All this
is still
Camillo Mariani's (1565?- 161
typically
1)
work was
Late Mannerist, and indeed between his slo-
of greater consequence in revitalizing
venly treatment of the marble and the firm and
sculpture.""
work of
precise chiselling found in the early his son there
Nor
is
is
an almost unbridgeable gulf.
Roman He prefers
the dash to be observed in his
work purposeful and
clearly defined.
to represent unstable attitudes
which
baffle the
beholder: his Si John in S. Andrea della Valle is
rendered in
a state
up and hurrying away.
between
sitting, getting
in
He was
born
in
[29
Roman
Vicenza and had
the studio of the Rubini the inestimable
advantage of going through the discipline of Alessandro Vittoria's school. Shortly after his arrival in
Rome
he executed his masterpieces,
the eight simple and noble figures of saints in
(1600), in for
S.
monumental stucco
Bernardo
alle
which the Venetian nuance
anyone
to see [65]; but
BIBLOSARTE
it is
is
Terme obvious
strengthened by
130
•
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
a
new urgency and a fine psychological penetrawhich make these works stand out a mile
tion
from the average contemporary production and ally
them
to the intensity of the transitional
which we found
style in painting in
crystallized
the true spirit of the great reformers.
Mariani was also the strongest single factor in
shaping the style of Francesco Mochi
1654).'''*
Born
Mochi had
( 1
Late
his early training with the
Mannerist painter Santi
under Mariani
580-
Montevarchi near Florence,
at
di
Tito before studying
Rome. His
in
work of importance, the
independent
first
large
marble figures
of the Annunciation at Orvieto (1603-8), show
mixture the components of his Tuscan and realistic North Italian Mannerism. Mochi knew how to blend these in a fascinating
style: linear
elements into
a
manner of immense
the Annunciation ture from
its
slumber
vitality;
a fanfare raising sculp-
is like
more new
[66]. It is clearly
than a coincidence that on
Roman
soil
the
invigorating impetus appears in the three arts
almost simultaneously: Mochi's Annunciation is
informed by
energy similar
bold
a to
freshness,
spirit,
Caravaggio's
and
Roman grand
manner (1597- 1606), Annibale's Farnese
ceil-
ing (1597- 1 604), and Maderno's S. Susanna
(1597-1603).
From
1612 to 1629 Mochi stayed
with brief interruptions vice of first
at
Piacenza in the ser-
Ranuccio Farnese and created there the
dynamic equestrian
statues of the Baroque,
breaking decisively with the tradition of Giovanni Bologna's school.
monuments, 20),
is
that of
to a certain extent
while the
later,
breaks entirely
The
first
of the two
Ranuccio Farnese (1612linked to the past,
still
Alessandro Farnese's (1620-5),
new ground
a magnificent sweep, the old
[67].
Imbued with
problem of unify-
here solved in an un-
66 (above). Francesco Mochi:
ing rider and horse
The
precedented way. Never before, moreover, had
Virgin
Orvieto,
of"
the Annunciation, 1603-8.
Museo
dell' Opera
is
the figure of the rider held
67 (opposite). Francesco Mochi: Alessandro Farnese, 1620-5. Bronze. Ptacenza, Piazza Cavalli
its
own
so emphati-
cally against the bulk of the horse's body.
After his return to
Rome
he executed his
most spectacular work, the giant marble
BIBLOSARTE
statue
BIBLOSARTE
132
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
of St Veronica (St Peter's, 1629-40), which
(1634-^-. 1650), the
seems
4),
to rush out of its niche driven
controllable agony. In this reveals a peculiar nervous
A
by un-
work Mochi already
vehemence and
stranger in the changed
Roman
strain.
Taddaeus
at
Orvieto (1641-
and the St Peter and St Paul of the Porta del Popolo (1638-52), are not only an unexpected
anachronism, but are also very unequal
in
quality.
Always alone among
classed by Bernini's genius and disappointed,
poraries,
first
he protested in vain against the prevalent tide
gress, then the sole
of
he was utterly out of tune with his time. His
taste.
climate, out-
Frustrated, he renounced everything
he had stood for and returned to a severe form
Bernini,
Christ [68] and St John from the Ponte Molle
knowledge
68.
the sole voice of uninhibited pro-
-
and
Francesco Mochi Christ, from the Baptism,
pBff"
contem-
prophet of bleak despair,
Baroque works antedate those of the young whose superiority he refused to ac-
of Mannerism. His later statues, such as the
after 1634.
his
:
Rome, formerly Ponte Molle
J
BIBLOSARTE
it
was
this that
broke him.^'
ARCHITECTURL AND SCULPTURt
number of works
finished a
left in
various stages
of execution at the latter's death.'- Deeply
steeped
Giovanni Bologna's manner, he
in
Madrid (1634-40) [69],"
is
133
basically akin to
Giovanni Bologna's equestrian monuments with the customary trotting horse.
The idea of repre-
began work on his own. His most celebrated
senting the horse in a transitory position on
figures are the four bronze slaves at the base
hindlegs
of Bandini's
Medici
monument
Ferdinand
to
de'
I
Livorno (1615-24)."' Such figures
at
of subdued captives, of classical derivation,
important
an
played
part
the
in
symbolic
from then on de rigueur
-
ments of sovereigns
lacks
Bertoldo's battle-relief and Michelangelo's
down
to
the
is
composed
for the silhouette. It
Baroque momentum of Francesco
tomb
Giovanni Bologna's (des-
monument
troyed) equestrian
Spanish painting
equestrian statue remains reserved and im-
mobile and
of Julius II
a
sent to Florence to serve as model.''' But Tacca's
we know them
from
its
monu-
was forced upon Tacca
by Duke Olivarez, who had
Renaissance representations of triumphs,'^ and in Florentine sculpture
-
for
of Henry IV of
69. Pietro
Tacca: Philip IV, 1634-40.
Madrid. Plaza dc Oncnlc
France. Here too, as in the case of Tacca's
work, the four chained captives
at the
corners
of the base were a polite metaphor rather than a
conceit laden with deep symbolism.
Two
of
these captives, for which Francavilla was responsible, have survived ; by comparison Tacca's figures
show a
fresh realism^'' and a broadness of
design which seem, indeed, to inaugurate a
new
era.
But one should not be misled. These
captives not only recall the attitudes imposed
on models
in
drawing
life
classes,
but their
complicated movement, the ornamental rhythm
and
linear quality of their silhouettes are
still
deeply indebted to the Mannerist tradition, and
even older Florentine Mannerists such as the engraver Caraglio come to mind. Later works
by Tacca confirm
this view.
tains in the Piazza
originally
made
Livorno
for
The famous foun-
Annunziata
at
Florence,
in 1627,
with their
thin crossing jets of water, the over-emphasis
on
(which presupposes inspection from
detail
a near standpoint and not, as so often in the
Baroque, from
far
away),
the
of
virtuosity
execution, and the decorative elegance of
mon-
strous formations are as close to the spirit of
Late Mannerism
as
the over-simplified
bronze statues of Ferdinand de'
Medici
Lorenzo
in the
and Cosimo
II
Cappella dei Principi in S.
(1627-34)."'^'
the Philip
I
gilt
Even
IV of Spain on
his last great
work,
the rearing horse in
Mochi's
Alessandro
Farnese
and
Bernini's
Constantine. In Giovanni Bologna's wake, Florentine
Man-
nerist sculpture of the fin-de-siecle had,
even
more than Florentine
painting of the period,
an international success from the Low Countries to Sicily.
Also Neapolitan sculpture
at the
of the century was essentially Florentine
BIBLOSARTE
turn
Man-
THE PERIOD OF TRANSITION AND THE EARLY BAROQUE
134
Two
nerist in character.
artists,
above
:
we found
Rome
leaving Naples for
and Michelangelo Naccherino, vanni Bologna,
Naples in
1573
doned
who was
in
1605/6,
Thus
of Gio-
Pellegrino Tibaldi and the younger Brambilla
from
He
his death in 1622.
till
power
owed more
in
his arrival
never aban-
Man-
his intimate ties with Florentine
nerism, but
limited degree, in the Certosa of Pavia that
sculptors could find rewarding employment.
a pupil
the strongest
for almost fifty years,
were
whom
all,
responsible for this trend Pietro Bernini,
to the older generation
of Bandinelli, Vincenzo Danti, Vincenzo de'
and even
Rossi,
teacher,
whom
Donatello
to
he accused of
than
to
his
irreligiosity."' In
the pietistic climate of the Spanish dominion his figures are often
imbued with
Florentine religious
mood and
a
a mystic sensi-
eloquent testimonies of the
bility,
wholly un-
spirit
of the
Counter-Reformation. Characteristic examples
tombs of Fabrizio
are his
Pignatelli in S.
Vincenzo Carafa
dei Pellegrini (1590- 1609),
SS. Severino e Sosio (161
Cesareo
in S.
Maria
is
in
and Annibale
1),
della Pazienza (1613). In
tombs the deceased
these
Maria
all
represented stand-
the academic Late Mannerist tradition of
was continued by the (d.
1
Gaspare Vismara Lasagni
until after the
87),
become of vital importance
to
ent atmosphere of
and
1
Rome
in the differ-
during the
in spite
contribution of Lombardy to the history
in the constant
and
settled. In
stream of stonemasons, sculp-
architects
Milan
to
itself
Rome, where they
seventeenth- as well as
eighteenth-century sculpture
The
is
disappointing.
reasons are difficult to assess.
in the
Lombard
Ercole Ferrata
did not radically change the position**'
of his training in
Rome
to talk of a
before 1645.
It
Milanese High
Baroque school, and we may therefore anticipate later events
by mentioning Giovan
De
Battista
who executed about
Maestri, called Volpino,
dozen statues for the cathedral between 1650 and 1680. During the seventeenth and eigh-
a
teenth centuries more than the cathedral studio.
begun
1
50 sculptors worked
Art historians have
to sift this material,
and one may
well ask whether such an undertaking
not be love's labour
would
lost.
Like Bologna and Venice, Genoa hardly had an autonomous school of sculptors during the
of the Baroque consists to a considerable extent
tors,
who
of about 1600
middle of the seventeenth cen-
seems hardly possible
1630s
640s.
The
stylistic position
those of the romanized (P- 307)1
scarcely
was
pupils
Even an artist like Dionigi Bussola (1612whose dates correspond almost exactly with
chest in devotional fervour.**" Naccherino anticithat
Biffi's
165 1) and Gian Pietro
(d.
tury.
in
monument
pupil Andrea Biffi
1658), the leading masters,
(d.
perpetuated the
ing or kneeling, one hand pressed against the
pated here a type of sepulchral
latter's
631) and others, and by
permanent drain on
fying influence of the
They may
lie
talents, in the petri-
Ambrosian Academy, or
first
half of the seventeenth century. Production
was partly under the influence of Lombard academic
Mannerism,
Michelangelo's
pupil
partly
The
reaching impact of Florentine sculpture
moment may
from
derived
Montorsoli.
be judged from the
far-
at this
fact
that
Francesco Camilliani's and Naccherino's fountain in the Piazza Pretoria at
rino's
Palermo, Nacche-
and Pietro Bernini's Fontana Medina
at
works of the cathedral. For generations the
and Taddeo Carloni's (1543-1613) weak Neptune fountain of the Palazzo Doria
great sculptural tasks were connected with the
at
in the
bureaucracy which had developed
cathedral, and
it
was onlv there and,
to a
in the
more
Naples,
Genoa
- all
depend on Montorsoli's Orion
fountain at Messina.**'
BIBLOSARTE
BIBLOSARTE
>
.*^
^S'f*lA13liK.\ DFI
1
\ (HlbSA
VATICANO 5^
215.
Giovan
Rome,
GauUi:
Battista
Head of an Angel,
"^\ "" "'-^^^.f
after 1679. Fresco. Detail.
Gesii, apse
sky, they inhabit
it
as far as the eye can see.
secondly, dazzling light envelops them.
And The
nearer they are to the source of divine illumination, the
more
ethereal they become. Aerial
perspective supports the diminution of figures in
creating the sensation of infinitude.
The
Correggio-Lanfranco tradition had, of course, a considerable share in
illusionism.
bringing about the
new
Despite such
monumental
We
saw
common
features,
some of the
fresco decorations are poles apart.
in a previous chapter (p.
174)
how
Gaulli in the Gesii became the mouthpiece of Bernini's
ideas.
Before
(1639-1709)^" arrived in
this
Rome
Genoese
foundation for his style in his native the impression of
above
all,
Van Dyck and
cit\-
under
Strozzi and,
of Correggio during a stay
BIBLOSARTE
artist
he had laid the
at
Parma.
2i6. Domenico Maria Canuti and Enrico Haffner: Apotheosis of St Dominic, 1674-5. Fresco. Rome, SS. Domenico e Sisto
BIBLOSARTE
T""^
334
A
^'^'^
OF THE HIGH BAROQUE
brilliant talent, also
one of the
Andrea Pozzo:
217.
portrait
first
Allegory of the Missionary
painters of his time, he was capable of conveying
Work 1
drama
fresco as well as on canvas with a
in
warm and endearing Angel of
palette.
The head from
illustration 215, a detail
Rome, S. Ignazio,
work
arranged his figures
effects
produced
flickering light
by the application of fresh
the eyes as
seen through a haze -
if
revealing his study of Correggio's sfumato - he
managed
to
endow such
a
head with the languid
manner (see illuslater work his palette
spirituality of Bernini's latest
trations 78
and
79). In his
of nave
his lesson
he
Ignazio [217], as elsewhere,
S.
in
and dark areas
-
connected light
in loosely
proof that he too had learned
from Gaulli.
Giovanni Coli (1636-81) and Filippo Ghe-
impasto. Moreover, by painting the half-open
mouth and
Fresco.
his fres-
care of execution, the bravura of handling, the
and easy touch, and the
4.
ceiling
of the
coes in the Gesii, gives a good idea of the loving
free
of the Jesuits,
69 1
rardi (1643 -1704),
two
artists
from Lucca who
always worked together, combined their Venetian training with the study of Cortona's style
The
in the gallery of the Palazzo Colonna.^^
Cortonesque framework, executed by G.
P.
got paler and the intensity of his style dwindled,
Schor between 1665 and 1668, displays an enor-
no doubt under the influence of the prevailing
mous
taste of the ^77 de siecle.
Venetian central panel [218] dazzles the eye by
The Bolognese Domenico Maria Canuti (1626-84), in his time a celebrated fresco painter,
had been reared
late
manner, and came
he saw there was not
in the tradition
Rome
to
lost
of Reni's
in 1672.
on him,
for his
What
drama-
Apotheosis of St Doimmc^^ [216] in the open
tic
Domenico
centre of the ceiling of SS.
e Sisto
discloses his familiarity with the grouping of
and the
figures
Gaulli's Gesii
aerial
and
light
decoration, then
conquests of in
statu
na-
accretion of detail, while the strongly
the almost unbelievable entanglement of figures, keels,
How
and masts,
bathed
all
High Baroque needs no
further
also evident that Gaulli's
have
from
diff'erent sources:
comment.
It is
and Coli-Gherardi's
common,
styles
little in
in flickering light.
removed from Cortona's
far this style is
arising as they
do
the one mainly from
Bernini's spiritualized later manner, the other
from
the
Cortonesque -Venetian
hedonistic
On
painterly tradition.
the other hand,
com-
also introduced a novelty.
pared with xMaratti's Palazzo Altieri fresco [2 19],
He framed the entire ceiling by a rich quadrat lira
Gaulli and Coli-Gherardi seem to be on the
scendi.*-
But Canuti
'design (executed
Rome was for
by Enrico Haffner) whereby
which neither Bernini nor Cortona had any
use, but
which one may well expect
to find in
Genoa.
The
also took his
from the Bolognese masters. By contrast
cue
to the
decorative profusion of Haffner's design, Pozzo's quadratura
is
always
strictly architectural
in so far old-fashioned;
it
is
only the vir-
tuosity and hypertrophic size of his
schemes
typical signs of a late phase - that give special stature.
him
-
his
Within the quadratura frame-
side of the fence.
Let the reader be reminded that these three
contemporary works
far
outdistanced in impor-
tance any other fresco executed during the 1
greatest of all quadratura painters. Padre
Andrea Pozzo^' (1642- 1709),
and
same
given a type of scenographic fresco
670s, and, furthermore, that Gaulli's cycle
was
infinitely
more Roman and
infinitely stron-
ger than Coli-Gherardi's ceiling. lation that
simply
emerged
at this historic
a struggle for
The constelmoment was
primacy between Gaulli
and Maratti. Forty years
after the
Cortona-
Sacchi controversy the fronts were once again clearly defined.
But neither the 'baroque' nor
the 'classical' wing was the same. Gaulli's style
had
a
distinctly
BIBLOSARTE
metaphysical
basis;
often
BIBLOSARTE
1
ft.
BIBLOSARTE
HIGH BAROQUE PAINTING AND
218. Giovanni Coli and Filippo Gherardi:
The
AFTERMATH
ITS
Baroque classicism of Sacchi's Dnina Sapienza
Battle of Lepanto, 1675-8.
[161] are closer to each other than either
Fresco. Rome, Palazzo Colonna, Gallery
Maratti's Late Baroque Classicism. parison, Maratti had gone
its
appeal,
it
may have
Baroque and the
is
to
By com-
some way towards
a
two opposing trends, the
reconciliation of the
mystical and stirring in
337
•
classical.
In every sense he
strength from the forces lying behind
steered an agreeable middle course. His paint-
Bernini's late manner: the current revival of
ings contain no riddles, nothing to puzzle the
pseudo-dionysiac mysticism^^ as well as the
beholder, nothing to
derived
its
growing popularity of Molinos's quietism.
A
glib
knowledge of the intervening history of painting
guage,
makes
which
it
evident that the odds weighed heavily
stir
the
impersonal
generalizations
work abounds, admission of
his
against Gaulli. Just as the close followers of
right dose of festive splendour -
Bernini in sculpture had not a ghost of a chance
destined his grand
of Late Baroque rationalism which
in the face
was backed by the strong French in
painting:
soon burnt
party, so also
GauUi's mystical Late Baroque out in the cool breeze blow ing
itself
from Maratti's
cepted court style ratti
was not an
all
with
just the
this pre-
manner to become the acin Louis XIV's Europe. Ma-
artist
Somewhat
theory.^**
given to speculation and paradoxically,
was
it
his
pragmatic approach by virtue of which he came
up
classicist camp.^**
His
violent emotions.
handling of the current allegorical lan-
hybrid theoretical expectations of his
to the
friend Bellori who, like Agucchi before him,
Carlo Maratti
wanted the
( 162^-i/ij)
artist's tdea to result
from the em-
pirical selection of beautiful parts rather than
A
study of Maratti's Altieri ceiling [219] plainly
shows that he wanted
to restore the
character of the painted area: once again the fresco
is
wished
clearly
and simply framed. ^^
to reinstate the
from an
autonomous
He
autonomy of the
also
indivi-
a priori concept of beauty.^''
All this
sounds perhaps scathing, yet
be admitted that Maratti was an
ordinary in
ability.
Born
at
artist
it
must
of extra-
Cammerino (Marches)
1625, he appeared as a boy of twelve in
dual figure; he returned to the classical principle
Andrea Sacchi's
of composing with few figures and to an even,
reputation was firmly established with the Sac-
light palette
on the
which
plastically
invites attention to focus
conceived figure,
its
attitude
and gestures; he almost relinquished the in
sii
sot to
but, characteristically, did not revive the
austere qiiadro riportato of the Early Baroque classicism.
Moreover, the figures themselves are
more Baroque and
may have
believed
sition lacks
less
them
Raphaelesque than he to be,
and the compo-
poignancy and incisive accents.
undulates over the picture plane, and the
impression form.
The
is
is
first
one of a perplexing mass of sodden
closeness of this style to
Guidi's in sculpture It
It
is
Domenico
chesque Adoration of I lie Shepherds seppe dei Falegnami.
From
Baroque
classicism of Reni's Aurora [32] and the
High
in S.
Giu-
then on Maratti's
career was a continuous triumph, and, indeed,
one monumental masterpiece his studio.
Nor was he
manner of Sacchi and paintings of the
after another left
entirely partial to the
the other classicists.
The
1650s reveal the impact of
Lanfranco's Baroque; he admitted influences
from Cortona and Bernini and even had some
sympathy with the mystic trend of the second half of the century.
What impressed
his
con-
temporaries most was that he re-established a feeling for the dignitv' of the
striking.
also revealing that the Early
studio. .As early as 1650 his
in
great, simple, plastic
human
figure seen
forms and rendered
with a sincerity and moral conviction without
BIBLOSARTE
BIBLOSARTE
HIGH BAROQUE PAINTING AND
AFTERMATH
ITS
339
moment [220]. As early as the mid seventies neither Gaulli nor the Cortona parallel at that
succession was
with a serious chance, and
left
by the end of the century
Rome had to all
and purposes surrendered At his death
command
in
to Maratti's
intents
manner.
17 13 his pupils were in full
of the situation.^"
PAINTING OUTSIDE ROME During the period under review the contribution of
Tuscany, Lombardy, and Piedmont was
rather modest. Apart from Reni's late manner,
even Bologna had
tury. Venice slowly
schools of
first
began
would
that
quarter of the cen-
to recover, while the
Genoa and Naples emerged
most productive and
A
offer
to
little
compare with the great
as the
Rome. panorama
interesting, next to
bird's-eye view
of the entire
reveals that neither the classical nor the crypto-
romantic trend was peculiar the
Roman
constellation
is
to
Rome.
In fact,
closely paralleled in
other centres. With Reni in an unchallenged
I
position at Bologna, his late
manner became
the inescapable law during the 1630s. His influ-
ence extended
far
beyond the confines of
native city, bringing about, a soft, feeble, sentimental,
^
One
less classicism.
w herever
it
was
his
felt,
and rather structure-
can maintain that there was
almost an inverse ratio between Reni's success
on the one hand and Cortona's and Lanfranco's on the other. Soon Reni's Baroque classicism through
filtered
Italy. In xMilan
who began formed
in
the
to
North and South of
Francesco del Cairo (1607-65),'''
Morazzone's manner [221, 222],
his style in the later 1640s
on Reni and
Venice, and his work became languid, thin, and classical.
His contemporary. Carlo Francesco
219 (opposite). Carlo Maratti:
Nuvolone, called
The Triumph of Clemency,
similar
after 1673. Fresco.
Rome, Palazzo Allien, Great Hall 220 (above) Carlo Maratti Virgin and Child with St Francis and St James, 1687. Rome, S. Maria di Montesanto
'il
Panfilo' {1608-61?),
had
a
development dependent on Reni, which ;
earned him the epithet 'Guido lombardo', he
exchanged
his early leuehroso
manner
for a light
.
tonality.
In Florence, too, Reni's influence
is
evident; in Furini's work, superimposed on the
BIBLOSARTE
340
221.
THE AGE OF THE HIGH BAROQUE
•
Morazzone: St Francis
in Ecstasy,
222. Francesco del Cairo: St Francis in Ecstasy,
1615.
Milan, Brer a
c.
native tradition,
it
over-refined style.
the other hand, probably
impressed by Poussin's classicism, from the 1
a
640s on an
artist like
way out of
Carpioni in Venice found
the local academic eclecticism
through elegant classicizing classical detente of the 1640s larly striking in
such
stylizations.
and 50s
is
Naples. During their
artists as Battistello,
turned
The
later. Sicily, finally,
had an
in Pietro Novelli, called
who abandoned
'il
artist
some time
of distinction
Monrealese' (1603-
his early
in
Rome
and Reni
tion in Venice
agent; yet
Mattia Preti embraced the fashion in his early it
spells a falling off of quality.
Caravaggesque
This does not, of
course, apply to the two great leaders, Sacchi
classicism
while
was it is
at
Bologna, nor to the posi-
and Florence, where Baroque to
some extent
tion of Carracci pupils at
Bologna
years of his
Rome
(1631-2).''-
Palermo (1624) and
journey to Naples and
generaff .)
;
it is
life,
influence and produced works with a strong classical bias,
many
a limited interest;
of which have no
and
it
is,
above
more than
all,
true of
Naples, where the elan of the early Ribera
rather feeble academic manner.
to
92
manner in the last thirty when he was open to Renins
by Van Dyck's
a
first
(p.
true of Guercino's
out during the fourth and
visit
a regenerative
certainly true of the
tenebroso in the early 1630s, not uninfluenced
under the impact of
which
large, the classical reaction,
broadly speaking between 1630 and 1660,
phase
Ribera, and Stanzioni
away from
lies
particu-
late
towards Bolognese classicism,
period, only to break
47),
By and
led to a highly sophisticated,
On
1630. Milan, Mtiseo del Castello Sforzesco
On artists
fifth
fizzles
decades into a
the other side of the fence were
some
of a slightly younger generation (most
BIBLOSARTE
HIGH BAROQUE PAINTING AND
of them born between 161 5 and 1625),
who
reacted vigorously against the prevalent Bar-
oque
The
classicism.
names
principal
to
be
mentioned are Maffei from Vicenza, the Florenand the Genoese Langetti,
tine iMazzoni,
working
in
Venice and the
Genoa; Mattia Luca Giordano in Naples.
Castello in
terra
all
ferma ; Valerio
and the early
Preti
In one
way
or an-
other these and other artists revitalized Caravaggio's heritage but theirs was a ;
High Baroque Caravaggism
new painterly ,
230,
[229,
237,
Caravaggism that was handed on
245], the
to
Magnasco and Crespi and through them to Piazzetta and the young Tiepolo. There is, however, an important area where these
Baroque
classicists
individualists
the unification of the picture plane by
means
of an even distribution of colour and
These
light.
painterly tendencies, mentioned in a previous
chapter
(p.
261) and nowhere
than in Reni's
late
manner
more evident
[223], distinguish
High Baroque classicism from the the
first
apart,
the
classicism of
quarter of the century. Although worlds
it is
these painterly tendencies that form
common denominator between
classicists
the
and the neo-Caravag^tsti. In
Baroque other
all
respects they differed most seriously.
To
the comparatively light palette of the
Baroque
classicists
neo-Caravaggisti op-
the
posed a strong chiaroscuro;
to the relatively
smooth handling of paint, a (stroke) and di macchia (spot)
-
pittura di tocco
work with the
mark of those masters
areas of colour; to the harmonious scale of
was not simply
tones, unexpected colour contrasts; to the clas-
tactical it
reversal
had
classicists,
of their
earlier
tenehroso
a distinctly positive aim,
namely
sical
types of beauty, subjective deviations; to
the tedium of balanced compositions, unac-
countable vagaries to the ;
tory, violent 223.
341
•
loaded brush and sketchy juxtapositions of small
who turned Baroque manner;
AFTERMATH
meet. For the lightening of the palette,
the most characteristic
a
and the Baroque
ITS
Guido Reni:
Girl with a Wreath,
Rome, Capttoline Museum
c.
1635.
facile rhetorical
mysticism. Even though this generic contrasts
reper-
movement, drama, and even
may
be too epigrammatic,
clarify the entangled position of the
it
a
new
list
of
helps to
second and
third quarters of the century.
No
doubt Salvator Rosa's crypto-romanti-
cism had partisans up and down the peninsula.
But allegiance
to
changed; some
artists
one trend or the other also were torn between them.
Giovan Benedetto Castiglione seems
the
most
remarkable example.
Bi)logna, Florence, Venice,
and Lombard)'
After this introduction, the Reni succession at
Bologna need not detain us: Francesco Gessi (1588- 1649), Giovan Giacomo Sementi (15801636), his
Giovanni .Andrea Sirani (1610-70) and
daughter Elisabetta (1638-65), or Luca
Ferrari
from
planted
his
Reggio (1605-54) master's
manner
Modena. These mediocre
BIBLOSARTE
to
^ho
trans-
Padua and
talents transformed
342
224.
•
THt AGE OF THE HIGH BAROQUE
Simone Cantarini: Guido Reni,
Portrait of c.
1640. Bologna, Pinacoteca
the positive qualities of Reni's late 'classicism'
logna only two artists stand out, namely
[223P': the unorthodox simplicity of his inven-
Cantarini
Simone
Guido Cagnacci the former for having left a number
(1612-48)''^
and
tions into compositions of boring pedantry; his
(1601-63) ;"
refined silvery tonality into a frigid scale of light
of carefully constructed, serene, and strong
tones; his vibrant tenderness into sentimen-
works, in which Carraccesque elements are combined with those from Cavedoni and the
tality;
and
his late 'sketchy'
manner with
its
directness of appeal was neither understood nor followed.
Among
the Reni succession in
Bo-
early Reni to
form
well illustrated
a distinctly personal style,
by the moving
BIBLOSARTE
portrait of his
HIGH BAROQUE PAINTING AND
aged teacher [224]; the fortune in Vienna painter to
( a, Tcaice). Qrir ia his haa yean aad, abonc al. after the death of the elder brother does he aec^ m haic cnaoeanaond oa Jfirptcd, from
ii
itiiiai
G
die pmatrng of zadtfr, far wUcfc fe
that
^a mayor problem of
opened
Unti
fairly
icjcmdy
it
cziiici
was IwJktui dot Ft
cesoo was the leal aad oaly graias in the
Now, huweia.
k aoa
the scdcs have beca
<
mtciaul
nuitliem skies by the matfaemancri piecisnn of Ins rision
and the
terse appficadan of a na n
lai^ of cold 'moonligjH' ooloois.^ Often in
allied
fact
with tbe
bmk of CanaietBa. bu
op a diammitJy oppuain
taking
position. Francesco
Gnardi (1712-93) nHSt be
the ofj^m
m
of a medieval
Chiem deTAagcfe
b
m
l
artist.
Ahboi^ in
was married to Tiepolo. research that
the
(alkr 1753) \2S5\ ear Book, \(i()s,2,). 203. 8. The pattern is derived from S. Costanza, via the illustration in Serlio's Fourth Book.
BIBLOSARTE
NOTES TO CHAPTER
206.
9.
The name
derived from the motto 'Initium Domini' engraved over the main
sapientiae timor
entrance.
H. Thelen,
thorough reconstruction
in his
of
the
history of the building (Mncfllanea Bihl. Hertzianae,
shows
1961, 285 307), convincingly della Porta
had
that
Giacomo hemi-
built the closed arcades of the
cycle long before Borromini took over.
An
10.
volo,
exhaustive geometrical analysis by L. Bene-
tema geometrico
'II
Qttaderni {1953), no. See,
11.
di
Ivo alia Sapienza',
S.
the illustration in Serlio, Tulle I'dpcrc
e.g.,
ft".
21.
For
of all the monuments, monumenti borrominiani della
a detailed discussion
see P. Portoghesi,
'I
lateranense', Quaderni (1955), no.
basilica
R. L. .\lontini
in Palladio, v (1955),
chapter
who makes
.\,
210. 13.
The
Carlo Rainaldi, Rome, i960,
probable that the planning of
IX
given the church under Pius
its
in
1859 was removed
and the church was given back
in a recent restoration
original white appearance.
For the emblematic character of the architecture, see the papers by H. Ost and P. de la Ruffiniere du Prey (Bibliography).
For
Turin, 1967, 94
liira,
find a rather
que of
my
on S. .\gnese (Bibliography under Rome), 114; hence I saw no reason for any changes. 24. This is due to the fact that the frames of the painted pendentives are carried area of the attic.
It
is
in
ing of this type; the vestibule. Piazza d'Oro, Hadrian's
of S. Agnese.
the
Tempio
tions in
125-35); and, of the same period,
di Siepe,
Campo Marzo, Rome.
Illustra-
G. T. Rivoira, Roman Architecture, Oxford,
The
ruins of Baalbek were already
sixteenth century.
The 'Grand Marot'
known
in the
of about 1660-
70 has a reconstruction of the great temple.
W. Born,
16.
'Spiral
Towers
in
217. 25. For a further analysis, see Wittkower, ««//., 'xix( 1937),
26.
256
An
ft".
Even Bernini had a hand in some of the decorawas responsible for the details of the entabla-
shown
that,
their ft.,
through the tradition of the Tower
of Babel, spiral towers were more
common
teenth- to eighteenth-century Europe than
is
in
six-
generally
1948, 197.
Roma dal Seicentn al Novecento, Bologna, The lantern appears in a ground plan in the
-Mbertina (Hempel, figure 61) the 'drum'. This drawing
documents
for
drawn
into the plan of
one of the most interesting
is
Borromini's medievalizing approach to
planning. His procedure can be fully reconstructed, since the design contains the complete geometrical
realized.
212. 17.
ture.
218. 27. For a difterent opinion, see A. de Rinaldis, L'arte in
Europe and
oriental Prototypes', G.d.B.A., xxiv (1943), 2}}
has
the unifying verticalism nor the slender proportions
tion; he
1925. 15.
the
to
and where the arch of the vault rests on the thus producing neither
entablature without an attic
Villa, Tivoli (r. A.D.
down through
compare BorroSt Peter's, where the en-
worthwhile
tablature over the pilasters of the pillars does not project
fl.
xxv
high-handed though unspecific critiG. Elmer's book
Other examples are the 'nymphaeum' in the garden of Sallust (Flavian), perhaps the earliest build14.
Kitnslg.,
analxsis of S. .^gnese in
mini's solution with that
S. Ivo, see also C. Brandi, Strultura e architet-
J.
(1962), 173. I
feigned coloured marble effect that was
and
it
215. 23. See K. Noehles in Zeilschr.
other bays C.
11,
ft.
e
Roma'. string-courses run on across the two
88
22. New documents for the histor\' of the church were published by L. Montalto in Studi Romam, V (1957), and Palladia, viii (1958). See also F. Fasolo,
the church began as early as 1(145 7.
The
529
H. Thelen, Kunsuhronik, vii (1954), 264 On the meaning of the capriccio in seventeenth-century art, see Argan, Borromini, 40. 19.
d'archilellura, Venice, 1566, 62, of a temple 'fuori di
208. 12.
•
213. 20.
L'opera di Hwroninio
3.
9
The
twelve .\postles
in the tabernacles
of the
436) and the oval paintings above them belong to the Pontificate of Clement XI. Borromini's
nave (see
p.
plans for portico and
fac^-ade
remained on paper. They
were
pattern carefully drawn.
It
appears,
first,
essential points of the construction are
that the
determined by
incommensurable magnitudes and, secondly, that the is geometrically derived from the
shape of the lantern
drum, and
the geometrical unification of dif-
later executed by .\lessandro Galilei (p. 382). For the development of Borromini's project see, above all, K.. Cassirer, 'Zu Borromini's Lmbau der
closest contact with late
Lateransbasilika',7rt/^;7^ Preiiss. Kiinslslg., XLii (1921),
219. 28. For other chcrub-herms in Borromini's late
18.
55
ft".
In addition, H. Egger in Beitrdge
ziir
Kutisl-
Franz IVickhiiJJ'geiridmet, Vienna, 1903, and M. Dvorak, 'Francesco Borromini als Restaurator',
geschichte
Kunstgeschtchtlnhes
Jahrbuch
Komnnsswn, Vienna, 1907
der
k.k.
(Beiblatt), 89
ft.
Zentral-
it is
ferent storeys
this
drawn
into
one plan
that reveals the
medieval principles.
work, see the monument of Pope Sergius IV in S. Giovanni in Laterano and the facade of S. Carlo alle Quattro Fontane 19I. 29. The coherence of the tiers of the tower is stressed, 1
1
however, by the placing of all the supporting elements
BIBLOSARTE
530
NOTES TO CHAPTER
•
9
the diagonals, corresponding to the buttresses ot
in
the whole exterior only the two upper tiers and
Of
the crowning feature of the tower were stone-faced
and finished. 30. Until recently the
been dated
due
is
design of the church had always
The
the early 1630s.
in
revision of the date
uh'tti
in Stiidi
siil
cone-shaped
ith a classicizing frieze)
Borrommi. Atli del
S. Girolamo della Carita, laid out with colourful marble decorations. Here the 'bizarre' idea of replacing the balustrade of the chapel by kneeling angels
who hold
of (marble) cloth between them (allu-
a piece
sion to Christ's
Full discussion by P. Porto-
pall.').
(1958), 39.
This
is
derives from Hellenistic sources (familiar to (Quattro-
d'arte, iv-v (1939-40), 141,
used by Borromini.
In 1 646 he incorporated it in his project for the Palazzo Pamphili in Piazza Navona and executed it in the gallery of the same palace (see below. Note 45). It is not impossible that more than ten years later this stimu-
and Portoghesi in PallaFor other minor work, see Portoghesi, Qiiaderni, nos. 25-6 (1958). 36. .\. Pernier, 'La Torre dell' Orologio dei Filippini', Capitolium, x (1934), and idem, 'Documenti opera del Borromini La fabbrica dei
inediti sopra un'
:
della Rocchetta,
lapping rhythms which, starting with the entrance
di storia patria, XC.
bay,
may be
expressed as:
or:
b'Ab'|b|b'Ab'|b|.
33. It
.
.
corresponds
to
Archive
II
(1935), 204. See also
'Un dialogo
sulla fabbrica dei Filippini', Arch, della Soc.
Borromini
(1967), 165-21
laid the
main
axis
romana
1.
through the centre
the side adjoining S. Maria in Vallicella. Consequently
.
the fa9ade
left
(west) of the central axis consists of five
Borromini's design. In any case, the
bays, while the right-hand side (near the church) has
diamond-shaped
only three bays. But the eye does not notice the asym-
interior decoration, including the
simple coffers of the vault (painted), belongs to the restorations of 1845 and 1928-9. See Marconi (above,
metry, since the two farthest bays on the
Note 30) and M. Bosi, 5. Maria
224. 38.
Rome,
G. Incisa Spada
del P. Virgilio
of the courtyards [135], but the long western wing along the Via de' Filippini has no correspondence on
.
not certain that anything above the cornice
is
Filippini',
37.
A|b'bb'|A|b'bb'|A|.
25-6
dio, IV (1954), 122. -
Cortona to his use of the same motif in the facade of S. Maria in Via Lata (148]. 32. Here too Borromini worked with similar overlated Pietro da
nos.
some minor
for the Spada family, who patronized Borromini from the 1630s onwards; seealso .\. Corbara in Cniua
works
first
als43,
less
spiral
were
in-
than thirty-
eight drawings by Borromini for the palace survive
(Vienna, Albertina). Full discussion by G. Giovannoni,
Palazzo Carpegna",
S. Luc a,
Rome,
in
Insii^nc
Aaademia di
Tafuri
(in Qiiaderni,
La Rcalc
1934, 35^66.
IVl.
79-84 (1967), 85 ff.) examined Borromini's contribution again on the basis of documents in the Falconieri Carpegna archive; Borromini's alterations were executed between 1643 and 1647. XIV,
A
similar idea
is
Uffizi, attributed to
to
be found
in a
drawing
in the
Borromini, published by Porto-
da Corlona,
I'"lorence, 1962.
Briganti in Farag(ini\\i (i960), no. 123,
Toesca (next Note). 3. His biography in Passeri Hess, 75; see Toesca in Boll. d'Arte, xlvi (1961), 177.
.Among other domestic buildings by Borromini mention may be made of the Palazzo di Spagna (1640s) where, according to Hempel (133), the vestibule and
The
later
Palazzo
Now
.\ccademia
in the
di S.
Haskell, Patrons, 38.
.Marino had been
5.
He died
in 1625.
eight years until 1623.
in Paris for
The
Rinaldo and Armtda painted for
Marino (Passeri-Hcss, 375) has not For Marino, sec G. .-Ackerman,
yet been traced.
An
Bull.,
For Cassiano
6.
Pozzo and
del
his collection, see
C. C. Vermeule, Art Bull., xxxviii (1956), 31; idem. Proceedings 0/ the American Philos. Snc., Cii (1958), 193,
and Transactions
oj the
American
Philos.
attribution of the Palazzo Bar-
Soc,
F. Haskell and S. Rinchart, Burl. Mag., cii
(i960),
318,
Patrons, 98
ff.
and the able summary in Haskell's For Cassiano in Spain, see E. Harris,
7.
The
be discussed
to
ff.
frescoes at Frascati and in the Palazzo Mattci, later, arc
memorable excep-
the only
tion.
He may have had some training at Cortona who was an architect.
8.
9.
Voss, 543.
- Briganti,
11
1,
on the contrary, a
painter
to the very last.
Payments
Cortona begin
1626 and run until
1630.
mini's precise contribution to the Villa Falconieri at
Cortona
Frascati has not yet been determined. .\n interesting
century drawings by Pier Leone Ghezzi (1674
project for the villa of Cardinal Pamphili near Porta
which gives
Pancrazio has been published by Portoghcsi
in
Qiiaderiti (1954), no. 6.
48.
The inspiration
10.
probably came
once again from Michelangelo's Capitoline Palaces,
which influenced Borromini throughout his lifetime; but the closely-set pilasters and narrow bays are reminiscent of Palladio's late style of the Palazzo Valmarana
It is
to
fatto
maintained
is
hitherto overlooked, but use
is
later (1704), a fact
must have been made
ot
in
a
series
of eighteenth1755)
and plans of the
a valuable general view
Ghezzi
calls the
house 'casino
ad uso di fortezza'.
See also G. Tomassetti, 'Delia Campagna Romana: Castelfusano', Archivio della R. Societc)
Romana
di
XX (1897); Francesco Chigi, 'La pineta di Castel Fusano', Vie d' Italia, xxxviii (1932). storia patria,
1
true that the attic
in
attribution of the building to Pietro da
three storeys (London, Coll. Sir .Anthony Blunt). In
and the Loggia del Capitano. 228. 49.
The
his brief description,
for the giant order
with
his uncle Francesco,
alii Giubbonari has to be abandoned; see B. Maria Apollonj in Capi/olium, Viil (1932),' 451. Borro-
berini
N.S.
L, pt 5;
emphasizes Cortona's unbroken powers as
HempeFs
XLiii
(1961), 326.
232.
alterations.
I.
Luca, Rome.
nineteenth century, but the courtyard
extant with
also
For Marcello Sacchetti's patronage of Cortona, see
Spada in Piazza di Monte Giordano (about 1(160) lost its Borrominesque character in a modernization of the is
]iT,.,
also
Burl. Mag., CXii (1970), 364
ghcsi, Qjiadenit (1954), no. 6, 28.
staircase of three flights survive.
Pii'lro
I.
SeeG.
4.
loggia of the courtyard with the richly
decorated doorway staircase
231. 2.
45. Full discussion of the various plans for the palace
S.
531
•
CH.AFTER 10
Frascati (pp. 36-7).
47.
lO
Borromini, of course, had knowledge of Vasan-
zio's loggia in the
'II
AND
9
1.
Only the grotto is preserved (sec Luigi Callari, Le Roma, Rome, 1943, 266). Views of the villa
ville di
exist in
Roma Roma
A. Specchi's Qjiarto
G.
libra del
nuovo teatro
.
.
.
the time of Borromini's
di
death there was an iron railing over the cornice; see
di
L. Cruyl's draw ing of 1665 in the Albertina (H. Egger,
and Fontaine's Choix des plus celehres maisons de plaisance de Rome, Paris, 1809, plates 39-41. Our knowledge of the villa is considerably furthered by some
a
design by Borromini.
\\.
Romischc Veduteii, Vienna, 1931, II, plate 75); G. B. Falda's engraving in // niiovu teatro delle fahbnche ., I, [Rome], 1665, plate 9; Falda's plan of Rome of .
.
1676; and the drawing in the Library of Windsor Castle, Albani
volume
185, no. 10328.
(1699), plate 44;
antica e moderna, v,
\'asi's Delle
Rome,
magnificenze
1754, and Percicr
Ghezzi drawings in the Blunt collection (see last Note): (i) the ground-plan [140], only published once in [Blunt-Wittkowcrj, Exhibition of Architectural and
BIBLOSARTE
NOTES TO CHAPTER
532
The Courtauld
Deiiiratne Drawings,
ruary, 104'). ^'O. 15, plate
of the grotto; at
(iii)
10
one
i
ot the
;
(ii)
Institute (Feb-
the section and plan
windows on
the
first
floor
the sides ot the central niche. See also Incisa della
Rocchctta 12.
in
L'l rhe (1949)' "O- 3^ 9 16. to \'asi. Cardinal Giulio commissioned
According
the building; according to Specchi's caption
was the
it
Marchesc Marcello.
Miscellanea Rihl. Hertzianae(nfh\), 375.
F,.
Hubala,
Kunstg., xxv (1962), 125, enriched the
some drawings in
discussion by publishing
the Castello
Sforzesco, .Milan. Keller's and Hubala's results have
been corrected by K. Noehles, La chiesa dei SS. Luca Martina, Rome, 1969, 58 ff., who convincingly dates
e
the 'mausoleum' project as early as 1623
4.
K. Noehles, up. cil., has, however, shown that the completion of the church dragged on until 1669. 22.
(Mmlra
A. Marabottini
13.
in
in Zeilschr. j.
di Pielro
da Carlona,
The
bays adjoining the crossing
the longitu-
1956, 34) believes that the pictorial decoration points to a date not earlier than 1630. A. Blunt in Burl. Mag.,
dinal axis are wide
XCViil {1956), even suggested 1634-5. Briganti, 191,
which have balconies above them. The corresponding
does not commit himself.
bays
Wittkower, 'Pietro da Cortonas Ergiinzungs-
14.
projekt des
Tempels
in Palestrina\ Festschrift Adulpli
Goldschniidt, Berlin, 1935, 137.
For Praeneste, see C.
Severati (and others), in L'Architettura, xvi (1970), no. 6, 398,
and no.
8,
23.
Hubala,
nephew,
a
is
standing.
contain only niches.
cit.
Michelangelo's projects for the
e.g.,
plan [142] illustrates that the whole front
be likened to one of the apses flattened out and
reversed.
of characteristically Cortonesque design
1
The
26.
it
Berrettini, to Giro Ferri, 24
in
accommodate doors
facade of S. Lorenzo, Florence.
March 1679, in G. Campori, Lettere artistulie ineditc, Modena, 866, 510. 16. Onlv the front with the portal and two windows Luca
op.
241. 25. See,
may
234. 15. See the letter written by Cortona's
in the transverse axis
to
237. 24. Michelangelo's influence was stressed by
many
540; valuable for the
illustrations.
enough
The
position and motif of the
responds, but while the wall
seems
columns cor-
recessed inside, outside
outward.
to bulge
begun
27. S. Carlino,
is
in the
same
year,
remained
\. Blunt, 7.rr.C./., XXI (1958), 281, suggests that the
28.
theatre was executed between 1638 and 1642.
29. In the interior
in Kunstchronik, XXiil (1912), 565.
O. Pollak
Cortona was above
reason to believe that this was not finished
after 1665).
Wittkower,
235. 17. .\long the pencil the
main
front Cortona indicated in
rooms of the piana
The
nohilc.
occu-
'sala'
pies 4 octagons, the 'salone' 4 octagons plus the vestibule,
and the 'anticamera'
2 octagons.
The
length of
Cortona's Salone would have been 125 feet compared with the 85 feet of the executed one.
-
The
note
in ink
on the left mentions that a corridor should run above from which one could reach all the rooms. 18. A scale in Roman palmi is at the bottom of the sheet. Cortona's ground floor would have been c. 3 teet higher than the present one, judging from the diameter of the columns in his plan. 19. O. Pollak in Kinistchronik, xxiii (19 12) and idem, Kiinsltiiligkeit,
20.
185 e
il
i,
ff.
published by O. Pollak,
di S.
Luca
Accadenua
di S.
See also G. Giovannoni, 'La Chiesa
suo restauro',
in
La Reale
Iiisigne
op. cii.,
Luca, Rome, 1934, 19 25, with measured ground plan. All earlier work on the church has now been super-
1
12,
note
chral church
in
.Munich sepul-
was planned, was published by H. Keller,
The dome shows once
again
work was left in the hands of the young Carlo Fontana who, at precisely this period, also began to
that the
assist
Bernini.
therefore possible that Cortona's
It is
design was classicized under Bernini's influence. 30. Illustration 146, redrawn from a preparatory drawing by Cortona in the \ atican Library, shows one street flanking the church on the right and another at
an angle to the church on the indicate
what had
to be
left.
demolished
The in
dotted lines
order to create
the small piazza.
The quadrant wing on
the right-hand side
is
a ''ham structure. ^,2.
The
portico
is
also an impressive
approached from the Via 33.
35. is
di
landmark when
Parione Pace.
Brauer-W'ittkower, 74.
34. In actual fact,
nor
at first a
3).
shape and un-Cortonesque. Since Cortona was absent from Rome in 1658, it is not at all unlikely
Note).
drawing by Cortona
good
classical in
siderable freedom.
21. .\n important
is
1657, the
the combination of ribs and coffers, but the coffers are
seded by K. Noehles' excellent monograph (see next
(Graphische Sammlung), revealing that
in
date of the inscription of the consecration (see Brauer-
242. 31.
163.
The documents
for the
responsible
all
modernization of the old dome. There
one of the 'Quattro Fontane', on the side of the Palazzo Barberini, is by Cortona, but it was not finished until the reign of Alexander VII (probably -Also,
for
long time without facade; see p. 203.
is
Cortona permitted himself con-
The column
is
not 'correct' Doric,
the entablature 'correct' Ionic.
The
break
essentially a
at right
angles of a coherent moulding
Borrominesque motif.
It first
the garden front of the Palazzo Barberini.
BIBLOSARTE
occurs
at
NOTES TO CHAPTER
For a somewhat different interpretation ot the facade of S. Maria deila Pace, see H. Sedlmayr, Epocheii ittid Werke, i960,
66.
11,
244. 36. N. Fabbrini, I'lla del Cav. Piclni da Cortnna,
Cortona, i8g6, 118; Luigi Cavazzi, La Diatona
Maria 37.
I
Rome,
Via Lata,
in
igoS, 130
S.
have mentioned before that Borromini used
the motif
more than once (Chapter
Note 31) and
t).
Cortona may have been stimulated by him.
that
di
f1.
have
I
Near East was known during the seventeenth century (Chapter q. Note 13). 245. 38. Cortona's dome was begun in 1668 but finished after his death, as testified by Luca Berrettini (see above. Note 15). This probably accounts for certain rather dry Cortonesque details which induced some scholars to deny Cortona's authorship of the design altogether. There is no reason to doubt that Cortona
made
also
designs for the interior decoration
of the church. For further data relating to S. Carlo
Corso, see Chapter 39.
12,
Note
al
The Cappella Gavotti, with powerful
motifs
com-
pressed into a small area and richly decorated with sculpture by Raggi, Ferrata, and
Cortona's it
latest
Cosimo
Fancelli,
is
masterpiece. But he did not live to see
finished Ciro Ferri completed :
it
after his death.
classicizing altar of St Francis Xavier
The
was completed
Novum
For Ciro Ferri
as designer of sculptural
and architec-
tural decorations, see
K. Noehles
Herizianai- (ig6i), 429.
AlsoH. W. Kruft,
CXI I (1970), 692
ft".
246. 40. Bottari,
i,
41.
in Miscell.
Bibl.
Burl. Mag.,
in L'CEil, no.
tions in
.\.
presented by these drawings are
rather complex. Cortona's principal design seems to be Uffizi 2231.
K. Janet Hoffman
(New York
University, 1941) tried to establish the
in
an unprinted thesis
authentic drawings and their chronological sequence.
and pulled down
in the
nine-
La I la della Pedacchta e la da Cortona, Rome, 1885, contains some
teenth century. V. Lugari, casa di Pielrn
.
.
.
367 ^. 48. Brauer VVittkower, 148. 49. Bottari,
419.
i,
among
247. 50. This was,
opinion stated
others, Luca Berrettini's mentioned above. Note 5.
in the letter
1
Dated, probably correctly,
51. 1
.Wag., cxii (1970), 752 52. J. Hess, 'Tassi,
ft".
Bonzi e Cortona a Palazzo Mattei',
Coinmenlari, v (1954), 303. For the correct dates (docuin Kunstchronik, x\i (1963),
ments), see K. Noehles 99,
and G. Panofsky-Soergel, (1967-8), 142
in Riim. 7ahrh.
Hess attributes the decorative organization ot the Noehles believes that Cortona
rather than Bonzi was responsible for
Luca
53.
of Traian's
reliefs
One
Column no
of these drawings
Stampe,
Rome,
(1961), 40; see also P. Portoghesi in Qjiaderni (1961), nos. 31-48, 249. (ed.
Lalanne), 257, and Bottari,
11,
(Ciro Ferri's letter to Lorenzo .Vlagalotti, 17
February 1666.) 45. G. Giovannoni, Palazzo
Pitti nei
segtia d'.4rle,
drew
Rome
is
all
the
than three times.
less
preserved
Gab. Naz.
in the
(.Mostra di Pietro da Cortona,
1956, plate 51); others are in a sketchbook by
Cortona
in the
Museum, Toronto,
see G. (December 1957), the sources, Cortona was par-
R. Ontario
Brett in Bulletin R. Ontario Mus. 5.
.-According to
Caravaggio, and echoes of his work are evident
in the
Cortona.
later
249. 54. For the Sacchetti and Barberini patronage of
Cortona, see the documents published by
M.
(with
446
.Aronberg Lavin), Burl.
I.
Lavin
.Mai^., c;xii (1970),
ff.
55.
His
life in
Passeri-Hess, 168.
.\ list
ings in VVaterhouse, 51, superseded by
Rocchetta
Chantelou
it.
Berrettini reports that Cortona
43. K. Noehles, 'Die Louvre-Projekte von Pietro da Cortona und Carlo Rainaldi', Zeitschr.f. Kioistg., xxiv
f.
Kunstg.,
ceiling to Bonzi, while
Harris's study (see Bibliography).
44.
/.
fr.
illustrations.
51
1616 by Briganti,
c.
53, who discovered these frescoes. For an early work, perhaps of the same period, see E. Schleier, Burl.
no. 26,
42. Erected in 1660
97 (1963), 70. Excellent illustraPedrini, Ville in Picmonte, Turin, 1965,
ticularly interested in the engravings of Polidoro da
418, 419.
The problems
1931; sec also L.
Pedemontii, Diisseldorf,
Hoctin
delle
as late as 1678.
533
1
XI
23.
•
46. See Note 4. Cortona's original draw ing is in a volume once belonging to John Talman, purchased before the war by the Victoria and .-Mbcrt .Museum. 47. Illustrated in .\. E. Brinckmann, Tlwalrum
also pointed out that the Hellenistic architecture of
the
10
Of his paint-
.\.
Sutherland
For Sacchi's contribution see G. Incisa della in L'Arte, xxvii (1924), 60, and H. Posse,
56.
Der romisihe .Maler .indrea Sacelii, Leipzig, 1925, 27. See also .A. Sutherland Harris and E. Schaar, Die Handzeichnungen von Andrea Sacchi und Carlo Mar-
Kunstmuseum
atta,
Diisseldorf, 1967, 26.
Further to the Castel Fusano frescoes. Note 56 and Posse m Jalirh. Preuss. Kunstslg., XL (1919), 153; 57.
'II
restauro architettonico di
disegni di Pietro da Cortona', Ras-
XX (1920), 290; E. Vodoz
in Mittetlungen
Briganti, 177. 58.
Before 1625; see Jane Costello
in
J.W .C./., xiii Rome, 1956,
des kunsthistorischen Inst Huts in Florenz, \I (1941),
(1950), 244; Mostra di Pietro da Cortona,
no. 3-4, 50.
3, 25.
For the date, see Briganti, 164.
BIBLOSARTE
NOTES TO CHAPTERS
534
AND
10
II
250. 59. Cortona copied after Titian for his patron,
Sandrart (ed. Peltzcr,
.Marcello Sacchctti.
reports that he himself and Cortona,
p.
270)
Duquesnoy,
Poussin, and Claude studied Titian's Bucdiaiials,
then
the Casino Ludovisi. See also above, p. 276.
in
60. Fosse's masterly discussion of the ceiling has not
yet been
superseded
Kiiiislli;.,
XL,
we cannot fully agree with him must be referred to it for
1919), and, although
on
Pretiss.
(Jalirh.
points, the reader
all
further study.
The only known preparatory drawing for the system of the ceiling (Munich Posse, figure 26) shows ;
Cortona
first
it
with clearly defined
still
close to the Farnese
envisaged
frames for quadn riportali
Rome
responsible for the Sala di
decoration of which
Saturno,
1663
5,
the
only a faint echo of that of the
other rooms. 67.
The
fresco of the Sala di Marte, here illustrated,
the most developed of the series. In the centre, the
Medici coat of arms floating through the air like a sumptuous trophy along the borders the prince's victorious exploits which are rewarded by Justice and Peace. ;
68. .According to Baldinucci {Notizie de' projesson, iv,
428), Raffaello Curradi's pupil,
Santi Castellaccio (or Cartellaccio), and Gio. Maria
(E. I.avagnino, Bull. d'Artc, xxix (1935), 82), to the
execution that
it
Archivio di Stato to the stuccatori Battista Frisone,
a copy rather than a preliminary study.
The latter was one of the stuccatori who worked
Ceiling. Characteristic later examples: Pierino del
Sorrisi.
Vaga's Sala del Consiglio, Cast el S. Angelo, and Sal-
in the Villa
viati's frescoes in
the great hall of the Palazzo Farnese.
H. Tetius, Aedes BarFor an illuminating revision of previous interpretations, see W. Vitzthum, Burl. Mag., 63. Detailed description in
cm
is
already true for Michelangelo's Sistine
Rome
corresponds so closely
herinae,
of the
documents, see Briganti, 236, who believes that (Cortona began the Sala di .Apollo in 1642 3). It was finished by Ciro Ferri in 1659 60. The latter was entirely
must be
large bozzetto in oil in the Galleria Nazionale,
is
1647 shortly before re-
Cosimo Salvestrini, executed the stuccoes of the first room and some of the following ones. On the other hand, James Holderbaum found payments in the
The
This
in
(for a different interpretation
Florence, ed. 1846,
ceiling.
62.
which he began only
turning to
is
252. 61.
that
.\pollo,
Rome,
(1961), 427,
1642.
whom
I
follow.
Note 24)
in
Rome
(Chapter
11,
the specialists he needed. 256. 69. See A. Blunt, Art and Architecture in France, 161, 173, 206, 253. 70.
For the various levels of allegorical meaning read into such works in the seventeenth century, see J. Montagu, in J. W.C.I. xxxi (1968), 334 f.
Doria-Pamphili
proof that Cortona did not find in Florence
M.
Lenzi
in
Roma,
\ (1927), 495; L. Grassi in
Boll. d'Arte, XLii (1957), 28.
,
253. 64. In addition to the frescoes of the
Gran Salone,
Cortona in the Palazzo Barberini decorated the Chapel and two rooms on the first floor (1632-3). To the same period also belongs the beginning of his work for the Chiesa Nuova (S. Maria in Vallicella, fresco on ceiling of sacristy, 1633-4). Further, in 1633 he began the large cartoons of Constantine's
life
for the Barberini
tapestry works, which he directed from 1630 on (Lr-
bano Barberini, in Boll. d'Arte, xxxv (1950), 43, 145). For these tapestries, see now D. Dubon, Tapestries from the Samuel H. Kress Collection at the Philadelphia Museum oj Art, London, 1964, and the critical review by W. Vitzthum, Burl. Mag., CVii (1965), 262 f 65. For this and the following see H. Geisenheimer, Pietro da Cortona e gli ajfrescht di Palazzo Pitti, Florence, 1909. .Also D. R. Coffin in Record of the Art
Museum
Princeton
University,
xiii
(1954),
t,3,
M.
Campbell and M. Laskin, Jr, in Burl. Mag., Ciu (1961), 423, W. Vitzthum, Burl. Mag., cvii (1965), 522, and Campbell, ihid., 526 f 66. The first room Sala di Venere was executed in 1641-2. He carried on with the fourth room, the Sala di Giove (1643-5), then with the third, the Sala di Marte (1646), and finally with the second, the Sala di
CHAPTER
II
I. Art and Architecture in France, 182. H. Posse's biography of Sacchi (Leipzig, 1925) and his article in Thieme-Becker are first-rate contributions and have not been superseded, but an extensive monograph by A. Sutherland Harris is in the press. For Sacchi's work in the CoUegio Romano, see idem.
261. 2.
Burl. .Mag., CX (1968), 249
ff".
262. 3. A. Sutherland Harris (Burl. Aiag., CX (1968),
489
ft.)
has
made
it
St Romuald was
likely that the
painted in the early 1630s rather than during the
last
vears of the decade, as was generally assumed. 263.
4.
O. Pollak, Kunsttdtigkeil,
plates 10,
11; D.
i,
141.
Mahon, G.d.B.A.,
Waterhouse,
(1962), 65; Harris Schaar (see above. Chapter 10, Note 56), 45 ft'. 5. The most important altarpiece of the 1640s, the l.v
Death of St Anne (S. Carlo ai Catinari, 1649; see \\ aterhouse, 91) shows that he preserved his rich and
warm
palette, in contrast to Poussin.
G. Incisa della Rocchetta in L'.-irte, xxvii (1924), 65. For the problems connected with the dating and with the small replicas, see Jane Costello mj.]] .C.I., 6.
XIII
(1950), 242.
For the subject, see Passeri- Hess, 29;
BIBLOSARTE
NOTES TO CHAPTER
H. Tetius, Aedes Barhennac, Rome, 1642, 83; Posse, op.
luc. cil.\
(it.,
Incisa,
38; Haskell, Patrons, 50. For
this type of allegorical Fresco, see
F",.
Gombrich
in
J.W.C.I.^W (1948), 186. For drawing related to Divine Wisdom, see Harris-Schaar, op. cil., 2(). 7. M. Missirini, Memnrie per servire alia sloria delta rnmana Accademia di S. Ltica, Rome, 1823, 111. Mahon (see Note 4), g7, reasonably suggests the year 1636 for these discussions.
Lee
R.
8.
265. Q.
in
The
An
early as 1626. In any case, it dates from before the Cardinal's and probably some years before death on 7 .August 1637. P'or this bust, see H. Posse, Jafirh. Preuss. Kunslslg., xxv (1905), and J. PopeHennessy, Italian High Renaissance and Baroque Sculpture, London, 1963, Catalogue, 142, with further -
references.
268. 22. In the
and
Bull., xxii (11)40), 11)7. is
to
lini, in
bust to
Accademia
II,
See E.
77.
Battisti
dei Lincei, viii (1933), 139.
11.
Malvasia (ed. 1678),
12.
On
13.
Albani had planned to write an
267.
11,
January
ifto6),
with
about
a
little is
in (1957), no. 84, 67, attributed this
and reasserted her attribution
P'inelli
seemed
(1960), no. 131, 19.
It
now appears that
is contemporary evidence Pope-Henncssy, Catal. of
she
is
ihid., \\
right, for
there
tor this attribution (see
J.
Ital.
Sculpture
in
the
7
for
Michelangelo Buonarroti the \'ounger, the Bracciolini
(b.
known. Notes
w ork, w hich can be dated betw ecn the
early
1
(1408
and -Albani's death in 1660, were incorporated by Malvasia in his Felsina pittrice (11, 244-38). 14. Trallato della pittura,
\
it
.Nava Cel-
and .ilhert .Museum, London, 1(^64, 11,609 ff> no. 643). The bust shows to what extent Finclli was dependent on Algardi. Together with the bust of
art theoretical
Dr Orazio Zamboni
whom
Paragone,
.A.
Victoria
this point see p. 140.
treatise together
this
Rendnonti
in
showed on
I
as
correctly attributed to Algardi.
-
the higher form of art goes, of course, back to Aris-
Pascoli,
.Museum), traditionally and
.Albert
me
(hardback) edition
first
the bust of I'Vancesco Bracciolini (Victoria
i)t)A
totle's Poetics, XXVI. 10.
535
made as
Plate
question whether tragic or epic poetry
II
must be regarded
as his highest
23. After A.
Munoz's generic discussion of
portrait busts (Dedalo,
Florence, 1652.
achievement as a
portrait sculptor.
i
Algardi's
(1920), 289), the problem was
e Barocco', Atti
not treated for forty years. In 1956 O. Raggio {The
del III Cotigresso Internazionale di Stiidi Lmanistici,
Connoisseur, cxxxviii (1956), 203) published Algardi's bust of Cardinal Scipione Borghese in the Metro-
15.
G. M. Tagliabue, '.Aristotelismo
Rome,
1955, 119.
266. 16.
be noticed that Cortona as a decorator and as a painter had his following on
It will
(see p. 253)
The traditional
to 1598; see the
birth-date 1595 has to be changed
document published by
.\.
.Arfelli,
e Moderna, il, no. 8 (igsgX 462. There were, however, many in his own generawho held him in high esteem I mean not only the
Arte Atilica 18.
tion
:
small circle of close friends, such as Poussin and Sac-
but foreigners like Blanchard and Van Dyck, who who wrote him a
chi,
marks.
Museum, New York, with some pertinent reFew of the busts are dated and the following
sequence, taking into account only part of .Algardi's
different sides of the fence. 17.
politan
painted his portrait, and Rubens,
production, Santarelli
Roman
is
an attempt
seems
to
at a
chronological order.
The
be quite early, perhaps the earliest
A group of busts is close to the Millini
portrait.
and should be dated about 1630; mainly the Cardinal Laudivio Zacchia [163] and the so-called Cardinal Paolo Emilio Zacchia Rondanini (Lgo Ojetti, Florence). In contrast to these, the later busts are not only
more
classical
in
handling but also show
a
more
Cambridge, Mass., 1955, 413, 509,
balanced relation between the head and the lower part. A date for the later series is supplied by the magni-
rightly refutes J. Hess's opinion that this letter was a seventeenth-century forgery (see Revue de I'art ancien
Pamphili prince [164], after 1644, the year of Innocent
most P.
et
flattering letter. R. S.
P. Rubens,
Magurn, The
Letters
of
moderne, LXIX (1936), 21).
The
entire inventory of 1633 of the Ludovisi
collection
was published by K. Garas, Burl. Mag.,
19.
cix (1967), 287
267. 20.
On
ff.,
339
.Algardi as restorer of antiques see
M.
the articles by Posse in Jalirh. Preuss. Kunstslg., xx\
and
Reale .4ccademia 21. If the
.A.
di
Munoz S. Luca,
apocryphal date
in Attt e 11
is
Memorie
della
(19 12), 37. correct, the bust
was
Donna Olimpia Pamphili and
of the
X's accession to the papal throne. (Bellori called the latter bust 'Benedetto Pamphili', who was the Pope's brother;
may
ff.
Neusser in Belvedere, xiii (1928). .Apart from the unprinted Harvard thesis by E. Barton (1952), no recent study of .\lgardi exists and reference must be made to (1905), 169
ficent busts of
it is
now
usually called Panfilo Pamphili but
represent Camillo, the son of Panfilo and Olim-
The
posthumous Frangipani busts in S. (first mentioned in P. Totti, Ritratto di Roma moderna, Rome, 1638) seem to mediate between the early and late group of busts: they clearly pia.)
three
.\Iarcello al
Corso
display strong classicizing tendencies. Finally, the bust of Mario Millini in S. .Maria del Popolo obviously echoes Bernini's I'rancis I of Este and must date from after 1650; but
it
was probably executed by
BIBLOSARTE
a studio
536
NOTES TO CHAPTER
•
My
hand.
II
chronology of Algardi's busts
with that suggested by
is
at variance
31. In an illuminating paper, J.
.Montagu convinc-
Seicentu
ingly demonstrated the novelty of .Algardi's last work,
Rome, 1957, Catalogue, 246 fF. Another chronology has been attempted by A. Nava Cellini in
the high altar in S. Nicolo da Tolentino, where he
Dizionano Bmgr.
ing degrees of relief {Burl. .Mag., cxil (1970). 282
\'.
Martinelli in
//
europeiu
degli lialiam.
(1960), 350, and
11
idem. Paragone, \\ (1964), no. 177, 15. For Algardi's
X
busts of Innocent
Palazzo Doria, formerly
in the
attributed to Bernini, see Wittkower, Bernini. 211.
The
269. 24.
of Algardi's principal commissions
list
during these years
1 644-8 building and Doria-Pamphili (Belrespiro)
impressive
is
decoration of the
\'illa
:
:
show ed
'a
deep niche containing figures car\ ed
in
varvff^.).
¥uU\o Testi, in a letter of 1633 to the Duke of Modena, called him the best sculptor in Rome after Bernini (P'raschetti, Bernini. 75). On Duquesnoy see M. Fransolet's monograph (Brussels, 1942), which is }2.
tar
from being conclusive.
How difficult
it
sometimes
still is
to
keep .\lgardi and
Note 37; the stuccoes of the villa have now been studied in an exemplary paper by O. Raggio.
Duquesnoy
apart has been demonstrated in a model
paper by
Montagu
Paragons, no. 251 (1971), 3
d'art
(Chapter
12,
Damaso, \
Cortile S. relief
1645-9: fountain,
ft.);
atican ; hozzello for the fountain's
with Pupe Liheniis haptizmg Seuphyles in the
Minneapolis Institute of Ans, see Wittkower Minneapolis
in
The
Arts Bulletin (i960), 29; i648(
Inst, oj
?)-
50: stucco reliefs above Borromini's aedicules in the
nave of S. Giovanni relief,
S.
Laterano; 1646-53: Attila
in
St Peter's; 1649-50: entire stucco decoration of
Ignazio; statue of Innocent X, Capitol; 165 1-4:
sculptural decoration of the
Tolentino (finished
and Francesco
Ferrata, 25.
aficr
Documents
in
main
da
by Guidi,
liarana).
monument was
were finished
II.
in 1644,
unveiled until
not
Con1652.
Peroni and Ferrata, on the strength of Passeri traditionally
quoted
tion of the
allegories, did not ioin Algardi's studio
tomb was
until the
26.
two
as the artists responsible for the execu-
practically completed.
pow ers. Leo's reign had (1605) and offered
The
lasted only tw en ty -seven days
little
scene chosen shows
the peace with Spain.
scop>e for a suitable subject.
Henry
I\ of France signing
W ith one hand
on the Gospels,
the king affirms the sanctitv of the treaty in the pres-
ence of Leo XI, then papal legate
at the French court. was derived from ancient or Early Christian sarcophagi, but the trapezoid shape was a
27.
The
idea
novelty.
The great model was finished for the Holy Year 1650 and placed in position. It is one of the few such models that have survived (now Biblioteca \'alli-
270. 28.
celliana).
seems is
to
Domenico Guidi's be noticeable
less certain
collaboration (Passeri)
in the right half of the relief. It
whether Ferrata had a share
in
the
The beginning completion
of the work
is
not quite cer-
1647 is attested by P. Masini, Bologna perluslrata. Bologna, 1666, i, 144. tain; its
in
272. 30. See also Correggio's
Martyrdom ofS.
and S. Flaiia (Parma, Gallery
).
33.
Duquesnoy and others
He died at Leghorn, on his way to
was travelling
in
response to the
Placidiis
off'er
court sculptor and director of the
to .\lgardi.
where he
Paris,
of a position as
Academy
of Sculp-
ture.
34. .According to Passeri
he w as responsible for some
of the putti in the foliage of the columns. Payments
which,
models of the angels above the columns, in others, Finelli also had a share (see O.
among
Pollak, Kunsttiitigkeit. 35.
11).
Finished in 1633. Documents published by E.
Dony, 'Francois Duquesnoy', Bulletin de I'lnstitut historique beige de Rome. 11 (1922), 114. See also Fransolet, op.
cit.
The figure is now standing in
the
wrong niche,
on the left-hand and not on the right-hand side of the
Consequently the gesture of the hand, pointing away from the altar, has lost its meaning. 37. Compare, for instance, the left hands on the two statues; the one with dimples, agile and supple, the other neutral, a hand of stone. 275. 38. See Sobotka in Thieme-Becker also A. Mufioz in L'Arte. xix (1916), 137. For the famous, often discussed bust in wax in the Musee \\ icar in Lille, see Sobotka in Berliner Kiinstgeschuhtliche altar.
;
Gesellschaft
.
Sitzungsherichte (1910), no.
this context the
marble bust
in the
vii,
Museo
40. In
Estense,
.Modena. should also be mentioned; see R. Salvini
in
Burl. .Mag., xc (1948), 93. 39. B. Lossky, 'La Ste
statues du
1
8e
s.'.
40.
.M.
Suzanne de Duquesnoy
};^t^.
Fransolet,
'Le Saint .Andre de Francois
Duquesnoy', Bulletin de (1933).
et les
Re-cue helge archeologique el historique
de Fart, ix (1939),
execution, as Baldinucci maintains. 271. 29.
attributable to
274. 36.
The relief celebrates a papal triumph over w orldly
royaux
which she investigates the well-known
in
ff.)
(in Bulletin des .Musees
Brussels, \.\x\iii-.vxxix (1966-7),
bronze group of the Flagellation of Christ, known in many similar versions, some of which (she claims) are
refer to the
O. Pollak, Kiinstlatigkeit,
tract 2! July 1634; the figures
but the
altar, S. N'icolo
Algardi's death
153
J.
el d'histoire.
I'lnstitut helge de
Duquesnoy made
Rome.
l\
a small bozzetto for the St
-Andrew between June 1627 and March 1628.
The
November
1629,
large
model was in position
BIBLOSARTE
as early as
NOTES TO CHAPTERS
II
AND
12
while work on the Susanna did not begin until a
divino e profano after
month
model Palazzo Spada, Rome;
original
Doria Pamphili, Rome, see
Faldi, Arte
later.
276. 41.
Hess
J.
in
Revue de
moderne,
I'art ancten et
Moderna,
LXIX(iq;,6). 34.
11
(original
Philostratus's text
I.
537
marble
\'illa
Antua
e
(1959), 52; replicas Victoria and Albert
For other busts by Duquesno\ see A. Nava Cellini, VII (1Q56), no. 65, 27 f., K. Noehles, Arte Antua e Moderna, no. 25 (1964), S. and H. Rottgen,
.Museum, Detroit, Prado, etc.). 46. .\mong Duquesnoy 's few pupils there was Orfeo
The Connoisseur (Feb. 1968), 94 ff. 42. A reflection of this can be found
'angelic sculptor'
,
Paragone,
in the
many
pic-
Dutch school, in which works shown see, for instance, Frans van
tures, particularly of the
by Duquesnoy are
;
Mieris, Detroit; .Adriaen van der Werff, Heylshof Coll.,
Worms;
above
all
The Hague
Netscher,
G. Dou"s pictures, .Altman
Duke of Rutland,
Belvoir Castle
;
(No. 127); and
Coll.,
L ffizi, \
den, Louvre; Nat. Gall., London,
New
etc. Still in
eighteenth century Nollekens valued his
York;
ienna, Dresthe late
Duquesnoy
models very highly; see. J. T. Smith, Nollekens and his Times, London, 1949, 234. 43. However, the design of the \'ryburch monument with the spread-out skin, on which the inscription is placed,
is
comparatively Baroque, while that of the
monument
van den Eynde
later
is
comparatively
D. Mahon, G.d.B.A., I
regard the
L.\
Wyburch
(1962), 73, read into
my text
putti as less 'painterly' than
Eynde monument, while I was, in concerned with Duquesnoy 's turn trom an Italian
those of the van den fact,
(Titianesque) to a native (Rubenesque) taste. For
quesnoy 's
stylistic
Du-
development, see also K. Noehles,
'Francesco Duquesnoy; un busto ignoto e logia delle sue opere'. Arte Antica e
crono-
la
Moderna,
\ii,
no. 25 (1964), 86.
278. 44. .\s an example
we may mention the Cupid
as
Archer (described by Bellori; ivory, Musees Royaux dWrt et d'Histoire, Brussels) which corresponds al-
most exactly
in reverse to the
archer in Titian's Bac-
chanal of Children; the same figure was used by Poussin in the Dresden Venus and Cupid oi zhout 1630.
Date: 1640-2.
45.
charming bozzetto
We
show
in Berlin.
putti to those of Rubens
in illustration
The
174 the
similarity of these
was first pointed out by A.
E.
Brinckmann. It need hardly be emphasized that Duquesnoy 's small representations of children are not genre. Just like
Rubens, he drew constantly on ancient
texts
and
ancient prototypes, see, for example, the Cupid chip-
Bow (marble, Berlin) in which he corrected Parmigianino's painting of the same subject in \ ienna by reference to the Lysippian Eros; or the reliet of
ping the
Putti
and \ymph mocking Silenus (illustrating Xirgil's which was in the collection of Cassiano
sixth Eclogue),
del
Pozzo (versions Berlin, Brussels (private
Dresden, \
who
1600-67),
(c.
venerated his master as the
and the 'phoenix of our
of particular interest because he
is
ictoria
coll.),
and Albert Museum); or the Amor
age'. Boselli
left a (still
un-
published) manuscript of absorbing interest for the history of sculpture entitled 'Osservazioni della Scul-
tura Antica' (Bibl. Corsiniana,
Rome, MS.
1391); see
-M. Piacentini. in Boll, del R. Istituto di Archeologia e
Storia dell'Arte,
IX, i-vi
(1939),
and
P.
Studies in Conservation, XI! (1967), 81 translation of Boselli's Fifth
Dent Weil,
ff.,
Book on
in
with a partial
the restoration
of antique sculpture.
CHAPTER 279.
12
In Bologna he executed the vaulting of S.
I.
Petronio, S. Lucia with unfinished facade (1623), and
SS. Girolamo ed Eustachio, of which
classical [171].
that
Boselli
His
little
survives.
also a project for the facade of S. Petronio, a
is
between Mannerism and Gothic Parma the vaulting of Fomovo's SS. An-
fantastic cross-breed
(1626). In
nunziata was due to him, and in
important share ( 1
63 1 -4), see
di, see
now
p.
in the
Modena he had an
design of the Palazzo Ducale
For Girolamo and Carlo Rainalsomewhat unwieldy monograph by
29 1
the
.
F. Fasolo 196 1 ), which contains, however, a great deal of material and should be consulted for this section. (
2.
See the synopsis
in Fasolo, op. cit., 420.
most important work
is
Silvestro at Caprarola near 3.
See D. Frey
4.
Wittkower
in
W
Girolamo's
the Carmelite church of S.
Rome
lener Jahrb.,
(1621, Fasolo, 65). Ill
(1924), 43
in .Art Bull., Xix (1937), 256.
ff.
Some
scholars disagree with me and attribute the project to Girolamo; see C. Montalto in Palladio, viii (1958), 144, and K. Noehles, Zeitschr. f. Kiinstg., xxv (1962). 168.
We can follow .Matthiae in
Carlo's career from 1633 onwards (G.
.-itti
Figurative,
II
(1946), 49). His project
and the modernization of the fa 16.
(1948),
Tassi has steadily grown; see E. Schaar in Mlttei-
22.
30.
years in Venice and distinguished himself also as an
ff.
For Gaspar's pupil, Crescenzio Onofri (1632-98), see
328
see Schlosser,
Bellori,
as a landscapist.
Further to G. Dughet's development, A. Blunt,
20.
On
24.
(Bibliography) and N. R. Fabbri, in
26. E.g. Guarini's
Art, xxvii {1948), 63.
ment
W. Wallace
syas.
see Paul L. Grigaut, Bull. Detroit Inst, of
of his activity, see the stimulating papers by
this side
little
a
faithful to his
that deserves special
attention.
Francesco .Allegrini (1624-63) was one ofthe minor Cortona followers. Egidio and Giovan Paolo T,},. Of German descent, (1615-74); the latter, the more important ofthe two,
whose paintings as well as designs Cortonesque flavour; on a number of occasions he worked for Bernini (.see Chapter 18, Note ). G. P. Schor has recently been given the atten-
was
a versatile artist
for applied art
have
a
I
BIBLOSARTE
NOTES TO CHAPTER
548
tion he deserves, see
14
G. Aurcnhammcr, Die Hand-
zetchnungen des ij.JahrhiiiiJerts.
in
Osterreuh, Vienna,
1958, 13, 103; H. Hibbard, Burl. Alag.^C (1958), 205;
A.
The Roman Drawings
Blunt-H. L. Cooke,
H'indsor Castle,
London, iq6o,
1
10. Interesting
at
addi-
tions in \\ ibiral. Bull, d' Arte, XL (1960), 144.
Their names are Angelo Canini, Carlo Cesi, Fabrizio Chiari, Bartolomeo Colombo, Filippo Lauri, Francesco Murgia, and, in addition, the more con34.
siderable Jan Miel
{c.
belonged to the
first
1599- 1663), a Fleming, who of the Bamboccianti in
circle
Rome, but turned in Turin to the grand manner in fresco and came under Cortona's influence in the last years of his
The complicated
of the Quirinal Gallery has
history' in
an excellent paper by N. Wibiral,
123-65, which also contains valuable
formation on
Vitzthum
all
ibid.,
cx (1968), 37 f
Of the older literature may
be mentioned Brugnoli's article
in Boll.
d'Arte, xxxiv
(1949), 236 (with ceuvre catalogue).
Documents published by
334. 41.
Note 36). For Canuti, .\.
see Malvasia, Vite di pit ton holognesi, ed.
Bologna, 1961, 13-35.
Arfelli,
E. Feinblatt (see
Canuti had been
in
Rome in
1651 (or earlier) and stayed on until 1655 (see unpublished thesis by L. Zurzolo, University of
Bologna, 1958-9, 31) before he returned 42. Despite chronological difficulties I that Canuti learned the
new mode of
in 1672.
believe
still
organizing a
by Bernini's genius) in Rome Meanwhile E. Feinblatt {Art Quarterly, 1961) has shown that Canuti operated with large fresco (stimulated
rather than vice versa.
life.
been disentangled op. fit.,
Spear,
new
and
light areas in his fresco of the hall of the
Palazzo Pepoli, Bologna, as early as 1669; after his
W. who warns
Roman interlude, he practised similar principles in the frescoes of the library (1677-80) and dome of S.
the participating artists. See also
in Boll, d' Arte, XLViii (1963), 96,
large dark
in-
against over-estimating Grimaldi's role. - For Lauri
Michele
(1623-94), Caroselli's pupil, see B. Riccio, Commeii-
other hand, did not begin the Gesii frescoes until 1672.
fan, x(i959),
43. For Pozzo's work on perspective, see G. Fiocco, Emporium, XLix (1943), no. 1,3. For his work in Tus-
3.
documented
by L. Montalto, Commentan, vi (1955), 267. For Mola's destroyed Stanza dell' ana frescoes of the Pamphili villa at Valmontone, see R. Cocke, Burl. Mag., cx (1968), 558 ff. 35.
36.
See the
fully
article
By him the Jupiter ceiling of the large room on the
first floor
(1675), attributed by Waterhouse, 48, to
Berrettoni, and correctly blatt,
37.
Art Quarterly,
.XV
named Canuti by
N.
E. Fein-
may be mentioned Ro-
manelli's frescoes in the Palazzi Lante {1653) and Barberini (1660),
of Esther
Antonio Gherardi's impressive Stori^
in the
Palazzo Naro (1665-70.'), and the
frescoes in the Villa Falconieri, Frascati, Ferri,
by Ciro
N. Berrettoni, and C. Maratti (before 1680).
See N. Pevsner, 'Die Wandlung um 1650 in der italienischen Malerei', Wiener Jahrh., viii (1932), 69. 38.
C. Refice Taschetta, Mattia Preti, Brindisi, 1961, 83, dates these frescoes incorrectly in 1653. She over-
looked that the date 1661
is
assured by Preti's
own
statement (see Ruffo, Boll. d'Arte, x (1916), 255). He painted the frescoes in the Palazzo Doria Pamphili at
Valmontone on the occasion of his brief visit
to
Rome,
Bosco (1682-4)
On Pozzo as painter, see Marini's monograph (1959) and his paper in Arte Veneta, Xii-xiv (1959-60), 106, and on Pozzo as architect, Carboneri's monograph (196 1 ). See also A. de Angelis, 'La Scenografia sacra di Roma
e a Frascati', Sttidi romani, vi, 2 (1958),
tbid., VI,
M.
6; A.
P. nella chiesa di Sant'Ignazio',
Cerrato in Commentan, x (1959), 24
(with ceuvre catalogue). B. Kerber's
monograph
( 1
97 1
;
see Bibliography) has
now to be consulted for all questions concerning Pozzo. For the problem of the viewpoint of the S. Ignazio and other Baroque ceilings, see W. Schone in Festschrift Kurt Badt, Berlin, 1961, 344, and Kerber's frescoes
objections (102
ff.)
to
Schone.
In 1703 Pozzo settled in Vienna and his work there (Jesuit church; Liechtenstein
strong influence on
Garden Palace) had
Austrian and
German
a
fresco
painting. in S. Ignazio found immediate folGiuseppe Barbieri's frescoes in the dome, nave, and transept of S. Bartolomeo at Modena,
Pozzo's frescoes
39. L. Montalto, Commentan, vii (1956), 41, with documents. See also L. Mortari, Paragone, Vii (1956), no. 73, 17, and J. Off^erhaus in Bull, van het Rijks-
Scrittt di
museum, x (1962),
Milan, 1966, 737
5.
W.
160; L. Montalto,
lowing; see,
GauUi has been thoroughly studied after the Second World War, mainly by A. M. Brugnoli, R. Enggass, and F. Zeri. All the older research in Enggass's recent monograph (1964). In addition, see R. Enggass, Burl. Mag., cviii (1966), 365 f, and R. E.
Bologna. Gaulli, on the
203.
before going to Malta.
332. 40.
i"
cany, P. della Pergola, Riv. del R. Istituio, v (1935/6),
A. P. a
(1952), 51.
In addition to these
in
e.g.,
executed 1694-8 (N. Carboneri,
44.
the
On life
Stona
dell' Arte in
in
Arte
in
Europa.
onore di Edoardo .irslan,
ft'.).
the ceiling three scenes illustratir;g events in
The victory of Lewon under him. M. Cerrato in Com-
of Marcantonio Colonna.
panto shown
in
our illustration was
For Coli and Gherardi, see A.
mentan, X (1959), 159 (with ceuvre catalogue).
BIBLOSARTE
NOTES TO CHAPTER
337. 45. See the otherwise irrelevant article by E. FeinQitarterly, x (1947), 237.
An
blatt,
46.
This may be the place
to
mention Giovanni Maria
Morandi (1622-1717), who has
recently attracted
attention (Waterhouse, see Bibliography).
Florence, he settled early in
him
are
known from
a portrait painter he
Rome and
Born
For
all
549
the painters mentioned in this paragraph, see
Bologna, 1959, and Bibliography under individual painters. 54. F. .Arcangeli,
Paragone, (1950), no. 7, 38. Cantarini's pupil, the strong Flaminio Torri (1621-
paintings by
may
the late 1650s onwards. While as
61),
competed with
Studt
pieces are often close to Maratti's.
•
the Exhibition Catalogue of the Seuento Emtliano,
in
Gaulli, his altar-
14
i
here also be mentioned; sec G. Raimondi
in
onore di Matteo .Marangoni, Florence, 1957, 260. - The weak Reni follower Francesco Torriani in
is
The high cove of the ceiling is now white and one reminded of the contrast between the painted field and the surrounding whiteness at the period of Reni's
given the undeserved honour of a one-man Exhibition; see
Aurora, but surviving drawings (and Bellori's text)
della mostra,
47.
(1612-81),
prove that Maratti planned frescoes also for the vaulted
M.
.Mendrisio, was
in
G. Martinola, Francesco Tornani. Calalogo Mendrisio, Palazzo Nobili Torriani, 1958. in .4rte Antica e Moderna, vi, no. 24
Zufta
Dowley, Burl. Mag., Ci ;W. Vitzthum,;/»/^.,cv(i963), 367;J.Bean,
(1963), 358, has reconstructed the artist's itinerary
511; Harris-Schaar, Diisseldorf Catalogue, 1967,
Cagnacci (not Canlassi, Thieme-Becker) and that he
part of the ceiling; see F. H. (1959), 71 ibid.,
55.
who worked mainly
nos. 256-76.
that his
name
is
died in 1663 (not 1681).
See the excellent
48.
from documents and has established
by O. Kutschera-
article
For Cagnacci's Viennese career, see G. Heinz
H
in
Woborsky, 'Ein kunsttheoretisches Thesenblatt des
Jahrh.
Carlo Maratti', Graphische Kiinste. Milleilungen (19 19),
343. 56. For Pasinelli, whose art is attracting increasing attention, see C. Volpe, Paragone, viii (1957), no. 91, 30, 36; C. Baroncini, Arte Anttca e Moderna,
9-
49.
On
Agucchi and
his theory, see above, p. 39,
with further references.
d. kunsthist. Slg. in
ten,
Liv (1958), 173, 183.
available; see
D. C. Miller in Burl. Mag., CI (1959), 106. For Canuti's pupil Giuseppe Rolli (1643- 1727), the painter of the important ceiling of S. Paolo in Bologna
A. Mezzetti, Riv. Jell'htituto, iv (1955). For the paint-
(1695), see F. de' Maffei, in Scrttti di storia dell'arte in
shown as illustration 220 see F. H. Dowley, 'Some Maratti Drawings at Diisseldorf, Art Qjiarterly, xx
Feinblatt, in Burl. Mag., cvi (1964), 569
A
339. 50.
fully
no. 2 (1958);
documented modern treatment of
Maratti (with truvre catalogue)
is
now
ing
(1957X 17451. I. Matalon, Riv. d'Arle,
Del Cairo, court
now
a
artist in
(1930), 497; G.
xii
Turin from 1633 onwards,
well-defined artistic personality of con-
.
.
.
Morazzone Catalogue of 1962,
Mario Salmi, Rome, 1963,
Master Drawings,
57.
According
to
vil (1969),
164
48, 108, with
un
sol punto'.
Burl. Mag.,
ff.
to this
Also idem,
ff.
Baldinucci (ed. 1846,
Further
cm
325, and E.
iii,
called this type of perspective 'vedute
siderable importance. New ground was broken at the Mostra del maniensmo pietnuntcse 1955, where the often reproduced Si Francis, in the Castello Sforzesco, previously attributed to Morazzone, was given to Del Cairo. The whole question is reviewed in M. Gregori's
onore di
in
Testori, Paragone, in (1952), no. 27, 24.
is
-
iv,
682), he
non regolate da
problem,
J.
(1961), 101, according to
Schulz
whom
in
the
quadratura painters Cristoforo and Stefano Rosa from Brescia used multiple vanishing points as early as the - Colonna worked in the Palazzo between November i637andjune i639and again in 1641; see M. Campbell, .-irt Bull., xi.viii (1966), 135 f. Further for Colonna see S. de \ ito Battaglia,
sixteenth centurv.
Pitti
Art Qitarterly,
other valuable material for Del Cairo; see also the St
L'Arte, xxxi (1928),
Francis paintings by Cerano (Mostra del Cerano, 1964,
XXI (1958), 265, discusses the ceilings in the Villa Albergati-Theodoli at Zola Predosa (near Bologna);
100).
340. 52. E. S. Natali's paper on the artist in mentari, xiv (1963), 171, 342. 53.
is
Com-
of Reni's
late
Colonna's most extensive work during the period of Giacomo .\lboresi (1632 77), .Vli-
collaboration with
disappointing.
The new assessment
manner,
telli's
pupil,
whom
foreshadowed as early as 1937 in O. Kurz's pioneering article (see Bibliography), was one of the important
Mitelli's death.
Reni Exhibition of 1954. 'Sbozzata solo' (i.e. left unfinished) according to .MaU vasia, the Girl with a Wreath shows the characteristic condition of a number of pictures of this period, for which see comment in C. Gnudi-G. C. Cavalli, Guide
Mitelli Exhibition in
results of the
Reni, Florence, 1955, 100.
13. E. Feinblatt,
For
Mitelli, see
he took on as collaborator after
now E.
Feinblatt's Introduction to the
Los Angeles
(see Bibliography).
344. 58. For the following F. Sricchia, 'Lorenzo Lippi nello svolgimento della pittura fiorentina della prima
meta
del '600',
Proporzwm,
iv (1963),
243-70;
M.
Paragone, xv (1964) no. 169, 16; and idem, JO pitture e sculture del 'boo e 'joofiorentmo, Florence,
Gregori
in
BIBLOSARTE
550
•
NOTKS TO CHAPTKR
14
1965; also Hibbard-Nissman, Florentine Baroque Art, 196CJ (sec Bibliography).
Bravo
59. C. del
in
Paravane
xii (19O1), no. 135, 28.
.
See G. Briganti, Paragone, (1950), no. 7, 52. 61. Cecco Bravo is emerging as one of the most un-
60.
i
conventional Florentine artists of his generation. G.
Ewald was the
to give
first
back
to
him a number of Mazzoni {Burl.
pictures previously attributed to S.
Mag., CM (i960), 343,
cm (196
),
1
347). A. R. Masetti's
monograph (1962) with (ruvre catalogue and bibliography contains a document for Bravo's hitherto unknown birth-date. The painting of illustration 232 has previously been attributed to S. Mazzoni, but Ewald and others are
in
agreement that
it
has to be given back
Cecco Bravo. For Pietro Ricchi ( 606-75) and Mario Balassi ( 1 60467), the first from Lucca, the second from Florence, who both owed Venice a formative influence, see H. to
1
Voss
in
Kunstihronik, Xiv (1961), 211. Further for
Ricchi, see R. Pallucchini, Arte Veneta, xvi (1962),
and A.
132,
Gregori (Note 58) offers a more positive assessment of Giovanni da San Giovanni's art; see also
M. Campbell, Art 63. M. Winner,
cit., 24; G. F"iocco, Arte Veneta, iv Frohlich-Bum and R. Longhi, Para(1952), no. 31, 34; N. Ivanoft, 'Giorgione nel
347. 69. Arslan, op. (1950), 150; L.
gone.
Ill
Seicento', in Venezia e I'Europa, Venice, 1956, 323. 70. Arslan, 29, 42.
For Carpioni's dates, see Zorzi,
Arte Veneta, xv (1961), 219. G. M. Pilo's monograph (1962) contains all previous research. See also idem,
Odeo Olimpico, v (Vi-
'Giulio Carpioni e Vicenza', cenza, 1964-5), 55 71.
ff.
See also G. M.
Pilo, in // mito del classicisnui nel
seicento, Florence, 1964, 227.
72. G. Fiocco, Dedalo, iii (1922), 275; J. Zamowski and F. Baumgart, Boll. d'Arte, xxv (1931-2), 97; R.
Pallucchini, ihid., xxviii (1934), 251.
N. Ivanoff, Boll. d'Arte, xxxviii (1953), 321. G. Ewald in Critica d'Arte, vi (1959), 43, and Boll. Musei Civici Veneziani, 1959, i. 73.
74.
75. A. Rizzi's
monograph (i960) with
logue (completely illustrated) supersedes
Rizzi, ihid., 171.
M.
62.
Milan, 1946; and La Pittura del Seicento a Venezia, Catalogue, Venice, 1959, with full bibliography.
Bull., xlviii (1966), 133
previous
all
research.
348. 76. See Ivanoff 's Catalogue of the MafTei Exhibi-
with further bibliography. In addition, R.
tion, 1956,
ff.
cetivre cata-
Instit.
Marini, Tl dare e I'avere tra Pietro Vecchia e Maffei',
Florenz, x (1963), 219, discusses the interesting icono-
Arte Veneta, x (1956), 133; L. Magagnato's excellent review of the Exhibition, ihid., 245 F. Valcanover,
345.
Mitteilg.
d.
kunsthist.
graphy of this cycle (documents).
;
His aetivre has first been reconstructed by G. Ewald, Burl. Mag., cvi (1964), 218. 64.
Among
65.
the Cortona followers in Florence worth
mentioning are the Fleming Lieven Vincenzo Dandini (1607-75) an^^
Mehus
630-9 1 ) his nephew, Pier Dandini (1646-1712), who in his later work, however, broke away from his early Cortonesque manner; in addition Salvi Castellucci from Arezzo (1608-72) and Lorenzo Berrettini, Cortona's nephew and pupil, who worked mainly at Aquila. See also Berti, Mostra di
Rome,
Pietro da Cortona,
Demonstrated mjahrh. d. kunsth. 66.
in a
( 1
1956.
and Stefano
Slg. in Wien, LVl (i960), 197.
della Bella at
Bella's prints, reprinted with corrections
by
P.
Dearborn Massar,
New
and annota-
York, 1970; also
the same author's 'Stefano d. B.'s Illustrations for a
Fireworks Treatise', Master Drawings,
vii
(1969),
294 ff., dating from 1649; and F. Viatte and W. Vitzthum. Arte Illustrata, ill, nos. 34-6 (1970), 66 S., who offer
new
material to the question of Stefano della
Bella's journey to the Levant. 68.
Ivanoff, Arte Veneta,
Memorie
ing work, published in 1929; also the challenging re// concetto di
rumimsmu
349. 78. A.
.
.,
(1947), 42, and idem in Saggi e 11
M. Mucchi and
.-indrea Celesti,
(1958-9), 211-79 (basic
C. della Croce,
// pittore
Milan, 1954, with ceuvre catalogue and
contribution by N. Ivanoff.
80.
G. M. Pilo, Arte Veneta, xvii (1963), See Arslan, op. cit., 32.
Scienze
M.
Two should
.
.
.,
Pappalardo, Atti
128.
Veneto di
dell' 1st it u to
cxii (1953-4), 439.
artists
who came under Bolognese
at least
influence
be mentioned: Giannantonio Fumiani
(1650 (not i643)-i7io, see Arslan, 44) and Gregorio Lazzarini (c. 1660/2- 1720), Tiepolo's first teacher.
ForLazzarini,seeG. M. Pilo in Arte Veneta, w (1957), and Critica d'Arte, V (1958), 233. 350. 82. The equally mediocre .\ntonio Busca (162586), director of the .\ccademia
may
.Ambrosiana
in 1669,
be mentioned; see C. Rossi o.p., in Arte Lomharda, iv (1959), 314. For C. F. Nuvolone, seeU. at least
in
Nuvolone
Arte Lomharda,
family, see N.
CXI (1969), 219
xii (1967),
Ward
67
fT.
For the
Neilson, Burl. Mag.,
f.
83. Longhi-Cipriani-Testori, / pittori della realtd in
BIBLOSARTE .
i
dt storia dell'arte,
study).
Ruggeri,
For the following see mainly G. Fiocco's pioneer-
marks by E. Arslan,
144 (attempt to clarify chronology). 77. C. Gnudi, Critica d'Arte, I (1935-6), 181; N.
81. A.
ofG. B. CastiWindsor Castle, Lon-
don, 1954, 89, with further references. See also Alexandre de Vesme's standard catalogue of Stefano della tions
xcviii (1956), 340; R. Marini, Arte Veneta, xv (1961),
79.
thoughtful article by G. Heinz
346. 67. See A. Blunt, The Drawings glione
Emporium, cxxiii (1956), 150; Haskell, Burl. Mag.,
NOTES TO CHAPTER
14
•
551
Lomhardia, Milan, 1953, with bibliography; G. TesParagone, iv (1Q53), no. 39, 19.
326, makes the tentative suggestion that de Ferrari met Gaulli at Parma in 1669. - Sec also Disegni di G.
352. 84. See Arslan's (Note 68, 24) relatively negative assessment of Strozzi; also A. M. Matteucci, Arte
de F., E.xhibition, Palazzo Rosso, Genoa, 1963, and .\. Griseri, Gregorw de Ferrari (I maestri del colore, 1 35),
Veneta, ix {1955), 138.
Milan, 1966.
tori,
Cotnmentan,
85. E. Falletti, 86. A.
M.
Goffredo,
ihid.,
vii (1956), 158.
Among
147.
355. 94. Bolognese quadratura had been introduced in
Strozzi's
Genoa by Colonna's
fresco decoration
the ex-
in
Genoa may be mentioned .\ntonio Travi (1608-65), who later made his name by concentrating
356. 95. In addition to the basic articles by R. Longhi
on the popular genre and on landscapes with ruins.
(1915) and H. Voss (1927), see R. Causa, Paragone,
pupils in
Commentan,
87. B. Riccio,
353. 88.
viii (1957), 39.
M. Bonzi, Pe/legro Ptola e Barlolomeo Biscamo, (
an
practised
pellino,
Of other
cinquecentesque
antiquated,
Must r a
also
dei pit tori genovesi
.
.
.,
nos. 41, 42.
painters
who
died of the plague,
I
mention
( 606-57), who stems from Ansaldo and Assereto (M. Labo, Emporium, c\ (1945), 3), and Silvestro Chiesa (1623-57), whose only known picture
Orazio de Ferrari
1
Maria dei Servi, Genoa) reveals him as a master of (A. Morassi, Mostra della pittura
(S.
uncommon power .
.
.
89.
I
am
Anthony Blunt's reconcareer; see J. H. C.I. viii
following mainly
struction of Castiglione's
,
(1945), 161 and The Drawings of G. B.C. at Windsor, London, 1954. For interesting new results, see A.
Percy, Burl. Mag., cix (1967), 672 ff. See also E. Waterhouse, 'An Immaculate Conception by G.B.C.\
The Minneapolis 5
ff.,
new
with
Institute of Arts Bulletin, lvi (1967),
ideas on Castiglione's chronology.
354. 90. O. Grosso, Dedalo, iii (1922-3), 502. 91. M. Marangoni, / Carloni, Florence, 1925. Gio-
vanni Battista, the more important of the two brothers, was a prolific fresco painter. His work is to be found in
1938, and R. Causa's excellent survey (1957). 96. See E. du Gue Trapier's monograph (1952) and D. F. Darby's review, Art Bull., x.xxv (1953), 68. Also U. Prota-Giurleo, P/V/. nap., 1953,91. Ribera'sdateof birth is usually wrongly given as 1588. J. Chenault, Burl. Mag., cxi (1969), 561 ff., has published documentary proof of Ribera's stay in Rome in 1615 and
16 16 (the year he probably returned to Naples) and of
about 1630.
357. 97. Giovanni
work
Rome, brought back to Cortonesque manner. For his
in Maratti's studio in
in the
a fluid
Palazzo Altieri,
Rome
(1674-7), see E.
Gavazza, Arte Lombarda, viii (1963), 246. Giulio Benso (1601-68) may also be mentioned; his frescoes in the Annunziata (partly destroyed during the war) reveal
him
as an able painter with a special
interest in quadratura
and determined
sotto in su
com-
For Piola see G. V. Castelnoxi, I dipinti di S. Giaalia Marina (Quaderni della Soprintendenza alle Gallerie. .dellaLiguria), Genoa, 1953; also E.Mala92.
como
like
Ribera
bom
at
1623 and married the
.Among the minor Ribera pupils Bartolomeo Passante (1618-48) from Brindisi may be mentioned. On Passante, see J. H. Perera, .irchivo Espaiiol de Arte, xxviil (1955), 266, and the criticism entirely Riberesque.
by F. Bologna, F. Solimena, 1958, 30. On these artists R. Longhi wrote one of his last papers (Paragone,
w
(1969), no. 227, 42), in which he also revived the al'naturalista'
98. Reni's abortive stay at a
month. His magnificent
in the
Giovan
Naples
in
Battista" Spinelli
1
Certosa di S. Martino, painted shortly before his
works of an di S.
99.
earlier period
(c.
moment
in the
important
less
1622) were in the Chiesa
Filippo Neri.
A
list
of frescoes painted by minor
Lanfranco's manner 100.
artists in
in Ortolani, op. cit., 79.
According to VV. R. Crelly, The Painting of I'ouet. New Haven and London, 1962, this
'first full
(p. 36) is
But
622 lasted about Shepherds
.-idoration oj the
death (1641 .'), came after the critical history of Neapolitan painting. But
Simon
positions.
c.
of Pacecco de Rosa (1626). His impressive
sister
(d. c. 1647).
Genoa (1678)
(1604 56),
Adoration of the Shepherds (Chiesa della Pieta dei Turchini, Naples) - the only picture known by him - is
most forgotten
worked
Do
Jatiba in Spain, settled in Italy
he collaborated with Giovanni .\ndrea, etc. Trained under Passignano in Florence, he was later strongly
who
1
(1951), no. 19, 50,
Introduction to La nostra della pittura napoL, Naples,
the Gesii, S. Siro, the Chiesa dellWnnunziata where
influenced by Rubens. His son Andrea (1639-97),
11
and F. Bologna, ihid., xi (i960), no. 129, 45. For the following, see, apart from .\. de Rinaldis's book (1929), S. Ortolani's remarkably perceptive
his trip north
Liguria, 1947, 57).
1650.
in
(1950), no. 9, 42, R. C^rita, ihid.,
Genoa, 1963. Fcllegro or Fellegrino Fiola 1616 40), who had been apprenticed with Gio. Domenico Cap-
manner; see Genoa, 1969,
Palazzo Reale (formerly Baibi)
if
it
announcement of his post-Italian
altarpieces'
signed and dated 1623 (184, no. 79). were correct that in 1620 \'ouet had painted
.
goli, Burl. .Mag., cviii (1966),
503
the Virgin appearing to St Bruno for the Certosa of S.
ff.
93. A. Griseri, Paragone, vi (1955), no. 67, 22. E.
Gavazza
in Arte Antica e
Martino, as Crelly and others (.\. Blunt, Art and Architecture in France, 167; Briganti, P. da Cortona, 1962,
BIBLOSARTE
Moderna,
VI, no.
24 (1963),
NOltS TO ClIAPTKR
14
would already then have drifted away from Caravaggio. Critical opinion, however, now dates this painting later; D. Posner, Art Bull., XLV (1963), 291, f. 1623; B. Nicolson, Burl. .Mag., cv (1963), 310, c. 1627; G. Darquct and J. Thuillier, Saggi e Memurie
49) believed, he
di sloria ili-U'urle, IV (lyO.s), 47, no.
loi. All the
A31,
i.
major Neapolitan artists from them.
fluence, but she also took
1624-6.
her in-
felt
Among
the
109. For the Fracanzano problem see F. Bologna (Note 103), 55, and idem, F. Solimena, 1958, 28. 10. The phrase is F. Si\Vs,J.W.C.L, iii (1939-40), 1
Toll
M.
I.
S. Soria, .4rt Quarterly, xxill (i960), 23.
seems appropriate to mention here the German painter Johann Heinrich Schonfeld (1609 82/3), who was in Italy from 1633 to 165 1 and spent twelve years It
590- 1 656), w ho had started his career under Battistello in the Certosa of S. Martino, was much indebted to her; see M.
in
d'Orsi, Paolo Finoglia. pillore iiapolilatio, Bari, 1938.
Bernardo Cavallino's (mid 1640s). Like Elsheimer, Schonfeld excelled by virtue of the intensity of poetical narration and there can be little doubt that he left his mark on Neapolitan painting. This great artist was rediscovered in the 1920s, primarily through H. Voss
second-rate
artists,
Paolo Finoglia
(c.
1
Another 'belated' Caravaggista should here be mentioned, Matthias Stomer from Amersvoort, Holland (c. i6oo-f. 1650), who appeared in the early 1630s in Rome and soon transferred his activity to Naples and Sicily.
Reputedly closely connected with Honthorst, shows affinities with Terbrugghen, Baburen,
his style
and even Vouet; see R. Longhi, Proporziont,
1
(1943),
60.
Royaux
358. 102. F. Bologna (in Bulletin, Musees
des
Beaux-Arts, Bru.xelles {1952), no. 2, 47) stressed the influence of van Dyck's palette on Ribera and other
Neapolitan painters from about 1635 on. Ribera's Communion of the Apostles (Certosa of S. Martino) with the disproportionately large putti in the sky and the large
empty
areas
is
an example of his weak
late
manner (dated 165 1).
Bousquet
in
Lucina, Rome. But Stanzioni was working in
Rome
Borsook (Burl. .Mag., xcvi (1954), 272) published payments to him between October 161 7 and April 1618 for a (lost) picture for S. five years earlier. E.
Maria
della Scala. Stanzioni's large dated cycles begin
1
13. F. Sluys,
Les Beaux Arts, Brussels, 4 June 1954;
idem, Didier Barra et Franfois de
360.
1
14.
1
nella pitt. del '600 a
359. 107. In addition to the older literature, see C.
108. 1
CXIII (1951), 259.
M. Commodo
Izzo,
Paris and
New
Codazzi,
e.g.,
went
to
Rome and
Ribera
fled.
115.
,
early Preti.
Her monograph, however,
Andrea Vaccaro, Naples,
95 1, with ceuvre catalogue and bibliography.
is
far
from
being definitive; see above. Note 38. 116. M. Fantuzzo, Boll. d'Arte, XL (1955), 275. 117. See above, p. 322. The St Charles Borromeo giving Alms of 1642 in S. Carlo ai Catinari, Rome, already shows his dependence on Sacchi and Domenichino. 118. R. Causa, Emporium, cxvi (1952), 201. C. Refice 54, favours the older dating: not
served frescoes in the
Emporium,
Nome,
96 1.
and Giacinto de Popoli (see Ortolani, op. cit., 72). 106. His 'classicism' is fully developed in the Rest on the Flight into Egypt and the .Annunciation of the Birth of the Virgin, both in S. Paolo Maggiore, dated 1643-
Refice,
Fal-
approaches
next Note.
Taschetta, op.
1
4 by R. Causa, La Madonna Napolt, Naples, 1954, t,},.
.-Xnicllo
style
(monograph Biberach, 1964) and has now acquired fuller contours through a splendid exhibition; see H. Pee, J. H. Schonfeld, Ulm, 1967. 112. R. Causa, Paragone, vii (1956), no. 75, 30. This article makes the older literature on Monsii Desiderio obsolete (see A. Scharf 's Catalogue of the Sarasota Exhibition, 1950; G. Urbano's monograph, Rome, 1950; F. G. Pariset, Commentari, ill (1952), 261). See also
63 1 with the decoration of the Bruno Chapel in the Certosa of S. Martino, finished 1637. Stanzioni had a large school; among his pupils were Agostino Beltrami
in
and
monograph on
Stanzioni (1937), H. Schwanenberg established the date 1623 for the St Anthony in Glory in S. Lorenzo in
even
darkens and his
such an early Caravaggesque phase; she is certainly correct in claiming a strong impact of Guercino on the
V (1955X55105. In his otherwise unsatisfactory
close to that of Gargiulo
Revue des Arts,
Francesco Guarini da Solofra, Avellino, 1963. J.
is
later his palette
;
Longhi, Proporzioni, i (1943), 60: reconstruction of this phase with auvre catalogue. C. Refice Taschetta, Mattta Preti, Brindisi, 1 96 1 45, does not accept
;
For Mellin, see
work
cone
York,
103. His career has been reconstructed by F. Bologna, Opere d 'arte nel Salernitaiio, Naples, 1955 M. Grieco,
104.
Naples. In his early Neapolitan years (about 1640)
his
cit.,
later
than 1650.
361.
1
19. In
1664 (not 1653) he painted the badly predome of S. Domenico Soriano,
Naples, which abound with Correggiesque reminiscences; see C. Refice, Boll. d'Arte, x.xxix (1954), 141.
For Porpora, see R. Causa, Paragone,
120.
11
(1951),
Luca Forte, idem, ibid., xiii (1962), no. 145, 41 for Giacomo Recco, idem, .4rte .Antica e Moderna, v ( 1 96 1 ), 344 for Giacomo and Giuseppe Recco,
no. 15, 30; for ;
;
i
354; further attributions to Forte and Recco in Bottari, ihid., vi, no. 23 (1963), 242.
S. Bottari, thid.,
Giacomo 121.
See
last
Note, and also Zeri,
BIBLOSARTE
ihid., ill
(1952), no.
NOTES TO CHAPTERS
33' 37;
N.
Carpegna
di
Carpegna,
122.
in
B()ll.d'Arie,\L\i{ig6i\ 123.
loc. cii. ill,
558) records that
Ruoppolo painted many pictures for Gaspar Roomer, which the latter sent to Flanders. Roomer, an immensely rich Flemish merchant, had made Naples his home; he had a large gallery and patronized contemporary artists (M. Vaes, Bull. nut. hist, beige, v (igas), gallery that
Ill
(ig.^y 40), 80). It
was
Ruoppolo and the other Neapolitan
in his still-
painters had excellent opportunities of studying
life
Flemish
still lifes.
CHAPTER 364.
I
.
15
For the following see the relevant passages
seine Zeitgenossen, Leipzig, i8g8, vols 2
and
A. Bertolotti in Arcbivio stunco uriisluo
in
3. .
.
cd. F.
I
M. Praz in Magazine of Art, xxxii (1939), 684. The best recent study of Piranesi is by A. H. Mayor (1952); see Bibliography. 3.
4.
J.
Harris ('Le Geay, Piranesi and International Neo-
classicism in
Rome
1740-1750', Essays
of Architecture presented 1967, 189
ft'.)
to
in the
History
R. H'lttL'ower, London,
ingeniously reconstructed the
career of Jean Laurent
Roman
Le Geay, who probably had
a
formative influence on the young Piranesi. 5.
R. Wittkower, 'Piranesi's "Parere su I'architet-
tura"",/W.C./., 366. 6. See, above
553
"
and
Bigari,
G. M. Crescimbcni, L'lstona delta basilica Maria in Cosmedin di Roma, Rome, 1715,
10.
S.
For Naldini see above, 11.
p.
.
.
.
di
159. -
312.
Monnot
did not accept .Maratti's design, nor does seem that the sculptors of the statues in S. Giovanni
it
in
Laterano were delighted (see also
Note
ter 18,
9).
.Although
436 and Chap-
p.
was not
it
till
slightly later
welcomed the collaboration of painters, almost certain that Padre Andrea Pozzo made oil
that sculptors it is
11
(1938-9), 147.
all,
i2.Titi,ed. 1686, 155. - .At the same time C:. Fancelli worked from designs of Gio. Francesco Grimaldi in the Palazzo Borghese see above, (Chapter 3, Note 40. 13. C. G. Ratti and R. Soprani, Delle vite de' pitton genovesi, Genoa, 1769, 11, 303. ;
.
.
(1875) and P. G. Hiibner, Le statue di Roma, Leipzig, 191 2, 73. Gori,
Vittorio
16
sketches for reliefs on the altar of St Ignatius in the Gesii; see B. Kerber, in Art Bull., xi.vii (1965). 499.
Pastor, vols 14-16, and in Carl Justi, Winckelmann und
2.
Carlevarijs,
AND
15,
others.
362. 123. Dominici (ed. 1844,
184; F. Saxl,7Jr.C./..
Luca
Fontanesi,
I4,
H. Tintelnot's remarkable but
.
1
.
The
almost forgotten Pietro Bianchi, Luti's student
Rome, produced .Arcadian Rococo pictures of great charm; see .A. M. Clark in Paragone, \\ (1964), no. in
169, 42.
B. de Dominici, Vile de' pittori
14.
K. Lankheit (70 and Mitteilungen
.
napoletani,
d. Flor. Inst., viii
shown that Foggini used the help of painter Anton Domenico Gabbiani in the Corsini
the
Chapel
in S.
Maria del Carmine, Florence, before
1680. 367. 15. Baumgarten's Aesthetica appeared in 1750. 16.
The Connoisseur ; an Essay on
Criticism
368. 17.
.
.,
.
.A.
London,
the whole Art
of
17 19.
Gabrielli, 'L'.AIgarotti e
la
Italia nel Settecento', Criiica d'.4rte.
Kunst, Berlin, 1939. 7. R. Bernheimer in Art Bull., xxxviii (1956), 239, finds that as early as 1600 in the performance directed
IV (1939), 24.
in Florence on the occasion of Maria wedding with Henry IV of France the barriers which separate the stage from the audience had been abolished. Spectators were placed on the stage and 'continued the court into the world of makebelieve and thus provided that element ot illusion, at which many artists of the Baroque were to try their
.
(1957-9), 48) has
not always reliable study Barocktheater und barocke
by Buontalenti
.
Naples, 1742-3, 458.
critica d'arte in ill
(11)38),
155,
For Algarotti, see also Haskell, Patrons,
347 (and index).
CHAPTER
16
de' Medici's
369.
Juvarra, Fuga, Vanvitelli, Salvi, Raguzzini,
I.
Galilei,
and
370.
For the concept of
2.
changes of
Preti. stylistic liberty
and
fast
style at this period, see the pertinent re-
marks by R. Berliner
in
Miinchner Jarhb.
d.
bild.
Kunst, ix-x (1958-9), 282.
hand'.
K. Schwager has made some acute observations on Baroque notion of the theatre, in Riim. Jabrb. f.
371.
3.
The
Palazzo .Mezzabarba
is
the earliest of four
To the
the
interconnected palaces of supreme importance.
Kunstgesch., ix-x (1961-2), 379.
group belong, apart from the Doria-Pamphili, the exactly contemporary fa(;ades of the Palazzi Litta at Milan (Note 5) and Montanari at Bologna (p. 390). -
8.
A. Ademollo, /
timo,
Rome,
leatri di
Roma
nel secolo decimoset-
1888, 36.
Tintelnot, «/). cit., 151, 215 refuses to acknowledge major influence from the stage on Tiepolo and finds it mainly among such eighteenth-century painters and 9.
a
engravers of vedute and ruins as Pannini, Francesco
Veneroni
{c.
1680 after 1745), almost unknown a few
emerging as a major figure of North Italian Baroque architecture. A pupil of Giuseppe Quadrio in Milan, he was appointed 'engineer' of the province of years ago,
is
BIBLOSARTE
CHAPTKR
NOTi:S TO
554
Pavia in 1707.
()
I
The BorromincsquG facade of S. Marco
(1735 8) remains, next to tiie remarkably sophisticated Palazzo Mezzabarba, as a witness to the high
quaUty of V'eneroni's architecture at Pavia; see C. Thoenes in Attt dellu VIII convegnn nazionale dt Gloria dell'architettura, Rome, 1956, 179, and S. Colombo in Commenlart, xiv (1963), 186; also M. G. Albertini, Considerazwni suir architettura lodigiana del prima Seltecento, dissertation, Pavia University,
1963-4 (un-
He
9.
never wrote himself. His ideas were later pub-
by his admirer .Andrea
lished
Memmo,
d' architettura lodoliana, Venice, 1786,
FJemenii
and second ed.
1834. Count Francesco Algarotti (17 12 64), the wellknown Venetian courtier, writer, and patron of the arts,
was one of the first to write about Lodoli's theories
(Saggio sopra
l' architettura,
Pisa, 1753). Piranesi, too,
the steadfast upholder of the supremacy of
came under Lodoli's
architecture,
Roman
influence, as the
published). For other works by him, see L. Grassi,
text of his Delia magnificenza ed architettura de'
Province del Barocco
mani,
Rococo, Milan, 1966, 443 ff. Veneroni's Pavia contemporary, Lorenzo Cassani e del
(1687-f. 1765), has been studied by A. Casali, Boll. d'Arte, LI (1966), 58 ff. ; less progressive than Vene-
attachment
roni, Cassani reveals a belated
to Ric-
"Pareresu rarchitettura"',J. H'.C./., 10.
The architect of the fa9ade, one of the most original
Ro-
1761, reveals. See Wittkower, 'Piranesi's
This judgement seems
to
me
li
(1938-9), 147.
correct, although
Lodoli attacked, of course, the tenets of classical architecture. H-isktW, Patrons, 321, underestimates perhaps
Kaufman
Lodoli's influence on architects. See also E.
chino's architecture. 4.
Rome,
Art
Jr, in
Bull., XLVi (1964), 172.
creations of the eighteenth century, seems to be un-
373. II. A. Rava, 'Appartamenti e arredi Veneziani
known. The
del Settecento', Dedalo,
was
staircase hall, too,
(by Faustino Rodi, 1780s).
It
later
has an oval
remodelled
dome
through which appears a second
gallery,
with
ceiling, a
probably indebted to Guarini. See G. Mezzanotte, Architettura neoclassica in Lombardia,
design which
is
Naples, 1966, 219. 5.
Other examples are Bologna Torreggiani's build:
ings, see
Cesena:
:
below; Carpi: Santuario del SS. Crocifisso;
Madonna
del
Monte
SS. Trinita by Andrea
(staircase hall);
Crema:
Nono
(1737); Forli; Palazzo Reggiani (staircase hall); .Milan Palazzo Litta, facade :
by Bartolomeo Bolli, 1743-60, also interior ('Sala degli Specchi'); Ravenna S. Maria in Porto; Santa Maria di Sala (Veneto): Villa Farsetti, the richest French :
Rococo
villa in
North Italy, but for the classicizing columns from the Temple of Con-
exterior forty-two
Rome were used; Stra: Villa 'La Barbariga'. See also Ferdinando Bibiena's diaphanous vaulting in the choir of S. Antonio at Parma (1714 ff.), in the
cord in
parish church at Villa Pasquali (1734), and in a chapel
The two latter con-
caille stuccoes,
i
(1920), 452
among others,
in
ff.,
730
Ro-
ff.
the Palazzi Barbarigo,
Ventwo pub-
Foscarini, Rezzonico (particularly good quality),
dramin, and the Casino Venier, the
latter
lished in Dedalo. 12.
Correct birth-date
13.
The
never
in
Donati, Art. Tic, 263.
frame, probably intended for a
relief,
was
filled.
375. 14.
On
this
problem, see above,
p. 297.
Fontana's
plan dates from 1681. Foundation stone of the church
1689; in 1 7 10 the convent into which the church is incorporated was partly finished. 1738: consecration of the church without the decorations.
The
latter
execu-
ted by Spaniards, after that date. O. Schubert, Gesch. des
Barock
in
Spanien, Esslingen, 1908, 263; Couden-
hove-Erthal, C. Fontana, Vienna, 1930, 133. 15.
Fontana himself was partly responsible
for
it;
see
above pp. 284-5. 16. E.g., the high pedestals on which the pilasters of the interior stand further, the gallery above the pil;
blue sky appears. For the church at Villa Pasquali, see
and the (admittedly later) statues crowning the pilasters of the drum. Also the open balustrade, on which the pediment of the fa9ade is superimposed, is
D. de Bernardi, Arte Lomharda,
to
of S. Maria Assunta sist
at
Sabbioneta.
of curvilinear gratings through
whi«.li the
xi (1966), 51
painted
ff.
For Venice, see pp. 372-3. 372. 6. A. Neppi, 'Aspetti dell'architettura del Settecento a Roma', Dedalo, xv (1934), 18-34; M. Loret, 'L'Architetto Raguzzini e il rococo in Roma', Boll. d'Arte, xxvii (1933-4), 3i3~2i Associazione fra cultori di architettura, 'Architettura minore in Italia', 1
;
Rome 7.
ciples, 8.
[n.d.];
M.
Rotili, Raguzzini,
Rome,
1951, 103.
For the following, Wittkower, Architectural Prin3rd ed., 1962, 144.
Schlosser, Kunstliteratur, 578.
Massimo Petrocchi,
Razionalismo architettonico e razionalismo storiograjico,
Rome,
1947.
asters
be found
17.
in the Salute.
The most
concise assessment of the develop-
ment of polychromy between the
sixteenth and the
eighteenth centuries in L. Bruhns, Die Kiinst der Stadt
Rom, Vienna, 1951, 575. 18. Not everybody agreed with
his designs.
The
diarist Valesio calls
Fontana's design of the tomb of
Queen
Sweden
Christina of
in St Peter's, finished in
1702, 'in extremely poor taste'. He, moreover, talks
about the architect as 'the liar Carlo Fontana'. See Scatassa in Rassegna bthltografica, xvii (1914), 179 f.
For the history of this tomb, see now A. Braham and H. Hager (Bibliography).
BIBLOSARTE
NOTFS
376. 19. Further to this problem, Coudenhove-Erthal
Nibby
H. Egger, Graz, 1933, 95), who makes the point that in contrast to Bernini and his generation Fontana dealt with comprehensive urban projects. 20. Twenty-seven volumes from Fontana's estate were purchased for King George III from Cardinal Albani and are now in the Royal Library at Windsor. When writing his biography of Fontana, CoudenhoveErthal was unaware of their existence.
S.
(in Festschrifl
21.
The painting of the altar
Cecilia
22.
is
also
tana family, see U. Donati, Art. Tic, with further
bibliography. See also H. Hager, 'G. B. Contini e
(j
contribution to the design of the Teatro .Argentina
is
problematical; see F. Milizia, .Memone degli architetti,
Bassano, 1785, 257.
II,
29.
.Agosteo and
.\.
Rome,
Consulta, 30.
.\.
Pasquini,
//
Palazzo
della
1959.
H. Hager, 5. .Maria delFOrazione e Morte (Chiese
Roma
illustrate, 79), Rome, 1964 contains a thoughtful discussion of the church, with new docu-
di
On Contini as well as all the members of the Fon-
1
ascribes to him the campanile and monastery of Maria di Monte Santo (pp. 283 flf.), dated 1765, which is, however, by Cav. F. Navona (see H. Hager, Rom. Jahrh. f. Kunstg., \\ (1967-8), 282). Teodoli's
with the Inspiration ofS.
by his hand.
CHAPTKR
T(.)
ments.
De
For
31.
la
Dominicis, a minor architect in the orbit
L'Urhe (1938), no.
loggia del Paradiso dell'Abbazia di Montecassino',
of Raguzzini, see V. Golzio
Commentary x.xi (1970). There seems now to be a measure of agreement to attribute the delightful Borrominesque facade of the little church of S. Maria della Neve (S. Andrea in
7
Portogallo) to Francesco Fontana and date
astonishingly tame for the architect of S. Giovanni in
see N.
Mallorv, in J. Soc. Arch. Hist.,
J.
it
1707-8;
.\xvi (1967),
ff.
Segni
-
C. Thoenes
Roma
(Chiese di 32.
He is,
for instance, responsible tor the rebuilding
L. .\lortari, 55. Celso e Giuliano
illustrate, 88),
Rome,
1966.
Documents Roma, ill
Laterano.
in
}}. Sardi
(c.
for the facade published
by V.
(1925), no. 6.
1680- 1753, not to be mixed up with the
of the interesting Palazzo di S. Luigi de' Francesi
Venetian architect of the same name,
(1709-12), which foreshadows the Rococo palace in
acted as clerk of the works to other architects.
Rome. See
Chapter
also above.
For Bizzacheri, see M. Tafuri,
12,
Note
in Diz. Biograf. degli
For Specchi, Thomas Ashby and Stephen Welsh The Town Planning Review, XI (1927), 237-48. Specchi illustrated many of Fontana's works and col24.
i
laborated in works on
Roman
topography and archi-
tecture. 25.
Alessandro Bocca,
Rome, 1950 377. 26.
(last ed.
made
influence on
De
it
Palazzo del Banco
di
Roma,
1967).
But W. Lotz,
(1969), has
//
Rom. Jahrh. f. Kunstg., Xil that Specchi had a formative
in
likely
Sanctis' final project.
It may also be mentioned that between 17 18 and 1720 Specchi skilfully completed the fafade of S. Anna de'
Palafrenieri,
which had been
after Vignola's death; see
left
unfinished in 1575,
M. Lewine,
in
Art
Bull.,
XLVii (1965), 217. 27. This facade shows an interesting development away from Fontana's S. Marcello in the direction of but probably without Juvarra's S. Cristina at Turin a knowledge of the latter.
677-1766), philosopher, poet, and architect, three times principe of the .Aca28. Teodoli, also
Theodoli
( 1
demy of St Luke (1734-5, 1742, 1750) and therefore a figure of considerable standing, has to our present this one church to his credit. The without special merit, but the exterior with
knowledge only interior
is
the stepped
dome
c.
162
1
99) often
The
complicated history of S. Maria .Maddalena, to which
32.
Italiani, x, 1968.
in
7,
G.
.Also
i.
Neo-Cinquescentesque, not without dignity, but
Moschini 23.
in
F. Fasolo in Qiiaderni (1953), no. 4,
;
reveals an interesting personality.
G. A. Rossi and Carlo Quadrio contributed, has been cleared up by V. Golzio in Dedalo, xil (1932), 58, but the facade
still
presents a puzzle.
It is
usually attributed
w as, however, built by Carlo Giulio Quadrio between 1697 and 1699 and only the facing and the to Sardi
;
it
extravagant stucco decoration date from 1735. N.
.\.
Mallory (see Bibliography under Sardi) argued rather convincingly that there are no indications in Sardi's
documented work that would favour an attribution of Rococo frames and rich floral decoration to him. By contrast, P. Portoghesi (Roma harocca, Rome, 1966, 348) eloquently advocates Sardi's authorship. Even the richly and elegantly decorated church of the SS.
Marino near Rome, the attribution of which supported by contemporary tradition (see S. Benedetti, in Qjiaderni, Xli, 67-70 (1965), 7 ff.), has nothing in common w ith the Rococo decoration of S.
Rosario
to Sardi
at
is
Maria Maddalena. born at Lyons, came to French .Academy (1723) and death. See A. .Martini-.Vl. L.
34. Derizet (1697- 1768),
Rome
as a student of the
stayed there until his
Casanova, SS. trate, 70),
Nome
Rome,
on Derizet by
di
Maria (Chiese
di
Roma
1962, 23 (with documents).
W.
Oechslin
is
.A
illus-
paper
about to appear
in
Qiiaderm. ^5. The architect was a Rome his home as early as di
Portuguese
who had made
1728 (Lidia Bianchi, Disegni
Ferdinando Fuga, Rome, 1955, no) and was
BIBLOSARTE
still
556
•
NOTES TO CHAPTER
16
there in 1772. Sardi acted as his clerk of works at SS.
M.
Trinita.
XI, 61
Tafuri, in Qjiaderni,
(1964),
i
ft'.,
F. Cerroti, Leitcre e memorie aiitografe,
A. Prandi, 'Antonio Derizet e
Giovanni
gives the history of the church and monastery from
di S.
documents and the drawings preserved in the Archivio
Rotili,
di Stato.
Ameh's design
36.
is
graceful, but infinitely less
powerful and original than Valvassori's. 37. V. Golzio in
L'Urbe (1938), no.
7, 7
ff.
On
P.
The
38.
material assembled by R. Berliner in Miin-
Kunst, ix-x (1958-9), 302 ff., shows that both beginning and end of the building are chner Jahrh. f. difficult to
hild.
determine.
The
dates given in the text are
approximations. According to
Gaus
J.
'II il
{Marchtonrii,
la
i860;
facciata
Laterano', Roma, xxii (1944), 23;
in
Concorso per
la
facciata di S.
Giovanni
Laterano
in
parere della Congregazione', Botletlino deU'Unione
Storia ed Arte,
Rome, May-June 1959, 3. V. Golzio own memorandum about his
has published Galilei's
design
vio storun messinese, l-li {1949-50).
Rome,
concorso per
Raguzzini (Note 39); L. Bianchi's Catalogue (Note 35); A. Schiavo, op. cit. (Note 45), 37, and idem, e
M. Accascina in Anht-
Passalacqua from Messina, see
il
in
Miscellanea Bihl. Hertzianae, 1961, 450. See
New York
also the
University
Schendler (summary
M.A.
thesis
by Virginia
Marsyas, xiv (1968-9), 78). Only seventeen of the twenty-three competitors are mentioned in the literature, amongst them the Boloin
gnese Ferdinando Galli Bibiena and C. F. Dotti, the
1967, 23, 25, see Bibliography) the planning began in
Venetian Domenico Rossi, the Sienese Lelio Cosatti,
was completed in 1762. Filippo Raguzzini e il rococo romatui.
and the Neapolitan L. Vanvitelli. Two other competitors, overlooked by all those who have written about this matter, were Pietro Carattoli (1703-60) from
1748 and the 39.
Mario
Rome,
195
villa
Rotili, 1,
with further literature. in Illustrazione Vattcana, iv (1933), 303,
Perugia, the architect of the Palazzo Antinori (Gal-
and A. Rava in Capitolitim, x (1934), 385-98. See also F. Fasolo, Lc chiese dt Roma nel 'joo, Rome, 1949, 70. 41. Ilaria Toesca in English Miscellany, ill (1952),
lenga Stuart, 1748-58), the most impressive Baroque
40.
M.
Loret
189-220. 42.
Guglielmo Matthiae, Ferdinando Fuga
opera romana,
Rome, 1951;
e la sua
L. Bianchi's Catalogue
Note 35); R. Pane, F. Fuga, Naples, 1956. 379. 43. For its history, see mainly E. Hempel in Festschrift H. Woelfflin, Munich, 1924, 283 ff. C. Bandini in Capitolium, ¥11(1931), 327 P. Pecchiai, La scalinata di piazza dt Spagna, Rome, 1941 and the exhaustive paper by W. Lotz (quoted above. Note 26). 380. 44. Raguzzini's undulating facade of S. Maria
(see
;
;
;
palace of his native city; and Bernardo Vittone from Turin (see his Istruzioni element an, Lugano, 1760, 443 and plate 74). Another competitor, rediscovered by H. Hager, was Ludovico Rusconi Sassi (16781736), about
whom
was obviously unaware. See Just before leaving
della
Quercia reveals the same spirit; see A. Martini, Maria della Quercia (Chiese di Roma illustrate, 67), Rome, 1 96 1. 45. Clement XII arranged a competition in 1732.
Knight of Glyn, 1969), 722
Sixteen designs were exhibited in the Quirinal and Salvi's was chosen. After the latter's death, Giuseppe
ments
basins under Neptune.
The literature on the Fontana Trevi is vast. The most Armando Schiavo (La Fontana di Trevi e le allre opere di Nicola Salvi, Rome, 1956) and
recent studies by
H. Lester Cooke, Jr (Art Bull., xxxviii (1956)) are fuller than any previous treatment without, however, presenting the entire material on the history of the fountain. In addition, Cooke's article should be used with caution. See also C. d'Onofrio, Le Fonlane di
Roma, 1957, 225-62, with some new material, but also unacceptable assertions and attributions. 382. 46. The history of this most important event has not yet been fully reconstructed. For information see
London
Toesca, op.
I.
cit.,
in 17 19, Galilei
220.
may have
designed Castletown, Co. Kildare, near Dublin in a vaguely Palladian manner; see M. Craig and the
S.
Pannini was appointed architect of the fountain (1752). The major change he introduced is the three formal
see Donati, Art. Tic, 393.
was not until January 1726 that Galilei, then in Florence, was advised from London that 'the reigning taste is Palladio's style of building', a fact of which he 47. It
in
Country
Life,
383. 48. Marchionni's second great
known
CXLV (27 March
ff.
work
Sacristy of St Peter's (1776-87).
is
the well-
New
docu-
important paper by Berliner (Note 38, 368, 395), who published the extensive (ruiTf of drawings for a great variety of purposes by Carlo (1702-86) in the
and his son Filippo (1732-1805). For the Sacristy of St Peter's also H. H2geT,Jfuvarra, 1970, 49 (see Bibliography), and the extensive chapter in Gaus's book on Marchionni (Bibliography), 67 49.
W.
Korte, 'Piranesi
Zeitschr.
f
Piranesi,
Smith College
Kiinstg.,
11
ff.
als praktischer Architekt',
(1933), 16-33. Wittkovver in
Museum
of Art, Northamp-
96 1, 99, has reconstructed the history of Piranesi's S. Maria del Priorato on the Aventine (1764-6) from documents and original drawings. ton, Mass.,
1
The mediocre
Alessandro Dori, architect of the {c. 1760; see L. Salerno, in Via del
Palazzo Rondanini
Cor so, 96 1, 1
of
Roman
1
24), indicates the relatively
architecture at this
BIBLOSARTE
moment.
low standard
NOTES TO CHAPTER
386. 50. For the history of Venetian Baroque architecture see E. Bassi's basic
work
(1962).
For the survival
Architettura
236
ft".,
.
.
.
l6
557
a I'enezia, 1962 (see Bibliography),
and that of the
priest
Carlo Corbellini from
and transformation of the Pailadian tradition, see Wittkower in Barocco europeo e Barocco veneziano,
Brescia,
Florence, 1962, 77, and Bolktttno del Centra Internaz. di Studt di Architettura^ v (1964).
additional satellite chapels at the west. His use of a
Moise is early, 1668. The undifferentiated Late Baroque quality ensues from the profusion of
the tradition
Meyring's ('Arrigo Merengo's')
similar late sixteenth-century churches (p.
51. S.
later sculptural
dec-
oration rather than from the structural pattern, which basically Pailadian.
is
who
in
the large church of S.
giant order of half-columns
as
all round the interior is in coming down from Palladio, but the type
such belongs to the eighteenth-century revival of
Martire at Brescia
( 1
Padova, l (1961),
di Sliidi di .inhitettiira, V (1964), 61
59.
entire interior of the Chiesa dei Gesuiti
is
spun over with inlaid marble imitating tapestry. The high altar is by .\ndrea Pozzo's brother, Jacopo Antonio (1645-1725), a specialist in altar designs, whose importance has only recently been discovered; see F. Pilo Casagrande in Palladia, viii (1958), 78. The facade, closely set with free-standing columns, is Rossi's largest work. His earlier fa9ade of S. Stae (1709) is more interesting, for its structure is based on an unorthodox handling of Palladio'sinterpenetration of a large and a small order. Yet
53.
a
comparison of
ghena's Pesaro
Tirali's Valier with
monument of
1669
that the classical element of the
new
in the Frari
Lonshows
column has been given
weight, while the statues, the principal feature of
The
principal source for Tirali's
life is
Temanza's
Ztbaldon, ed. N. Ivanoff, Venice-Rome, 1963, 17.
W.
The
Lorenzo
For the continuity of the Pailadian tradition
in
Venice, see R. Wittkower, in Boll, del Centra Internaz. ft'.
For the carefully calculated system of proportion (p. 372), see Cicognara-Diedo-Selva, Le fahhnche e monumenti cnspicui di Venezia, Venice, 1858, II, 95. 59.
1
D. Lewis (above. Note 55), 40, emphasized the reliance of SS. Simeonc e Giuda on Palladio's Tempietto at Maser. 60.
D. Lewis,
op. cit.,
has skilfully reconstructed the
small but important ceuvre of
Temanza's life,
see Ivanoft
anza, Zibaldon (Note 53).
's
.\1.
Lucchesi.
Introduction to T.
Temanza or, more
-
For
Tem-
likely, his
uncle Scalfarotto was the teacher of Giovanni Battista
Novello, the architect of the mid-eighteenth-century Palazzo Papafava originality ;.\.
at
Padua, which displays surprising
Rowan,
Burl. .Ma?..
c:\iii
(1966), 184
ft".
389. 61. Fausto Franco, 'La scuola architettonica di
Vicenza', / .Wonumenti Italiani,
the Pesaro, are disproportionately small.
17).
75 1 -63) also contains neo-cinque-
centesque elements.
The
1
strong Baroque facade of Corbellini's S.
For Tremignon, see C. Semenzato in Alti della Accademta Patavina di scienze, lettere ed arti, N.S. LXI\ (1952), and G. B. Alvarez in Boll, del Museo Civico dt 52.
Geremia (1753-
60) returned to a classicizing Greek-cross type with
'La scuola Scamozziana "di Palladia.
I
(1937), 59
stile
ill
(1934), and idem,
severo" a \ icenza".
ft'.
accepted dating of 1700.
For the continuity of Scamozzi's classical formulas at Vicenza, see, e.g., Pizzocaro's Istituto dei Proti and Palazzo Piovini-Beltrame, both 1658, and his masterpiece, the Villa Ghellini Dall'Olmo at Villaverla (1664-79; for Pizzocaro, see L. Puppi in Prospettne, no. 23 (1960-1), 42, and R. Cevese in Boll, del Centra Internaz. di Studi di Architettura, i\ (1962), 135), and
56. E. Bassi's chapter (Note 50) on .\Iassari supersedes the studies by V. Moschini in Dedalo, xii (1932),
also attributed to
198-229, and C. Semenzato
Carlo Borella, the architect of the Sanctuary on .Monte
387. 54. For Palladio's project, see in
Arte Veneta,
Timofiewitsch
xiii-.xiv (1959-60), 79.
D. Lewis, 'Notes on XVIII Century Venetian Architecture', Boll, dei Musei Civici Veneziani, xn in ( 1 967), no. 3, has given rather convincing arguments 55.
favour of this
56a.
late
G. Fiocco,
VI (1968),
1
18
ft'.,
date in preference to the previously
in
in
Arte Veneta,
xi (1957),
Saggt e Alemorie di storm
i-
dell' arte,
attributes the painted architecture to
Francesco Zanchi, the chiaroscuri Morlaiter, and the figures to
to
Michelangelo
Giacomo .\ntonio Ceruti.
57. Massari's chief assistant,
Bernardo .Maccaruzzi
1728-1800), the architect of S. Giovanni Evangelista in Venice (r. 1755-9) and of the Cathedral at
{c.
Cividale (1767
ff.),
(above. Note 55),
i
deserves mention; see D. Lewis ff^.
may add the name of Andrea Cominelli, who 58. enlarged the Palazzo Labia before 1703 (E. Bassi,
We
Carlo Borella's Palazzo Barbieri-Piovene (1676-80),
Tremignon and Giacomo
Borella.
Berico (1688- 1703), was not averse to using a certain the Chiesa dell'
amount of Baroque paraphernalia. But
Araceli (began in 1675), always attributed to him,
was
based on a design by Guarini; see P. Portoghesi in Critica d'Arte, no. 20 (1957), 108
Borella, see Cevese, op. 62. Francesco tireless builder
Muttoni of
cit.,
and no.
21, 214.
For
140.
(see F. Franco, thid., 147), the
villas (Villa
Fracanzan,
Comune
di
Orgiano, 1710; 'La Favorita' at .Monticello di Fara, 4- 1 5 Villa Valmarana at .Altavilla N'icentina, 1 724; 1 7 1 etc.), is famed for his creations in a mildly Baroque ;
BIBLOSARTE
558
NOTES TO CHAPTER
•
16
taste: principal
example, his well known Palazzo Re-
1821) staircase of the Palazzo Hercolani (Via Mazzini
peta at Vicenza
(now Banca
11) with a
45) of 1792 the
large scenic staircase. Yet he never denied his Falla-
without a break.
d'ltalia, 1701
dian derivation (see F. Barbieri
M.
(1961), 287; also
Tafuri,
'II
in Qtiadcrni, vi
vill
parco della Villa Tris-
sino a Trissino e I'opera di Francesco Muttoni', in
L'Architellura, cronache e sloria, x, no. 114
832
It is
ff.).
(igfi.s),
interesting for the rise ofPalladianism in
England that he maintained close contact with Lord Burlington.
The
Montecchio Maggiore, preis by Massari (1735),
Villa Cordellina at
viously attributed to Muttoni,
seeC. Semenzato in Arte Veneta, Connoisseur, CXL (1957), 151.
xi (1957), 6; see also
Cevese, 'Palladianita di Ottone Calderari',
For
a
Tommaso
69. See, e.g.,
tradition
in
Odeo
ff.
at
Verona,
Padua, Treviso, and Bassano, see the papers by P. M. Pio, M. T. Pavan, and C. Semenzato
Mattei's mid-eighteenth-
Fer-
at
G. F. Buonamici's grand staircase of the Palazzo Baronio (now Rasponi Bonanzi) at Ravenna by Domenico Barbiani, 1744). at Crema has a superb eighteenth-century staircase on the pattern of Longhena's staircase in S. Giorgio Maggiore. (the palace
The
was
built
Albergoni
Palazzo
]0. C.Ricci, I teatri di Bologna, Bologna, 1888, i76ff. 71.
For
a fuller survey, see P.
Mezzanotte's chapters
Mtlano, 1958, xi, 441 and 1959, xii, 659. 72. For Merli or Merlo, see now the excellent monograph by M. L. Gatti Perer (Bibliography). ;
The contemporary
tradition
as
to
Ruggeri's
ambiguous, but he was born in Rome rather than Milan see G. Mezzanotte, 'G. R. e le ville place of birth
is
;
lombarde'. Boll. Centro Internaz. Studt di
Gazzola, G.
di delizia
in Boll, del Centro Internaz. di Studi di Architettura,
Archit., XI (1969), 243.
The
IV (1962).
also continued
rara or
73.
survey of Baroque architecture
is
century staircase of the Palazzo Arcivcscovilc
in Storia di
63. F. Barbieri in Arte Veneta, vii (1953), 63. Also R.
Olimpico, V (1964-5), 45
Baroque
fa9ade of the Palazzo Litta
is
often wrongly
who is the architect of the splen-
For the Veronese Neo-classicist Alessandro Pompei, see Semenzato, Arte Veneta, xv (1961), 192. 64. See Le ville venete. Catalogo a cura di Giuseppe
did Villa Alari-Visconti at Cernusco. His pupil Gia-
Mazzotti (many collaborators), Treviso, 1954, with
Belgioioso (now Trivulzio) at Merate.
full
bibliography.
unknown Manin (1738). The La Villa Manin di Passari-
Giovanni Ziborghi who
65.
is
otherwise
signed as architect of the Villa
monograph by C.
Grassi,
ano, Udine, 1961,
is
disappointing. See also A. Rizzi,
in Boll. Ufficiale della .
.
.
di
The
Camera
di
Commercio, Industria
Udine (March 1964), 3-10. Villa Pisani
is
that this
work
is
It
como Muttone
( 1
662- 1 742) built the well-known
must, however, be pointed out
of infinitely higher quality than the
unusually dry Palladian buildings of the architect from
who worked
the
minor Milanese practitioners may be mentioned Federico Pietrasanta (1656-f. 1708, see M. L. Gengaro in Riv.d'Arte, xx (1938), 89), Francesco Croce (Gengaro in Boll. d'Arte, xxx (1936), 383), Giovan Battista Quadrio and his pupil, Bernardo Maria Quarantini (1679-1755); seeM. L. Gatti Perer in Arte Lomharda, and XI (1966), 43 ff. Lodi had Late Baroque architects in Michele and Pier Giacomo Sartorio, and Bergamo in Achille and
Marco
Alessandri. For other names, see L. Angelini,
'Architettura settecentesca a Bergamo', Atti dello VIII
convegno nazionale di storia
dell' architettura,
in his native
Rome,
1956, 159-
Giuseppe Antonio Torri's (1655 1713)
Castelfranco (1701-74). Frigimelica (1653-1732),
Villa
Among
VIII (1963), 161,
usually incorrectly attributed to
Girolamo Frigimelica. M. Favaro-Fabris, L'architetto F. M. Preti, Treviso, 1954, has proved that Preti's design was executed.
attributed to Ruggeri,
S.
Domenico
Modena (1708-31) is a remarkable centralized building. The facade is an interesting version of the
at
Padua (S. Maria del Pianto, 1718-26), at Rovigo, Modena, Vicenza, Stra, etc., would deserve more
aedicule facade, consisting of a closely set colossal
attention. See Bibliography.
order of pilasters applied to a red-brick wall.
66. Fogolari in L'Arte, xvi (1913), 401-18.
now
the book by A.
M.
See also
Matteucci, 1969 (Biblio-
graphy under Bologna). 390. 67. See
Commune
di Bologna, xi (1933), 69.
391. 68. See the Palazzo of the Credito Italiano (Via
1770; the Casa del Linificio Nazionale (formerly Palazzo Ghisilieri); and the Palazzo
Monte Grappa
5),
77), 1796, where the enand the staircase form a picturesque ensemble. In Angelo Venturoli's (1749-
Scagliarini (Via Riva di trance, the courtyards,
Reno
Brescia had native Baroque architects in Antonio Turbini and his son Gaspare and in Giovan Battista Marchetti and his son Antonio (1724-91). The latter built the Palazzo Gambara (now Seminario Vescovile)
and the Palazzo Soncini (1760s), both with impressive staircase halls, and the Villa Negroboni, now Feltrinelli, at Gerolanuova (1772-92) in an international Baroque style; see G. Cappelletto in Arte Lomharda, III
(1958), 51.
74.
For Piermarini and other neo-classical Lombard
BIBLOSARTE
NOTES TO CHAPTER
architects
and
their
reveahng connexions with the manner, see G.Mezzanotte,
Naples of the new King, Charles
1
11, in
1
l6
559
738 those for
earlier eighteenth-centurj'
the King's wedding, etc.
Architettura neoclassica in Lomhardia, Naples, 1966.
84. Other churches by him Chiesa delle Crocelle; S. Maria succurre miseris; facade of S. Lorenzo, 1743;
392. 75.
M. Labo,
:
'Studi di architettura Genovese',
L'Arte, xxiv (1921), 139-51, repeats the traditional
chiostro, monastery of
attribution of the palace to Pier Antonio Corradi. C.
restoration
Marcenaro
tery, etc.
in
Paragone,
xii (1961), no.
139, 24, has
corrected the attribution on the basis of documents.
-
The splendid pictorial decoration of the palace by Gre-
Donnaregina together with the and enlargement of the church and monas-
394. 85. Further on his staircases. Pane, op. Illustration
270 after Pane, 187,
182
cit.,
illustrates the
fl".
double
gorio de Ferrari, Giovan .Andrea Carlone, Bartolomeo Guidobono, and others began in 1679. 76. See, among others, rooms in the Palazzo Durazzo (formerly Reale), which - according to tradition - was
staircase in the palace in \'ia Foria 234. (This address
its final shape towards the garden from designs by Carlo Fontana (1705); further rooms in the Palazzi Granello (Piazza Giustiniani) and Saluzzo (Via Albaro) and, above all, in the Palazzo Balbi Cattaneo
395. 86.
(Via Balbi).
thus an .Austrian conception makes
given
According
77.
to Soprani, Vite,
11,
271,
De
work, executed shortly before his death
last
Ferrari's
in
1744
at
given by Pane
no longer
is
Nauclerio, follows the type
By
Courtauld della
correct.)
The charming
of the Palazzo Fernandez, attributed
staircase
Sir
shown
Anthony Blunt
to
in illustration 269.
given
in lectures
at
the
Fuga's staircase of the Palazzo
Institute.
(p. 382), unique in Rome, derives from by Sanfelice (see Pane, Fuga (Note 42), 41) -
Consulta
staircases
its
entry into
Rome
via Naples.
87.
See mainly L. Vanvitelli
Jr, Vila dell'archtleltn
There is now a satisfactory monograph by E. Gavazza on L. de Ferrari (see Bibliography). 78. Hugh Honour, 'The Palazzo Corsini, Florence',
L. Vanvitelli, Naples, 1823; F. Fichera, Luigi Vanvi-
Connoisseur, CXXXVlii (1956), 160.
The
eighth Congress of the History of Architecture
For the early history of S. Firenze, above p. 246. The church itself was built by Pier Francesco Silvani after 1668, and not by Ferri, as is usually said. See
was
to a large extent
dello
VIII convegno nazionale di
the age of 64.
79.
Paatz, Ktrchen von Flnrenz,
II,
Florence between 1753 and Rtv.d'Arte, XXXI (1958), 157;
in
1776; see R. Chiarelli in
Rome,
telli's
work
Rome, 88.
115.
393. 80. Buontalenti influence is also to be found in the work of Ignazio Pellegrini (171 5-90), who was born in
Verona but practised
telli,
1937, with further literature. at
Vanvi-
devoted to Vanvitelli; see
many
1956, with
same author's
//
.-///;
sloria dell' architettura,
valuable contributions.
Rome, 1937; F. Naples, 1954 (also Palazzo Reale di Caserta e i Bor-
G. Chierici, La Regia
de Filippis, Caserta the
On
.Ancona, L. Serra in Dedalo, x (1929).
di Caserta,
e la sua reggia.
honi di Napoli, Naples, 1968); Marcello Fagiolo-Dell'
Arco, Funzwni simholi valori della Reggia
The
di
Caserta,
also idem, Architetturefiorentineetoscanedi
Rome,
ijgo), 1966, and Architetture pisane di deH'archivio Pellegrini di Verona, Universita di Pisa,
stone of Caserta was laid on 20 January 1752 between
1966.
the
81. Begun in 1738 by Giovanni Antonio Medrano with the assistance of .Antonio Canevari (i68i-f.
was finished
1750), and not yet finished in 1759. Medrano also built the theatre of S. Carlo (1737) to which later Fuga and
ario inedito di L. Vanvitelli', in Studi in
LP. (1715IP. nei disegni
1963, with
full
bibliography.
foundation ;
1759 and 1764 interruption; after Luigi's death
work was continued by
his son, (^rlo.
in
1773
The exterior
in 1774, not entirely in accordance with Luigi's plans. E. Rufini, 'L'importan/.a di un epistol-
Chierici,
Rome,
1965, 281
ff.,
memoria
di
of S. Giovanni de' Fiorcntini,
Rome)
G. M. Bibiena contributed. It was destroyed by fire See A. Venditti, Archil etiura neoclassica a 1 816.
(in the .\rchive
in
of letters which \'anvitelli addressed to his brother
Napoli, Naples, 1961, 237.
Lrbano between
For the following see mainly R. Pane, Architettura Naples, 1939, and idem,
and
G.
reports an extensive find
Don
1751 and 1768, written from Caserta
to a large extent
concerned with the building of
dell 'eta harocca in Napoli,
the castle.
Napoli imprevista, Turin, 1949; also Bibliography. 82. R. Mormone, 'D. A. Vaccaro architetto', Napoli
398. 89. But the differences are not negligible; see
Nohilissima, 83.
1
King Charles
702 for the
festival
1701 for the funeral decora-
II in
the Cappella del Tesoro;
decorations on the occasion of
Philip V's visit to Naples; in 1731 for the funeral dec-
orations of the
designed the
Fichera, op.
cit.,
42.
90. Fagiolo-Dell'.^rco, op.
(1961-2), 135.
He was responsible in
tions for in
i
Duke Gaetano
.\rgento; in 1734 he
festival decorations for the entry into
cit.,
46, wants to derive the
Caserta octagons from Early Christian or Byzantine sources (precisely what I have claimed for S. .Maria della Salute) and. without supporting his
argument,
refuses to accept the obvious: the direct impact of the Salute, a building well
399. 91.
It
is
known
to \ anvitelli.
noteworthy not only that \
BIBLOSARTE
anvitelli in
560
NOTES TO CHAPTER
•
16
church made use of Borrominesque detail but that
this
dome
he fashioned the design of the
after Cortona's
Giuseppe Mariani from ably
Giacomo
SS. Martina e Luca. In keeping with his rationahsm,
minesque
however, he did not superimpose the ribs of the vault
in
upon the
and gave the
coffers
latter a severely
geo-
For Neapolitan architecture of the second half of
the eighteenth century, see A. Venditti, Architcltura neoclas.su a a Napoli,
93.
Naples, 1961, 51 and passim.
Work on Apulian
architecture of the seventeenth
and eighteenth centuries is in its beginnings. The older book by M. S. Briggs, /;; ihe Heel oj Italy, London, 1910,
M.
Comment an., V historical methods to
M.
time.
Calvesi and .
.
.,
M. 197
Manieri-Elia, Architet1,
replaces the previous
G. Bresciani Alvarez, and M. Manieri-Elia appeared in the Atti
Interesting contributions by Calvesi,
del
IX
Rome,
1938, 134, reports nineteenth-century
ment of G.
Amico
B.
Nazwnale di storia dell'architettura, 155, 177, 189. These authors turn against
The only monographic treatby V. Scuderi, Palladio,
is
work
(1961), 56 (with chronological
t,},
100.
For these
villas, see
the fine study by
Palermo, 1950. For the correct dating of the Villa
nation and, therefore,
more has been
1959,
most recent book on the subject Palagonisches Barock, Frankfurt,
importance of Naples and Sicily
in
The
by K. Lohmeyer,
is
see also Brassai 1 943 G.d.B.A., lxi (i960), 351, and G. Levitine, ihid., LXiii (1964), 13, with further references. ;
Maria Carolina, Maria Theresa's daughthe Queen of Bourbon Naples, and her daughter, Maria Theresa, Princess of Naples and 102. Later,
SICILY.
The Quattro Canti are traditionally attributed to Roman (.') Giulio Lasso, 1608; Mariano Smiriglio
95.
directed the
work
in 16 17
in 1621; see F. Meli,
and Giovanni de Avanzato
Arch. Star, per
(1938-9), 318. For Smiriglio,
mande
\'al-
written about this
than about any other Sicilian monument.
the legend of the Spanish influence and emphasize the
the
Ziino,
guarnera, see V. Ziino in Atti (see Note 95), 329. loi. Monstrosities always exercise a particular fasci-
villa
400. 94. For the literature see Bibliography, section
\'.
Contributi alio studio dell 'architettura del 'joo in Sicilia,
Congresso
for Apulia.
xi
G. B. ff.) pub-
catalogue).
Comande (in Qitaderni, Xii, 67-70 (1965), summary of Amico's rare book L'Architetto
pratico of 1726.
on the subject.
M.
Sicilia, Bari,
alterations to this facade.
Calvesi applies
tura barocca a Lecce literature
401. 99. E. Calandra, Breve storia deU'architettura in
lished a
the investigation of the architecture of Lecce for the first
became court architect in Palermo in Commentan, xi (i960), 260.
98. A. Chastel in Reiiie des sciences humaines, fasc.
useful. In his article in
is still
(1954), 316,
flavour,
1722; see V. Scuderi
55 6 (1949), 202.
metrical octagonal star-form. 92.
1731), prob-
Pistoia (1681
.Amato's pupil, whose work has a Borro-
in Atti del
ibid.,
la Sicilia,
354; G. B.
VII Congresso Naz.
iv-v
Com-
di storia dell'
became
ter,
married the Hapsburg Emperor Francis II. Chapter 12, Note 9. For Picherali,
Sicily,
103. See above. see
G. Agnelli
7), VI
(1939),
in
Arch.
and
stor.
series
per
la Sicilia, ii-iii
vol.
III,
11
(1936-
(1947), 281. For
Palermo, 1956, 307. features of this palace derive from the stock
Luciano Ali, the architect of the remarkable Palazzo Beneventano at Syracuse (1779), see S. L. Agnello in
of Mannerist motifs, but the balcony surrounding the
Atti dello I III convegno nazionale di storia dell'archi-
arch.,
96.
Many
entire structure
and the large supporting brackets
superimposed on the triglyphs of the entablature underneath are typically Sicilian.
For Vermexio, see E. Mauceri, Giovanni Verme.xio, Syracuse, 1928; G. Agnello, 'I! tempio vermexiano di S. Lucia a Siracusa', Arch. Stor. per la Sicilia orient ale, 153; and idem, I Verme.xio, Florence, 1959 (also A. Blunt's review in Burl. Mag., Cii (i960), 124). VII {1954),
97.
I
have been unable to find out whether the book
by V. Grazia Pezzini, Giacomo Amato
e I'architettiira
tettura,
104.
Rome,
1956, 213.
O. Sitwell, 'Noto, a Baroque City', Architec-
tural Review, Lxxvi (1934), 129;
N. Pisani, Noto.
R.I.B.A., Lxvi (1958),
1 1
;
F. Popelier in G.d.B.A., Lix
(1962), 81. S. Bottari in Palladio, viii (1958), 69,
Gagliardi's and other
Sicilian
architects'
church
fafades with high central tower are un-Italian and point once again to Austrian prototypes.
To
this class
belong Gagliardi's Cathedral and S. Giuseppe
peared. L. Biagi's 'Giacomo Amati e
Ragusa and
sua posizione
nell'architettura palermitana', L'Arte, xlii (1939), 29,
S. Giorgio at
105. F. Fichera, G. B.
Documentary material for Paolo and Giacomo Amato in Meli, op. cit., 359, 367. Paolo Amato's La nttova pratica della
Settecento in Sicilia,
posthumously by his friend Giuseppe de Miteli, is prefaced by a life of the architect (presumably written by De Miteli) which includes a list of works with dates.
cit.,
gives
less
than
the
title
promises.
prospettiva (Palermo, 1736), published
is
mainly concerned with Gagliardi's work.
barocca a Palermo, announced in 1961, has ever apla
la
Citta d'Oro, ed. Ciranna, 1953; J. -J. Ide \n Journal
106.
The
at
Modica.
Vaccarim
Rome,
e I'architettiira del
1934.
Benedictine monastery has a long and com-
plicated building history for 80, 143, etc.
Amato and
which
see Fichera, op.
The main contributors were Antonino
his sons
Lorenzo and Andrea
(until 1735),
Francesco Battaglia (1747-56), Giuseppe Palazzotto (until 1763), and Stefano Ittar (1768).
BIBLOSARTE
NOTES TO CHAPTER
CHAPTER 403.
I.
17
For
17
•
561
Bihl. Hertzianae, 1961, 418; M. Passanti, Nel mondo magico di Guarino Guarini, Turin, 1963 (an architect's
Vittozzi, see Bibliography.
On the Castel-
study
who
follows
up the genesis of Guarini's
motifs).
lamonte see C. Boggio, Gli architeiti Carlo ed Amedeo di Castellamonle, Turin, 1896, and G. Brino (and
The
Amedeo di Castellamorile, Turin, 1966. Buildings by Amedeo: S. Salvario in via Nizza (1646-53), Chiesa di Lucento (1654), S. Mar-
information of interest. For the enormous increase of Guarini studies in recent years the reader is referred
others), L'opera di Carlo e
tiniano (1678, destroyed), Palazzo della Curia
Maxima
(now containing also collections of the University, begun 1680), and, above all, the Palazzo Reale, begun in 1646. The architect and engraver Giovenale Boetto (1640c 1678) reveals close links with Vittozzi and Carlo di Castellamonte in his buildings in Piedmont; see monograph by i\. (1672), Hospital of S. Giovanni
Carboneri A. Griseri (Bibliography).
His most important buildings: the extensive Palazzo di Citta (1659-63, enlarged by Alfieri; see E. 2.
Olivero
in Torino, \ (1927),
373
tazione (166 1, facade 1765), S.
ft'.),
Chiesa della Visi-
Rocco (1667-91 facade ,
1890), SS. Maurizio e Lazzaro (1679
dome and
facade
LanEmanuele. All these churches are centralized buildings, S. Rocco and SS. Maurizio e Lazzaro with impressive use of free-standing columns. For Lanfranchi, see A. Cavallari-Murat in Boll. Sac. 1835), the latter church according to Olivero by
franchi's son. Carlo
Piemontese di archeologia i),
e di belle arti,
xiv-xv (1960-
M.
For the whole question of Turin's urban development, see P. Gribaudi, 'Lo sviluppo edilizio di Torino dall'epoca romana ai giorni nostri', Torino, xi (1933), 3.
M.
Passanti, 'Le trasformazioni barocche
entro I'area della Torino antica', Atti del di storia delTarchitettura,
Rome,
X Congresso
1959, 69-100.
Further for seventeenth-century Piedmontese architecture: A. E. Brinckmann, Theatrum Novum 4.
Pedemontii, Diisseldorf, 193
1;
A. Ressa, 'L'architet-
tura religiosa in Piemonte nei secoli .XVII e X\'III)\ Torino, XIX (1941);
M.
monte, Turin, 1945.
-
Passanti, Architettura in Pie-
On
the richly decorated Castello
del Valentino, the planning of
which
essentially
is
.Anderegg-Tille,
Die Schule Guarinis, Winterthur, 1962, contains
little
to the Bibliography.
T. Sandonnini,
6. 7.
op. cit., 489, and Portoghesi, op. cit. Guarini's writings, E. Olivero in // Duomo di
On
Torino,
M.
no. 6 (1928).
11,
Accascina
in Boll. d'Arle, XLI (1956), 48, pubphotograph of the facade of the .^nnunziata; see also W. Hager, 'Guarinis Theatinerfassade in Messina' in Das Werk des Kiinstlers. Hubert Schrade 8.
lished an old
zum The
bo. Gehurtstag dargebracht, Stuttgart, i960, 230.
picturesque facade of S. Gregorio, destroyed in
1908,
is
often illustrated as a characteristic example of
But documents prove (.•\ccascina, was not finished until 1743. The strange campanile 'a lumaca' was finished in 17 17, .M. Accascina suggests from a design by Juvarra; this does not seem convincing. 9. Portoghesi, op. cit., wants to date the design about Guarini's ihid.,
style.
XLii (1957), 153) that the facade
1670, and
Hager (last Note), 232, follows Portoghesi's There seems to be a general inclination to
late dating.
favour the
late date.
405. 10. L. Hzutec(EUT,Histoirede
47-82.
no. 8; also
pedestrian dissertation by
que en France, ture.
The
11,
r architecture classi-
Paris, 1948, 245, with further litera-
history of the church has
by D. R. Coffin
now been
clarified
m Journal ofthe Society ofArchitectural
Historians, xv (1956), no. 2. 1
1.
The correspondence
Franc^ois
Mansart
at
with similar devices used by
an earlier date
(.\.
Blunt, .irt and
Architecture in France, 148; P. Smith, Burl. .Wag., cvi (1964), 114, figure 20, suggests that .Mansart had de-
vised a cut-ofl early as 1645)
is
dome
design for the Val de Grace as
striking.
There seems
to
have been an
interesting give and take between Guarini and the
dome
of Saintc-
in all likelihood
developed
French. While Guarini's truncated
Anne-la-Royale (1662) was
Brinckmann, Brizio, and Viale, Turin, 1949. - On the Baroque architecture at Carignano near Turin, see G.
from .Mansart 's staircase at Blois, the latter in turn followed Guarini's version of Sainte-.\nne for the design of the Bourbon Chapel at Saint-Denis (1665). In his
congresso della Societa Pie-
church of the Invalides(i679ff".),J.Hardouin-Mansart
French, see the monograph by Cognasso, Bernardi,
Rodolfo, in Atti del
W
montese di Archeologia
Deput. subalpina 86. -
e Belle
Arti (A cura della R.
used the same type of dome, but adjusted the curve of
Turin, 1937, 130-
the second vault, w hich he closed in the centre (instead
di storia patria),
See also Bibliography,
of opening
III.
Apart from P. Portoghesi's monograph on Guarini (Milan, 1956), which is useful in spite of the brief text, see T. Sandonnini, 'II Padre Guarino Gua-
404.
rini',
5.
Atti e mem. R. Deput. di storia patria
modenesi
e
parmensi, ser.
3,
II,
no. 5 (1928);
.
.
provincie
v (1888), 483; E. Olivero,
'La vita e Parte del P. Guarino Guarini', di Torino,
.
W. Hager
in //
Duomo
in Miscellanea
it
porated this tano
into a lantern).
Once again Guarini
incor-
latest version into his project for S.
Gae-
at \'icenza (last period).
pagoda-like build-up, for which precedents Northern Italy (p. 122), was often used by Guarini and developed much further than ever before. The most advanced example: his design for the Sanc12.
The
exist in
tuary at
Oropa
(1680).
BIBLOSARTE
562
•
NOTES TO CHAPTER
A. Terraghi in Allt del
13.
arch.,
Rome,
and 659 1
h)5(), 373,
for the
17
X Congresso di storia dell'
suggests a date between 1656
church and
oft'crs a
hypothesis regard-
ing Guarini's hkely stay in Portugal. But
Congress
in
Turin (1968)
F.
at
the Guarini
Chuecas suggested
that
Guarini's church was not buih until i6g8. 14. Begun by Guarini in 1679 and continued by Michelangelo Garove (1650 1713). Further for the history of the church, G. Chevalley, 'Vicende costruttive della Chiesa di San Filippo Neri', Bnllettmo del
Centra di studi areheulogin
.
.
.
del Piemonle, fasc.
11
on Garove's
The
Palazzo Carignano (1670-92)
is
by
far
the
most important of Guarini's domestic buildings. Its plan combines motifs from Borromini's designs for the Palazzo Carpegna and Bernini's first Louvre project, but in the treatment of detail and of the decoration Guarini is highly original. Much material in O. Cravero, Tl Palazzo Carignano', Atti e Rass. tecmca della
Soc. Ingegneri e Architetlt in Torino., xvii (1963). analysis of the palace in
Rococo Architecture,
A
fine
H. A. Millon, Baroque and
New York,
1961, 22. Guarini also
made designs for the royal castle at Racconigi (between 1679 and 1683; C. Merlini in Torino, xix (1941), 35) and for other palaces (see Portoghesi, op. cit.). We leave a discussion
his
of all this aside in favour of an analysis of
work at Turin. His design of 1678 had to incorporate an older
major
16.
alle
Quattro Fontane.
The
may
Palazzo Carignano
illustrate
how he
applied similar contrasts to a palace; see the undulat-
window frames (produced
ing
as if
by chance) con-
constantly repeated star-pattern of the court front. 410. 20. See also E. Battisti, 'Note sul significato della
Cappella della
Rome,
Lorenzo
21. S.
ecclesiastical
X
Sindone', Atti del
S.
storia dell'arch.,
is
Theatine church.
a
Congresso di
1959, 359. Its
foundation
stone had been laid, long before Guarini, in 1634. See
G. M. Crepaldi, La Real Chiesa
work. 15.
Carlo
409. 19.
tained by hard geometrical forms, particularly the
406.
(1942). Here, too, further information
408. 18. See the oval reliefs in the pendentives of S.
di
San Lorenzo
in
Torino, Turin, 1963. 22.
Reference
may be made
to the fact that
two ad-
joining niches with statues always vary in depth and
stand
angles to each other which cannot easily be
at
perceived. Moreover, since the sides of the octagon are
not equally curved (the curves are
main
flatter in the
axes than in the diagonals), the relationships differ be-
tween two adjoining columns and the niches behind. The Architettura civile contains, however, no
412. 23.
chapter on domes. This omission suggests that the
MS. was 24.
unfinished at the time of Guarini's death.
With Naples and
of Castile, Guarini's
it
Sicily belonging to the
seems unnecessary
early
about
Hispano-Moresque
with
contacts
Kingdom
to speculate
architecture.
The
star-shaped
eight-pointed
dome above
the
church the dome of 1703 does not correspond to Guarini's design; enlargement by Juvarra, 17 14. Decora-
crossing of the cathedral of Saragossa probably
tion finished in 1740. Facade, 1854-60. Addition of
twelfth-century vestibule of the cathedral at Casale
;
nearest to the
dome
of S. Lorenzo.
four elliptical chapels, 1899-1904. See P. Buscalioni,
Monferrato near Turin with
La Consolata
secting ribs was, of course,
known
Guarini himself designed
S.
Turin, 1938. documents in the State Archive,
nella storia di Torino,
407. 17. According to
Turin (available in the Soprintendenza), Bernardino Quadri directed the work until 1667, supported by Antonio Bettino (1659-64). 1660-3: construction of the sacristy and the communication with the Palazzo Reale. 1667: the carpenter G. Rosso is paid for the wooden model of Guarini's project. Guarini had to use marble and bronze which had already been worked. The altar, planned by Guarini, was executed by Antonio Bertola. 1690; execution of the pavement. 1694: transfer of the relic into the finished chapel. See also
Olivero in 7,
II
Duomo di
Torino,
11
(1928), no. 3
material about Bertola, 1647- 17 19,
a military architect) A. ;
(ihid.,
no.
who was mainly
Midana, 'II Duomo di Torino', and above all M. Passanti,
in Italia Sacra, v (1929);
'Real Cappella della S. Sindone', in Torino, xx (1941), 1 and idem, Nel mondo magico (above, Note For Antonio Bertola, see N. Carboneri, in Studi di
nos. 10, 5).
1
;
Storia dell'Arte
48
ff.
in
onore di Vittorio Viale, Turin, 1967,
The
comes
extraordinary
a vault consisting of inter-
to Guarini. In 1671
Filippo at Casale
Mon-
complex interpenetration of circular spaces. This church was completely altered in 1877. See also Terraghi (above, Note 13), 369. 413. 25. Similarly, the system of the dome of the Cappella della SS. Sindone may have been stimulated by the stalactite work in Islamic architecture. 26. But see W. Miiller, 'The Authenticity of Guarini's ferrato,
based on
Stereotomy
a
in his
Architettura Civile', Journal Soc.
Architect. Historians, xxvii (1968), 202 in
Guarino Guarini
e
ff.,
and idem,
Tinternazionalita del Barocco,
Turin, 1970, I, 531 fT. 27. His publications of the 1670s and 80s are mainly
concerned with mathematics and astronomy. 28.
Guarini celebrated the
probably
a
first
Mass
in S.
Lorenzo
-
unique case of the alliance of architect and
same person. same year, 1680, Emanuele Filiberto Amedeo, Prince of Carignano, appointed him his 'teologo'. The revealing document mentions that in him 'are united
priest in the
In the
BIBLOSARTE
I
NOTES TO CHAPTER
highest
the
29.
See Olivero
befit a zealous priest'.
its
and admitted
size
a
strong influence from Bernini's Louvre project. Sacchetti followed Juvarra's design more closely in the
For Piedmontese architecture between the death
execution of the garden front of the palace of La Granja at S. Ildefonso near Segovia. New documents for
di Torino,
(1928), no. 4.
11
of Guarini and the arrival of Juvarra, see H. Millon,
'Michelangelo Garove and the Chapel of the Beato Amedeo of Savoy in the Cathedral of Vercelli', Essays the History oj Architecture presented to R.
in
who reduced
Battista Sacchetti,
in
Duomo
//
and theological
moral
philosophical,
which
sciences,
563
17
London, 1967, 134 successor to
ff.
Amedeo
Next
H
Commeniari,
in
ix
(1958), 273.
ittkower,
Garove, the most gifted Castellamonte and Guarini (see to
work, published by E. Battisti
this
None
37.
of his great projects for
Rome
(Sacristy of
St Peter's, Spanish Staircase, facade of S. Giovanni
Laterano) were executed. Juvarra was not an
in
official
above, Note
participant in the Lateran competition of 1732, but his
active:
early biographers
14), the following minor architects were Maurizio Valperga, Giovanni Francesco Ba-
roncelli (d. 1694), 3)
and
to
whom
who
built the Palazzo Barolo (1692-
the Palazzo Graneri (1682-3)
is
tradi-
a project; for this
his other
work
in
mention
that he
was invited
sketches survive (Turin),
Rome,
see
!V1.
Loret
to
send
.^s
regards
in Critica
d 'Arte,
Emanuele Lanfranchi (16321721) and Antonio Bertola (1647- 17 19) who worked
(1937), 485, and also Arti Figurative, Ml (1947), 130.
on three of the buildings left unfinished by Guarini. For Bertola, see also above Note 17; for Garove, R.
these churches will be discussed later.
tionally attributed. Carlo
Pommer, Eighteenth-Century Architecture in mont, New York-London, 1967, passim. 414. 30. The principal publication on Juvarra
Pied-
Comitato per
the
first
le
onoranze
volume appeared
a F.J.'),
is
that
of which only
38.
With
39.
The
the exception of S. Croce, Turin (1718
ff.),
palace of the Venaria Reale (1714-26), Pa-
Madama
(1718-21), the castles at Rivoli (1718-
25; see A. Telluccini in Boll. d'Arte, x (1930/1), 145, 193) and at Stupinigi (begun 1729). 40. Palazzi Birago,
now Delia
Valle; Martini di Ci-
now Belgrano (both 17 16); Richa di Covasolo; and Guarene, now d'Ormea (both 1730).
gala,
in 1937.
For the early Juvarra, see G. Chevalley in Boll. Soc. (1947), 72, and, above all, M. Accascina in Boll, d 'Arte, XLi (1956), 38 XLii (1957), 50. For Piemontese, N.s.
(1936), 198, and R. Battaglia in Boll. d'Arte, xxx
lazzo
by L. Rovere, V. Viale, and A. E. Brinckmann ('A cura del
I
i
;
415. 41. This would have been even
The
the wings had been built.
more evident
palace,
if
which screens
Piedmont see A. Telluccini, L'arte dell' Juvara in Piemonte, Turin, 1926. 31. Sketchbooks in the Victoria and Albert Museum, London, and the Biblioteca Nazionale, Turin. For the theatre, see A. Rava, // Teatro Ottobom nel Palazzo della Cancelleria (R. Istituto di Studi Romani, ill),
widow of Carlo Emanuele IL Construction was interrupted in 72 .•\. Telluccini, II Palazzo .Madama di Torino, Turin, 1928.
Rome,
not correct in maintaining that the French influence
the
work
in
architetto Filippo
Brinckmann, Theatrum Ped. (above, Note
32. -
1942.
A. A. Tait, Burl. Mag., cviii (1966), 133
the
work on the Palazzo Pubblico
f.,
Lucca
at
4), 31.
attributes to
Fran-
the medieval castle, was erected for the
1
I
cannot always follow
W.
1
.
Collier's analyses ('French
Influence on the .Architecture of Filippo Juvarra', Architectural History,
VI,
1963, 41), but he
is
certainly
on Juvarra has been overlooked. It should, however, be pointed out that the type with radiating wings was also developed in
416. 42.
cesco Pini on the basis of documents.
eighteenth-century Austria and France. Boff'rand even
Here Juvarra planned an enlargement of the old royal palace, which was, however, not executed; see Augusta Lange in Bollettino storico-biblwgrafico sub-
maintained
33.
alpino, XLiv (1942), nos.
1-4;
M.
Accascina, Boll.
remained on paper; the palace by Johann Friedrich Ludwig and his son
34. Juvarra's project
was
built
Lnre
his
Nancy with
Paris,
d' architecture,
1743,
a plan similar to Stupinigi, that the latter
Brinckmann (Baukunst den romamschen Landem, Berlin, 9 9, 3 6) has shown that Boff^rand 's assertion is without foundation. But J. Garms, in II lener was designed by him.
des
d'Arte, XLII (1957), 158.
in
where he published the Chateau La .Malgrange near
I J.
und
18. 1
.A.
E.
Jahrhunderts
in
1
1
184
accepts Boff'rand's
X-
Johann Peter.
Jahrb., xxii (1969),
Juvarra also designed the lighthouse in the harbour of Lisbon and the church and palace of the Patriarch.
shaped plan as
santi in L'Architettura, HI (1957), 268, published
he dedicated a volume with architectural fantasies to Lord Burhngton, now at Chatsworth; see
measured drawings. After Juvarra's death Alfieri (see Note 72) was probably responsible for the planning of
35. In 1730
Wittkower
in Boll. Soc. Piemontese, N.S. in (1949).
The wooden model of Juvarra's design in the Museo de Artilleria, Madrid. The palace was executed 36.
between 1738 and 1764 by Juvarra's pupil, Giovanni
a
ff".,
genuine product of
1
7
1
1
-
1
2. .\1.
Pas-
good
the considerable extension of Juvarra's project (1739). in 1740 by the Frenchman F. Bernard. For further information, see M. Bernardi, La Palazzina di Caccia di Stupinigi, Turin, 1958. N.
The park was begun
BIBLOSARTE
NOTES TO CHAPTER
564
M.
Gabrielli (with burini), Aluseo zitia di ton,'
Tam-
Tagliapietra Rasi and L.
deirArredamento Stupmtgi. La Palaz-
caaia. Catalogo, Turin, 1966, contains the his-
of Stupinigi and
of new documents.
Pommer
by
17
decoration based on a wealth
its
The same documentation was used comprehensive analysis of Stu-
for his
pinigi in Eighteenth-Ceniury Architecture in Piedmont,
New York- London,
1967,61-78, 188-218. Theapogee
of Stupinigi studies
is
In
pages, Stupinigi.
L. Malle's foho of over 500
capulavoro del Settecento europeo
Turin, 1968. original great design, published by Tavi-
tra barocchetto e classicismo,
The
43.
tern; in 1727 the campanili were built, and in
Belloni in Torino, xi
( 1
93 1
quoted above. Note
able source 5
1
.
The
1
is
Borromini's doors
ratio is
now
In 1734 Juvarra made a design similar to that of the for the church of the Padri Gesuiti at Ver-
celli;
execution later (1741-73), with considerable Congresso di storm \ iale in Atti del
changes. See \
X
.
Rome, 1959, 427. 419. 45. See Pozzo's altars in S. Maria degli Scalzi,
dell'arte,
Venice, and,
later, in
the Jesuitenkirche, \ ienna (I703-
Fischer von Erlach used the motif first in a design
5).
church
for the high altar in the
at
Strassengel
{c.
1690,
Albertina). 46.
The
in
Vienna (designed
17 15,
example seems
to
be the Stiftskirche
Waldsassen, Oberpfalz, 1685-1704, designed by the Italianizing A.
Dientzenhofer
Leutner from Prague, with Georg
between the two churches would need further
The
Rovere-Viale-Brinckmann,
op. cit., plates 31
In view of Juvarra's further development, the change of proportion as compared with S. Agnese is notable. In S. .\gnese the body of the church is related side).
to
drum and dome as
i.e.
i
the importance of
:
i,
in Juvarra's project as
drum and dome
i
:
15,
has grown.
untenable
53.
in
424. 54.
is
They to
be at
W. Herrmann
See
which seems
view of Juvarra's other production
schaft, IV (1927), 129
m Jahrbuch fur
Kunstwtssen-
ff.
Among Juvarra's contemporaries and
follow-
mentioned Gian Giacomo Planteri, the architect of the Chiesa della Pieta and S. Maria dell' Assunta at Savigliano (both begun 1708) and of the magnificent Palazzo Saluzzo-Paesana at Turin (171522); for Planteri, see A. Cavallari Murat in Atlie Rasers should be
segna tecnica Soc. Ingegneri
and
S. J.
e
Woolf,
Architetti in Torino, xi ibid.,
XV (1961, Septem-
ber issue); further G. B. Sacchetti (see Note 36) and the Conte Ignazio Tavigliano (Note 43).
The most
extensive architectural practice next to Juvarra's was
from Mondovi (1672-1750);
he was, however, infinitely
less
Among
Juvarra of Vittone.
imaginative than either
his
more distinguished
works may be named the Chiesa Parrocchiale at Carrii (1703-18; see Chapter 12, Note 7), with a characteristic centralized plan, often varied by him; the Chiesa della Misericordia (1708-17) and the cathedral at
Mondovi (1743-63); 30); SS. Trinita at
Croce
420. 48. Another scenic feature (without pedigree)
investi-
designs for S. Raffaello are similar.
that of Francesco Gallo
of works.
as clerk
and 32. One will easily recognize the features deriving from Borromini, Bernini, Rainaldi, Carlo Fontana, and even from Longhena's Salute (figures above columns in47.
begun 17 16,
drum and dome finished after The not unlikely connexion
gation.
(1957), 313,
earliest
The body of drum and
Similar relationships prevail in Fischer von Erlach's
Karlskirche
that period.
Carmine
Paroletti,
dome.
gutted during the
war.
.\1.
in S. Ivo.
are usually dated as early as 17 18,
last
and
1:15; see Note 47.
Tamburini, Le chiese di Torino dalrinasctmento al harocco, Turin, 1968, 339-50. The church was 44. L.
0,
Superga. Turin, 1808.
.
the church looks therefore like a base to
423. 52.
14.
.
.
Fischer's death, 1739).
Chevalley's paper,
731 the
By horizontal segments of masonry The same method was used in the satellite chapels. The prob-
1730 it was reduced to its present form without crossing and dome. On the complex see G.
.
422. 50.
executed until 1722, but
history of this church,
nos 9,
),
Description historiqiic de la
gliano in 1758, was influenced by Rainaldi's S. Maria in Campitelli. In
1
decoration of the interior was finished. See also G. A.
S. Giovanni at Racconigi (1719Fossano (1730-9); and the oval S.
(also called S.
(1737-43), which
is
Bernardino)
at
Cavallermaggiore
perhaps his masterpiece and be-
He
the perforating of the pillars with three openings in
trays Vittone's influence.
the balcony zone through which one can look into the
the completion of Vittozzi's Sanctuary at Vicoforte di
domes of
the satellite chapels. -
church combines
ornament
that
classical
shows almost
The
tabernacle a
Rococo
detail
of the
frames with
tinge.
The church was intended as a thanksgiving by King Vittorio Amedeo II for the support given by the 49.
Virgin to the royal house. In
model,
still
May
17 17 the
existing in the monastery,
wooden
was paid
for;
by
1726 the structure had been carried as high as the lan-
Mondovi (1701-33).
was also responsible
for
All his buildings excel in the
harmony, and taste of their decoration. A fully documented monograph about him was published by Nino Carbonieri, Turin, 1954. 55. On Vittone see the monograph by E. Olivero (Turin, 1920) which is useful for the collection of factual material. Further: G. Rodolfo, 'Notizie inedite dell'architetto Bernardo Vittone' in Atti della Soc. richness,
BIBLOSARTE
NOTES TO CHAPTER
di Arch, e Belle Arti, XV ( 1933) C. Baracco, 'Bernardo Vittone e I'architcttura Guariniana' in Tor-
Piemontese
;
ino, XVI (1Q38),
22; Olivero in Palladia, vi (1942), 120;
C. Brayda, 'Opere inedite di Bernardo \'ittone' in Boll. Soc. Piemontese, N.s.
XV
( 1
1
(1Q47); P. Portoghesi,
ihid.,
XIV-
960-1). P. Portoghesi published a very well-
illustrated
monograph
1966;
in
also contains the
it
The
66.
68. E. Olivero in Boll. Soc. Piemontese, IX (1925),
431. 69.
that Vittone
was born
in
made
1967,
it
likely
about 1702 rather than
1704 or 1705 as is usually assumed. The Acts of the 1970 Vittone Congress
in
H.
.\.
at
Turin are
(Boll. Soc. Piemontese, N.S. Xll-xiii,
Rome
before going to
and that he was
still
in
Turin on 29 July 1730. 57.
Vittone himself
Istruzioni element ari, 58. Very Note 56. 59.
little
of his
calls
Juvarra his teacher; see
Lugano, 1760, 285.
pre-Roman
activity
Height less than 70 feet, diameter was whitewashed in 1939. It is
On
70.
Bonvicini, see .Augusta Lange in Bolletiino
432. 7
1
some of
money
is
known,
50
c.
feet.
see
The
particularly close to Guarini's unexecuted
most
contemporary was the Cionte Benedetto .Alfieri (1700 67), who succeeded juvarra as 'First Architect to the King'. Outstanding among his palaces are the Palazzo Ghilini at .Alessandria (now Palazzo del Governo) executed in 1732 from a design distinguished
own palace at .Asti 749) and the Pa(now Accademia Filarmonica) at Turin. He is particularly remembered for his share in the decoration of the Palazzo Reale, Turin, and, above all, by Juvarra his
( 1
;
Giovanni Battista
for S. its
with alternating concave and convex recesses prob-
Ingegnen
ably influenced Vittone.
Moccagatta
Hexagonal plans occur often in Vittone's aeuvre; see the Chiesa Parrocchiale at Grignasco (1752-67), the designs for S. Chiara, .Alessandria, and the church of the Collegio dei Chierici Regolari, Turin; also S. Chiara at Vercelli, the Chiesa Parrocchiale at Borgo
Sesia, Turin, i960, 151.
de Bernardi Ferrero
be found
in the
at
Alba, 1749, and
at
Carignano (1757 64) with .Alfieri, see D.
in
.-////
e Architetti in
Memorte
in Atti e
Rassegna tecnica Sue.
e
Torino, xili (1959), and V. del Congresso di I'arallo
Among those influenced by \'ittone's manner may be mentioned, apart from Rana and Bonvicini (Notes 69, 70), Costanzo Michela who was responsible for the undulating plan of S. .4rt
Bull.,
.Maria Morari (d. at
Maria Maddalena
;
extraordinary horseshoe plan. For
mer,
design of S. Gaetano, Nice. 63. See, e.g., S.
to
architects
See our discussion of hexagonal planning in relation to Borromini's S. Ivo (p. 206). The plan of S. Ivo 61.
to
sums
not received any
for a long time.
Vittone's
72.
himself.
is
who had
his collaborators
lazzo Caraglio
design for S. Gaetano, Nice, later built by Vittone
d'Ale (1770), and others. 427. 62. Again, the closest analogy
1.
Like some other great men, Vittone was extra-
.
among Piedmontesc
exterior
425. 60.
Rana, see C. Bravda, Tormn, xix (19^9),
ordinarily mean. His heirs had to pay large
Millon
1958-9) has shown that Vittone was a practising architect
On
16.
storico-hibliogra/ico siihalpino, XLIV (1942), no.
in the press.
56.
who was The
at Vallinotto.
i
ments. R. Pommer, Eighteenth-Century Architecture
New York-London,
in 1744. It
the expense of .Antonio Faccio,
Sanctuary
565
•
church was consecrated in 1749. See G. Rodolfo, Baroccn a Carignano (above. Note 4), ^y. 67. Badly redecorated in 1945. nos 1-2.
Piedmont,
stone of the Hospital was laid
at
also responsible for the
long inventory of Vittone's estate and other docu-
in
first
was erected
17
Cumiana
.Vlarta at .Aglie
L (1968), 169 c.
1758),
who
ff.);
(1760; R.
Giovan
built the parish
Pom-
Battista
church
(Olivero, Miscellanea di archtt. Piemontese
G. B. FerSan Germano
del Settecentn, Turin, 1937, 5); the spirited
the project for S. Chiara at .Alessandria.
roggio, the architect of the church at
428. 64. It should be mentioned that there is a close connexion between the architectural conception of S.
Vercellese (1754-64), of the Chiesa dello Spirito Santo at Turin (1764 7, Olivero in Torino, xii (1934), no.
Chiara
at
Bra and the quadratura frescoes
in
the
dome
of the Consolata, Turin, executed by Giambattista Alberoni from designs by Giuseppe Bibiena, with figures
by Giambattista Crosato;
to
be dated, according to F.
Fiocco, Giambattista Crosato, Padua, 1944, 49, in 1740, i.e. just before Vittone planned his church. The relationship of Vittone's architecture to
Piedmontese
would need further investigation. 430. 65. Millon (Note 56) suggests as date 1738-40 and places correctly in the same period the little jewel, S. Luigi Gonzaga at Corteranzo.
quadratiira painting
12;
bombed during
the war) and the interesting oval
(1766 73); and the Conte Filippo di Robilant (1723-83). the builder of S. Pelagia at Turin (1770; for this and his other works, see Olivero S. Catarina at Asti
Torino, x (1932), 42, and N. C^rboneri, 'Per un profilo dell'architetto Filippo Nicolis di Robilant', in
in
Sludi
in
With
memoria
di
G. Chierici, Rome, 1965, 183
fl.).
Vittone's devoted pupil Mario Quarini, Pied-
montesc architecture turns towards Neo-classicism (see his large cathedral at Fossano, 1779-91, after the
model of St
Peter's).
BIBLOSARTE
566
NOTES TO CHAPTER
•
CHAPTER 433.
the
e.g.,
German
brothers Schor,
whom we
Giovan Paolo,
important
par-
in
recognize now as an
artist in Bernini's studio; until fairly re-
cently he was almost entirely
Chapter
Note
14,
nini's circle
33).
Among
unknown (see above, Frenchmen of Ber-
the
may be mentioned Claude Poussin
('Clau-
dio Francese' or 'Claudio Porissimo' in Italian docu-
who was
ments),
responsible for the River Ganges on
Bernini's Four Rivers Fountain (the statue
wronglv given
to
is
usually
another Frenchman, Claude Adam);
whom
Niccolo Sale,
Bernini employed very often,
e.g.
on the tomb of the Countess Matilda, for the Cappella Raimondi in S. Pietro in Montorio, and the Four Rivers Fountain; and Michel Maille ('Michele
in
Ma-
'MonsCi Michele', 'Monsii Michel Borgognone'
glia',
tomb of Monsignor .Agostino Favoriti in S. Maria Maggiore (1682-6). 6. Design of the altar by Andrea Pozzo. The sculptural work, begun in 1695, was mainly finished in 1699. For the altar, see now Pio Pecchiai, // Gesii di Roma, the
18
See,
I.
ticular
18
documents), who worked the figure of Alexander VII
Rome,
1952, with further literature. See also C. Brica-
and G. M. Archivum Hisloricum Socielatis Jesii, in (1934), 300. For the contribution of the Florentine bronze sculptor Lorenzo Merlini, see Lankheit, 183. For Pozzo's oil sketches preparing the small bronze reliefs by Rene Fremin, Angelo de'Rossi, Peter Paul Reiff, and Pierre Etienne Monnot, see B. Kerber, in An Bull. ,\L\ii (1965), 499. Altogether over a hundred artists and artisans worked for the altar. Fullest discussion, based on new documents, in Kerber, A. relli in
March
Pozzo,
Civil ta Cattolica, Lxxiii (1922), 401, in
1
97 1, 140-80.
436. 7. For Ludovisi, see
of the pope's tomb (1675-6); he belonged to Ferrata's
kiaisthist. Inst, in
studio and carried on the Berninesque tradition in
wants
independent works
until 1702,
when he seems to have
This group, known as La Renommee, shows Fame writing the deeds of the King into the Book of History which is carried by Time, together with a medallion portrait of Louis XIV. The work was not 2.
finished until 1686. Its present position
is
near the
Bassin de Neptune in the garden of Versailles. For the relations of Guidi with
Lebrun, see A. de Montaiglon,
Correspondence des dtrecteurs de I 'Academie de France a
Rome,
I,
76
ff.
;
L. Hautecceur in G.d.B.A.,
iv,
vii
Wittkower mJ.W.C.L, 11 (1938-9), 188. 435. 3. For Mazzuoli see, above all, V. S\iho& mjahrh. Preuss. Kunslslg. IIL (1928), 33, and F. Pansecchi in Comment ari, X (1959), t,^, with new material, mainly (1912), 46;
at
Siena.
Wittkower in Rep.f. Kunstw., L (1929), 6. Ottoni's best friend was the French sculptor Theodon, who 4.
cunningly managed
to take
over Bernini's studio be-
hind St Peter's which the Congregation had promised to Ottoni. Ottoni's
most extensive stucco work
Peter's, particularly
is
in St
above the arcades of choir and
transept (1713-26). 5.
The
illustration
shows the stuccoes above the
altar
and one of the four medallions of the vault with scenes from the life of St Francis. They are surrounded with realistic palm leaves and roses and carried by putti the ;
chapel
is
entirely white. All this lends support to the
rather gay and light quality of Carcani's
art.
In his
marbles Carcani followed Berninesque prototypes
more tomb
closely.
The
allegory of Charity on the Bonelli
Maria sopra Minerva (1674), for instance, derives directly from the tomb of Urban VIII. Similar observations may be made in regard to later works, e.g. in S.
Mitteitg. des
The
author
exclude Ludovisi's collaboration on the St
Ignatius altar and argues that the sculptor was probably not
died.
434.
to
U. Schlegel,
Florenz. x (1963), 265.
bom
before 1700. But see E. Lavagnino,
Altari barocchi in
Roma, 1959,
174,
and R. Enggass,
Mag., cx (1968), 438 ff., 494 ff., and 613 ff. 8. He had come to Rome from Milan, where he had worked for twelve years under Giuseppe Rusnati. For Rusconi,seeA. L.Elkan, Thesis, Cologne, 1924; Wittkower in Zeitschr. f. h. Kunst, LX (1926-7), 43; S. Burl.
Baumgarten in Revue del' art, LXX
(1936), 233 ; Donati,
1942; Samek Ludovici in Archtvi, XVII (1950), 209; V. Martinelli in Commentari, IV (1953), 231 I. Lavin in Boll. d'Arte, XLII (1957), 46.
Art.
Tic.,
;
9.
Carlo Maratti supplied designs for these statues;
M. Loret in Archtvi, 11 (1935), 140; L. Un Mecenato in Roma harocca, Florence,
Montalto,
see
1955, 279,
442, 530, 54510. Suboff, Zeitschr. f. h. Kunst, LXii (1928-9), iii. 11. For Cornacchini, see H. Keutner in North Carolina Museum of Art Bulletin, i (1957-8) and 11 (1958); Lankheit, 188; Wittkower in Miscellanea Bibl. Hert-
zianae, 1961, 464: full documentation for the Charle-
magne. Also C. Facciolo,
in Studi
Romani, xvi (1968),
431 ffIn the context of the relationship of such Late Baro-
que works
to the theatre (see above, p. 366),
it is
worth
noting that a copy of Cornacchini's Charlemagne was
shown on the
stage of Cardinal Ottoboni's theatre in
1729 on the occasion of the opera Carlo Magno performed in honour of the birth of the Dauphin (engraving by Gabbuggiani). See A. Rava, / Teatri di
Roma, Rome, 1953,
83.
For Cornacchini's statue of Clement XII
in
Ancona,
see W. E. Stoppel, in Rdm.jfahrl>.f. Kunstg., xii (1969),
203
ff.
BIBLOSARTE
NOTES TO CHAPTF.R
438. 12. See
Wahl
in
Rep.
f.
A'«nj/n'.,
XXXiv (191
1), 15,
and J. Fleming and H. Honour, in Essays in the History of Art presented lo R. Wtttkoirer, London, u)67, 255 13. Erected by Clement XII to his uncle's memory. ft".
It is
not without interest in our context that Cardinal
Neri Corsini was papal Nunzio
in Paris in 1652.
Giuseppe Lironi (1679, not Lironi, see U. Schlegel, above. Note
ing allegory of Courage),
1689,-1749; for 7, 259), another pupil of Camillo Rusconi
who
(his is the
Monaldi (1691-
cool allegory of Jusiue), and Carlo
more Baroque in his allegories in S. Maria Maddalena (1727) than in the figures which accompany Maini's statue of Clement XII in the Corsini 1760),
Chapel
(for
is
Monaldi
see R. Chyurlia in Clummentari,
worked the
i
567
composition.
tomb of Leo XI
21. .Algardi's
is
centrally
composed
but aftbrds a number of satisfactory views, while Rus-
tomb
proaches
it
illustration
Donati,
ofters a coherent view only if one apcoming from the transept (compare the here with the wrong view published by
An.
Tn., figure 461).
22. Filippo della Valle departs slightly
by placing the sarcophagus
in
from tradition
an isolated zone under
the triangle of the figures; but for the latter, he reverts
Chanty being derived from that of the tomb of .Alexander VII, but he translates Bernini's drama into calm graciousness. to Bernini, his
The architecture of the chapel is by RaguzThe tomb was designed by Carlo .Marchionni
443. 23. zini.
portant Bartolomeo Pincellotti and Paolo Benaglia
(1704 80), the architect of the Villa .Albani and the Sacristy of St Peter's, who also executed the relief
and, unconnected with the Rusconi circle, the French-
The
men
Bartolomeo
(1950), 222). In addition, there
Pierre Lestache and Lambert-Sigisbert -\dam.
Between 173 1 and 1733 most of these
among
a host
sculptors,
of others, supplied important works for
Mafra (Portugal); see A. deCarvalho, em Mafra, Mafra, 1956. V. Moschini in L'Arte, xxviii (1925); H. Honour
the cathedral
A
less
im-
•
demie (I. Budde, Katal. Jer Handzeichnungen, no. 449, plate 66) shows that Rusconi began with a symmetrical
coni's
Apart from Maini, the principal contributors were Cornacchini (marbles and stuccoes), Filippo della Valle, Pietro Bracci, Giuseppe Rusconi (the classiciz14.
l8
at
escultura
15.
in Connoisseur,
CXLIV (1959), 172 (with (vuvre cata-
in
should also be recalled that Bouchardon worked
Rome
between 1723 and 1732. monograph by K.
439. 17. See the
Domarus
(Stras-
and developed through many stages from 1629 onwards for fully a hundred years. .After Nicolo Salvi's project was chosen in 1732, the execu-
as early as 1453
The
four statues of the
by Bartolomeo Pincellotti, Agostino Corsini, Bernardo Ludovisi, and Francesco Queirolo were finished in 1 735 (see inscription). The second period of the execution began under Salvi's successor, Giuseppe Pan-
attic
nini (further for the history of the fountain, see ter 16,
Note
45).
To
this period
Chap-
belongs the sculptural
decoration of the lower part: 1759-62, Bracci's
Nep-
tune and Tritons, Filippo della Valle's Health and Fecundity, and the reliefs illustrating legendary episodes of the origin of the Fontana Trevi by Giovanni Battista Grossi and .Andrea Bergondi.
See O. Sobotka's classic article in Jahrh. Preuss. Kunstslg., xxxv ( 1914), which can, however, no longer entirely be followed; see also M. \'. Brugnoli, Boll. cl'Arie, XLV (i960), 342. 442. 20. A preparatory sketch in the Diisseldorf Aka-
440.
19.
is
by Bracci's collaborator,
According
Pincellotti.
to
Soprani
( \
He de'
was the painter Pietro Bianchi who helped Marchionni on this and other occasions. For Bianchi, see Chapter 15, Note 13. 24. It is true, however, that he used «w allegory. Faith (and not the customary two). Together with the Angel of Death and the lions, it belongs to a zone composi.
.
.
genovest)
and
it
spiritually entirely
divorced from the
praying pope.
This interesting artist, who was born at Cattinara Piedmont in 1669 (not 1682) and died in Rome in 1736, worked for fifteen years in the studio of Lorenzo Ottoni. His most important works arc the four Barberini tombs in S. Rosalia, Palestrina, of which the 25.
v.
bourg, 191 5) and C. Gradara (Milan, 1920). 18. The history of the Fontana Trevi is long and complicated. It began in the reign of Pope Nicholas V
tion progressed fairly quickly.
put on
tionally
logue); Lankheit, 190. 16. It
allegory of Humility
in
two
earlier
ones of 1704 show Baroque angels related C. Pericoli in Capitiilium, XXXMII
to Raggi's style. ( 1
963), 131, contributes
some new material
for
Cametti
but erroneously believes that he was born in Rome in 1670. For a full monographic treatment of Cametti with reliable autre catalogue, see Preuss. Kunslslg., N.F.
V
L".
Schlegel mjahrb.
(1963), 44, 151.
444. 26. Painted portraits on tombs occur, of course, before the eighteenth century. The most interesting is
perhaps the one which Giovan Battista Ghisleri erected for himself in 1670 in S. .Maria del Popolo with the
Death looking out of his vault. The inscripunder the portrait nkqif. ilic VIVLS and under Death neqle illic mortixs (Male, 221)
figure of
tions
point out that 'he (Ghisleri)
dead
in the
is
neither alive here nor
beyond'.
27. This feature was introduced by Raphael in the memorial chapel of the Chigi family in S. Maria del Popolo. During the sixteenth and the first half of the seventeenth centuries, however, tombs with pyramids
BIBLOSARTE
568
•
NOTES TO CHAPTER
remained
18
was once again Bernini who, with the ft.), opened the way to using the pyramid as a Baroque sepulchral element. For Raphael's Chigi Chapel and later changes, see J. Shearman in J. li. C.I. xxiv (1961), 129 (134, on pyramid tombs), and J. Pope-Hennessy, Italian Hi^h Renaissance and Baroque Sculpture, London, 1963, rare. It
redecoration of the Chigi Chapel (1652
,
Catalogue, 43. family of Flemish artists
Rome
years.
The
who had settled
member
in Paris,
of a
went
1728 and remained there for seventeen
in
Bruno
St
is
his masterpiece in
Rome. See
Bibliography. 447. 29.
The
The execution lay in the hands of twelve among whom .Marcellini, .\ndreozzi,
Giuseppe Piamontini, Giovacchino dani
first
important examples of Italian ex-
Fortini,
Kven though Lankheit as other
should not be used strate,
(77) claims that these as well
works executed with the help of assistants
moreover, how
tural tasks
Foggini's potentialities as
to assess
were
and demon-
his responsibility
Florence the few major sculp-
in
were handled
which
in
the available
all
talent joined forces.
Foggini himself,
of his portrait busts
in the finest
(Cosimo III de' Medici and Gran Principe Ferdinando de'.Medici, both c. 685, Donaueschingen Lank1
;
port of Baroque sculpture are works by Bernini: the
heit, figures 175, 176), despite his reliance
bust of Cardinal Melchior Klesl in the cathedral of
busts of Charles
Wiener Neustadt (Austria), the (destroyed) bust of King Charles I of England, and the portrait of Mr Baker (Victoria and .\lbert Museum). (For these see
smothered the heads
Wittkower, Bernini, Cat. nos 22, 39, 40.) Also fairly early is Algardi's marble relief of Mary Magdalen carried
up
Heaven (1640)
to
Maximin
Provence.
in
the church at Saint-
in
Among
later exports
mentioned Ferrata's and Guidi's orial
may be
figures for the
mem-
chapel of Cardinal Friedrich, Landgraf of Hesse
Darmstadt,
in the cathedral at Bratislava
( 1
679-83 see ;
B. Patzak, Die Elisabethkapelle des Breslauer Doms, Bratislava, 1922); Guidi's
peaux de
la
monument
Vrilliere in the
sur-Loire (1681
;
to
Louis Phely-
church of Chateauneuf-
see Sobotka in Amtliche Ber. d. kgl.
sories
I,
Francis
I
on Bernini's
of Este, and Louis XIV,
emphatically suggestive acces-
in
and played havoc with the 'amputated' arm.
33. Lankheit,
110-60, with further literature. For
Soldani as architect, see U. Procacci, Ulrich Middeldorf, Berlin, 1968, 476
in
162. Carlo Marcellini, .'\nton
34. Lankheit,
millo Cateni, Giuseppe Piamontini are hardly
these sculptors studied in the Florentine .Academy in
Rome 35.
before
it
closed
its
doors
For Giovanni Baratta and
Francesco, see H.
Honour
in
in 1686.
his brothers Pietro
(1958), 170 (with ceuvre catalogue); also idem in Diz.
a
30. For Foggini and the following, see Lankheit, 47 ff. and passim. Foggini was with Ferrata for three years
career as sculptor to the Turin court.
The
(1673-6). In 1687, after Ferdinando Tacca's death, he
the sculptor of the
was appointed court sculptor and slightly later also court architect. His all-powerful position was there-
Hochkirchen
fore assured. His 'Giornale', a sketchbook of almost
Lankheit, 175.
300 drawings (Uffizi and Victoria and Albert Museum; and idetn, Riv. d 'Arte, xxxiv ( 1961 ),
Ticciati,
prises
on which the
artist
was engaged
in the years
and
The Connoisseur, CXLii
ence (1697-8). Later, Giovanni had
an excellent idea of the great variety of enter-
men-
tioned in art historical writing before Lankheit. All
Cecil and his wife in St Martin's at Stamford (1704).
55), gives
Fran-
cesco Andreozzi, Francesco Ciaminghi, Giovanni Ca-
Giovanni's best
see Lankheit, 5 1 -9
Festschrift
ff.
tomb of Lady Jane Cheyne in Chelsea Old Church, London (1671, partly destroyed); and Monnot's tomb of John Pr. Kunstslg., xxxii (1910/11), 235); Raggi's
and Sol-
may be mentioned.
a sculptor, they
446. 28. Michelangelo Slodtz (1705-64),
to
Lankheit, 88. collaborators,
Biogr. degli Italiani, 1963, v, 790;
known work
is
and Lankheit, 172.
the very Florentine
monumental Tohias and Angel reliet
note
is
also very strong in
in
Schottmueller
Among
in S. Spirito,
Flor-
distinguished
Florentine
Giovacchino Fortini, who
is
tomb of General Degenhard of
the cathedral of Cologne; see F.
in
Boll.
d'Arte, XXVI (1932-3), and
the sculptors of this generation Girolamo
Antonio Montauti (the
artist
of the Pietd in
the crypt of the Corsini Chapel, S. Giovanni in Later-
ano,
Rome,
a
work of doubtful merit but
traditionally
1713-18. See also K. A. Piacenti, in Festschrift Ulrich
attributed to Bernini), and the skilful bronze sculptor
Middeldorf, Berlin, 1968, 488
Lorenzo Merlini (see above. Note 6) are worth mentioning. For these artists, see Lankheit, passim. 36. Another (reputed) pupil of Ferrata, Giovan Bat-
31
Foggini's
tomb of Donate
ff".
dell'Antella in SS.
An-
nunziata (1702), according to Lankheit, 73, by an assistant, is particularly close to Guidi. 32. Corsini
Chapel: Lankheit (70, 83, and Mittei-
lungen des Flor. Inst., viii (1957), 35) believes that of the three large pictorial reliefs of the chapel only that
over the altar with the Apotheosis nfS. Andrea Corsini
(1677-83)
is
by Foggini's hand.
-
Feroni Chapel:
tista
Barberini
{c.
1625 91), deserves a note. Like
others born in the Lake Como became one of the most sought after stucco sculptors in northern Italy. His work is to be found at Cremona, Bologna, Genoa, Mantua, Bergamo, Como, and elsewhere and, in addition, in Vienna, Krems-
Ferrata and so
many
region, he
BIBLOSARTE
NOTES TO CHAPTER
miinster, and Linz. His emotional, typically
realism shows few links with his master.
Lombard
The
almost
forgotten book by H. Hoffmann, Der Stuckplasliker G. B. Barberim ( 1625-91 }, Augsburg, 1928, is un-
(many documents). See
usually informative
Gavazza
in
Arte Lombarda,
also E.
vii {1962), 63.
448. 37. See G. Piccaluga Ferri, in (1967), 207-24. Buzzi was born
xviii
1708 and
in Viggiii in
Further on Lombard sculpture: S. Vigezzi, La lomharda nell'eta harinca, Milan, 1930, and
G. Nicodemi, / Caligan 1
scultori hresciani del Setle-
The work
924.
of the Caligari often
has real Rococo charm. 39. F.
XVIIe I
Ingersoll-Smouse, 'La Sculpture a Genes au G.d.B.A., lvi, ii (1914).
siecle',
prima
40. P. Rotondi, 'La
attivita di
Filippo Parodi
scultore'. Arte Antica e Ahtderna,
11, no. 5 (1959), 63 (and idem, F. Parodi, 1962, 24), suggests that Parodi studied with Ferrata rather than Bernini, but this is
supported neither by the sources nor by the evidence of Parodi's Genoese work. Moreover, entirely satisfactory
book
(p. 66)
summing up of Ladatte's
H'lttkoirer,
in the
career
History 0/ Art presented
London, 1967, 242
AT.,
569
is
by
to
R.
with bibliography.
47. A. Telluccini, 'Ignazio e Filippo C^ollini e la scultura in Piemonte nel secolo .\\ III', Boll. d'Arte, II
M. Strambi,
lino', in Boll. SocielH
'La cultura dei Col-
Piemontese Arch,
1964; L. Rosso, La piltura
e Belle Arti,
e la scultura del 'joo
a
For Piedmontese sculpture, see also J. Fleming, i), 188, and L. .Malle's chapter in the Catalogue of the Turin Baroque Exhibition, 1963. 48. In his stucco work .Mazza was c-apabic of displaying a luscious Late Baroque manner (Palazzo BianconApollo, LXiv (1963,
cmi, Bologna), which vies with the richest decorations
anywhere
in Italy.
For Mazza, see
noisseur, CXLVIII (1961),
J.
Fleming
in
Con-
206 (with auvre catalogue).
Giuseppe xMazza, who began his career as was the son of Camillo .Mazza (1602-72),
a painter,
.Algardi's
pupil. Giuseppe's pupil, .Andrea Ferreri (1673- 1744), settled at Ferrara, where he was appointed director of
her not
the .Academy (1737). .Angelo Pi6( 1690- 1770), a pupil
she oflers the im-
of Ferreri and Mazza, followed the general trend by going to Rome in 1718, where he worked under Ca-
probable hypothesis that Parodi was
from 1653
latest
•
Torino, Turin, 1934.
sculttira
cenio, Brescia,
The
(1922-3), 201, 254;
Commenlan,
died there in 1780. 38.
46.
L. .Malle, in Essays
l8
in
in
Rome not only
but again from 1668 to 1674. 41. Parodi's main work in the territory of Venice and one of the principal monuments of the Late Baroque in
millo Rusconi; see E. Riccomini, Arte Antica e .\iod-
is the Cappella del Tesoro in the Santo Padua; he executed the rich multi-figured decora-
continued the Late Baroque tradition of Mazza and
to 1661
northern Italy at
tion late
between 1689 and 1692 with the help of pupils. A Genoese w ork, S. Pancratius, was published by R.
Preimesberger,
in
Pantheon, xxvii (1969), 48
Reference should also be made ficent decorative sculpture
and furniture,
Rotondi has drawn attention
ft.
to
Pio to the end of the century. Best information on Bo-
lognese sculpture of the eighteenth century
Ricco-
See L. Planiscig, Venezianische Bildhauer der
Renaissance, Vienna, 192 in the sacristy
1,
597. Nicolo's antependium
of S. Moise, V enice (executed together
with his son, Sebastiano; signed and dated 1633), deserves special mention. It is a work of fascinating
Another collaborator was Francesco Biggi, who
beauty. Its strange iconography would require detailed
executed the famous lions
at
the foot of the staircase
of the Palazzo dell'Universita from Parodi's models. 43. V. Martinelli in Commentart, iv (1953), 231.
For Francesco Schiaffino's and Diego Carlone's
investigation, but the depth of sensibility tion expressed by the
many
closely to the religious col-
laboration in the twelve large stucco figures in S. Maria
50.
The
following
names may be mentioned:
ous
450. 44. Le casacce e
la
di
1935, with
S. Francesco di Assist
much
documentary-
material for C. Giuseppe and his son Giovan Battista
Plura (who died in
three notori-
is well known); and the Hungarian Michele Fabris, called 'Ongaro' or 'Lngheri", whose painterly and diffused style may be studied in the chapel of Cardinal Francesco Vendramin built by Longhena in S. Pietro di Castello (f.
in Connoisseur, cxxxviii (1956), 176.
Chieri,
all
(.Meyring's clumsy imitation of Bernini's S. Teresa in
See also E. Olivero, La chiesa Torino,
.Meyring,
handling of the Berninesque idiom
Genoese
Exhibition, 1939).
Fleming
for their facile
scultura lignea sacra genovese del
Setcento e del Settecento (Catalogue of the
45. J.
.Mel-
chiorBarthel (1625-72) from Dresden and theTirolese
Thomas Ruer and Heinrich
(1962), 105.
it
art.
Lomharda,
vii
and devo-
small bronze figures ally
temper of counter-reformatory
Carignano (1739-40), executed in a post-Rusconi nervous quasi-Rococo manner, see E. Gavazza, Arte
di
in
in
mini's exhibition Catalogue (1965, see Bibliography).
XLIV (1959),
(Boll. d'Arte,
46).
42.
.XVIII
(1967), no. 213, 60. Filippo Scandellari (1717-1802)
49.
magniwhich P.
to Parodi's
and idem, Paragone,
erna, VI, no. 21 (1963), 52,
London
G. B. Bernero (1736-96).
in 1757), for
Clemente and
the Chiesa degli Scalzi, 1699,
John Bushnell (b. c. 1630) may be menEngland after 1660, spent some time in Rome, and settled in Venice for about six years where 1670-4). .Also
tioned; he
left
BIBLOSARTE
570
NOTES TO CHAPTER
•
l8
under Josse de Corte he executed parts of the
Mocenigo monument
in S. La/.zaro dei
large
Mcndicanti.
For Meyring, see D. Lewis, in Boll, dei Musei Civui Vencziaui, xii (1967), 15 f. Lewis removed the large Holy Family in the Scalzi from the work of Giuseppe Torretti and attributed
it
to
Meyring (1700 2). 'Monsu Giusto
452. 51. For de Corte see N. Ivanoff,
ed
collaboratori del Longhcna', Arte Veneta,
altri
(ig48),
1
De
15.
Corte's
tomb of Caterino Cornaro
li
in
the Santo at Padua shows a standing figure of the admiral, baton in hand,
surrounded by trophies with
prisoners at his feet;
became
similar tombs. altar
The
the prototype of
many
pictorial tendencies of the
main
it
of S. Maria della Salute were further developed
in his last
work, the sculptural decoration
of the
main
453. 56. The older and younger generation collaborated on these works. The fai^ade ot the Gesuati has
sculpture by .Antonio Tarsia, Francesco Cabianca,
Giuseppe Torretti, Francesco Bonazza, .AlviseTagliapietra, Gaetano Fusali, and Gian Maria Morlaiter; in the Cappella del Rosario, which suffered in the fire of 1867, worked Giovanni Bonazza and his sons, Giuseppe Torretti, Alvise Tagliapietra and his son Carlo, and, above all, Gian Maria Morlaiter. Giovanni Bonazza and his sons spent most of their lives at
The best known of his sons is -\ntonio who is famed for the garden figures in
Padua.
(1698- 1763),
Widmann
at Bagnoli di Sopra (Padua), execharming realistic Rococo style (1742); see C. Semenzato, Antonio Bonazza, Padua, 1957. 57. Corradini has been fairly well studied; see G.
the Villa
cuted
in a
Andrea della Zirada (1679). For de Corte and the other Venetian Baroque sculptors mentioned below, see C. Semenzato, La scultiira
Biasuz in Boll. d'Arte, xxix (1935-6); A. Callegari, ihid., XXX (1936-7); G. Mariacher in Arte Veneta,
veneta del seicento e del seltecenlo, Venice, 1966.
(1947), and A. Riccoboni,
altar
of
S.
52. Knowledge of Temanza, Zthaldon,
The
this sculptor's
ed.
N.
work
Ivanofl",
is
based on
Venice, 1963, 42.
i
catalogue; T. Hodgkinson, in
Museum
Zibaldim should also be consulted for Michele
Thomas
Fabris,
53. Marinali
Ruer, and Antonio Tarsia.
58.
Tua
in Riv. d'Arte,
G. Biasuz and A. Lacchin, A. Brustolon, Venice,
59.
For Schulenburg
He
radini
graph, i960 (Bibliography). Barbieri also published
century Venetian
Studi in onore di
Civico, Vicenza, in
60.
arti (cl. di scienze morali, lettere 7),
195
54.
55.
ed
arti),
cxxv (1966-
The above-mentioned Thomas Ruer and Michele
On
Note
50.
the Valier
monument were engaged
rarese Pietro Baratta, Giovanni
Bonazza
the Car-
(c.
(1663- 1 739), and Marino Groppelli
(i
662-1 721).
On
the fafade of S. Stae worked the same Pietro Baratta
and Antonio Tarsia and, in addition, Paolo and Giuseppe Groppelli, Paolo Callalo, Matteo Calderoni, Francesco Cabianca, and two more significant artists, Giuseppe Torretti (c. 661 -1743) and Antonio Corra1
dini (on
whom
( 1
688-(. 1773), see C. Semenzato,
Crttica d' Arte, v (1958), 150,
and H. Honour
in
Dizi-
nnario hiugra/ico degli Ilaliani, 1963, v, 793. For
tonio Tarsia
(c.
An-
1663- 1739), see H. Honour, Connois-
artist
;
it
took
him
CXLVI (i960), 27 (with aeiare catalogue). For called il Torretti, see C. Semen-
the
Cor-
to
Vienna, Prague,
Giuseppe Torretti
(see above,
a highly sophisticated
Rococo
Notes
50, 55) practised
style; see his excellent
statues in the crossing at the Chiesa de'Gesuiti. For
work
Torretti's
at
Udine (mainly Cappella Manin,
( 1
f.
h.
Kunst, xxxix
9 1 7-1 8), 243. Torretti's nephew, Giuseppe Bernardi-
1694-1774), was Canova's
Torretti
(r.
Munoz,
Boll. d'Arte, iv (1924-5), 103).
61.
For Marchiori, see
(1925-6) and
VI
W.
first
teacher (A.
Arslan in Boll. dArte, v
(1926-7), and L. Menegazzi, Arte
Veneta, xiii-xiv (1959-60), 147 (a sketchbook not by Marchiori, as the author believes); for laiter,
see
after,
MorG. Lorenzettiin Dedalo,\\ 1930- 1) and W. (
.Arslan in Riv. di Venezia, xi (1932). L. Coletti, .4rte
Veneta, xiii-xiv (1959-60), 138,
makes the point
that
the bozzetti mentioned in the text need not necessarily
laiter e la scultura e
veneziana del Rococo',
M Mor-
in Sensihilita
Razionalitd del Settecento, ed. V. Branca, Venice,
1967,
II,
454. 62.
591
M.
fl'.
Picone, La Cappella Sansevero, Naples,
Giuseppe Bernardi,
1959, with full documentation. 456. 63. Other similar veiled fi.gures by
zato, Arte Veneta, xii (1958), 169.
Sarah
seur,
all
63.
had the typical career of the migrant eighteenth-
be by Morlaiter. See also G. Mariacher, 'G.
see below).
For Pietro Baratta
Note
Dresden, Rome, and Naples.
1654-
1736), the head of a family of sculptors, Antonio Tarsia
fif.
veil are discernible; see
1732-6), see H. Tietze Zeitschr.
ff-
Fabris, see
forms under the
Mistrorigo, Vicenza,
1958, III. See also L. Puppi, 'Nuovi documenti sui Marinali', Atti dell' htitiito Veneto di scienze, letlere ed
and patron see A.
specialized in veiled figures in which
His most important commission was the sculptural decoration of the Sanctuary on Monte Berico near Vicenza (1700 fl.); see F. Barbieri's mono-
Museo Federico M.
as a collector
Binion, Burl. Mag., cxu (1970), 297
XVII (1935), 281.
Marinali's work in the
and Albert
Victoria
Bulletin, iv (1968), 37.
1928.
was also influenced by Parodi. His aiivre
has been collected by Carmela
(1952) with autre
ihid., Vi
in S.
Giacomo, Udine;
BIBLOSARTE
a
him
female bust,
are: the
Museo
NOTES TO CHAPTERS
Correr, Venice; Faith of the altar of the Sacrament, Cathedral, Este; a similar figure from the Manin
Monument, Cathedral, Udine,t.
»
1720; Time and Truth,
Grosser Garten, Dresden; Tuccia, Staatl. Skulpturenslg., Dresden; etc. See also G. Matzulevitsch, 'La
"Donna
Velata" del Giardino d'Estate di Pietro Grande', Boll. d'Arte, L (i{)65), 80 fl". 64.
The
radini's
il
relationship of Sammartino's marble to Cor-
model
Museo Nazionale
in the
W
was discussed by G. Alparone
I
(1957), 179- See also
Among
di S.
Martino
in Boll, d' Arte, XLii
M. Piconc (Note
62), 108
other Late Baroque sculpture
AND
l8
U)
371
•
da
send, XVII, XVIII, XIX. Mostra, Naples, 1938, and R. Causa, Piltura napoletana dal at XIX seiolii, Bergamo, 1957. See also Bibliography. For Luca Giordano see, above all. Posse's excellent
XV
article in
Thieme-Becker. Also
.\.
Griseri, Paragone,
(1956), no. 81, 33; G. Heinz, Arte Veneta, X (1956), 146; F. Bologna, Solnnena, 1958, 34; Y. Bottineau,
VII
G.d.B.A., LVi (i960), 249;
M. Milkovich, L.G. in America (loan exhib.. Brooks Gallery), .Memphis, Tennessee, 1964 (with full bibliography). The threevolume monograph by O. Ferrari and G. Scavizzi
ff.
Naples may be mentioned the decoration of the nave of S. Angelo a Nile with a number of symmetrically ar-
(1966) supersedes most of the older literature; see
ranged tombs (1709), a coherent programme echoing the influence of churches like Gesu e Maria in Rome.
678
65.
Attention
may
Paolo Persico, verino and
at
at
drawn to the following names: who worked in the Cappella SanseCaserta; the versatile Domenico .Analso be
tonio Vaccaro(i68i-i75o), prominent
member
of the
artists, whose w ork in the CerMartino is worth a more thorough studv and Matteo Bottiglieri and Francesco Pagano, both pupils ot Lorenzo Vaccaro who collaborated in the decoration of the Guglia dell'Immacolata (1747-51) designed by Giuseppe di Fiore.
well-known family of
tosa di S.
66.
;
The
artists
responsible for the figures are, above
Bibliography. See also O. Ferrari, Burl. Mag., cviii (1966), 298
fl'.,
and H. E. Wethev,
ihid.,
cix (1967),
ff.
.Among Luca's pupils may be mentioned Solifacile and academic Paolo de Matteis (1662 1728), whom Lord Shaftesbury chose 3.
mena's competitor, the
as a congenial painter to translate into visual
terms the dogmatic essay, the Choice of Hercules; further, the Heming VVillem Borremans {c. 670- 1 744), who brought his master's style to Sicily (principal work; the frescoes in the cathedral of Cal-
directives given in his
1
tanisetta, 1720);
and
who endeavoured
.Nicola .Malinconico (1663
1722),
to emulate his teacher (L. Prota-
Giurleo, Pitt. nap. del Seic, 1953, 38). A special place must be assigned to Giacomo del Po,
Mention should here at least be made of the macabre wax allegories of the Sicilian sculptor Gaetano Giulio
in Rome in 1659, moved to Naples in worked there until his death in 1726. Under Giordano's and Solimena's influence but never forgetting the lesson learned from Cortona and Gaulli in Rome, he developed in his late works towarijs a free, Picone in painterly, quasi-Rococo manner; see
Zumbo
Boll. d'Arte, .\Lii (1957), 163, 309.
all,
Paolo Persico,
67. R. Berliner,
.'Angiolo Brunelli, and Pietro Denkmdler der Krippenkunst
Solari. ,
.-Kugs-
burg [1Q25-30]; idem. Die Weihtiachlskrippe, Munich, 1955-
( 1
656- 1 70 1 ) they ;
R.
Zumbo worked
W. Lightbown,
up with the South
popular imagery, but
taste for supra-realistic
ing that
tie
for the Florentine
Italian
it is
tell-
Court
(see
who was born 1683, and
M
4.
See F. Bologna's
(1968), 35
459. 69. G. Agnello, 'II prospetto della cattedrale di Siracusa e I'opera dello scultore palermitano Ignazio
465.
Marabitti', Archivi, iv (1937), 63, 127, with biblio-
teristic
Sicilian
Baroque, and
ibid.,
\\\\
(1955), 228 with further literature. F. Ignazio Marabitti, Palermo, 1937, 12, the sculptor in
17 19; he
went
to
Rome
in
1740
i
and
stayed there for fully five years.
5.
Magus,
a prelimin-
(Quarterly,
.4rt
in
I'he Fall of Simon Maggiore I325], show-s the characarrangement of figures radiating from a nodal
.\n early
work, dated 1690,
S. Paolo
¥..g,.,
the
nude man
in the
right-hand corner of
325 and the soldier with the fasces above him derive from the Igntidi of the Farnese Gallery the mother seen from the back with her child clinging to illustration
;
her
is
a
standard group coming
down from Domeni-
chino, etc. Solimena's Heliodorus in the Gesii
CHAPTER
xxxi
fl.
point in the centre like spokes of a wheel. 6.
According to documents published by R. Giudice,
was born
monograph, w ith
dano's influence, see idem,
Bibliography).
458. 68. A. Sorrentini in Boll. d'Arte, vii (1913), 379.
graphy concerning
fine
arv wuvre catalogue and full bibliography. For Gior-
Nuovo,
Naples, combines features from Raphael's \'atican
19
Heliodorus and School 0/ .Athens. 461.
I.
Letter to Cav. Gabburi, 10 September 1733.
Bottari, Lettere,
Good
11,
surveys of Neapolitan eighteenth-century painting by L. Lorenzetti in La ptttura napoletana 462.
2.
7.
Many
painters of the Solimena succession are at
present not
404.
is
much more
than names, but work on them
proceeding; see R. Enggass, Burl. Mag.,
304, for .Andrea deir.\ste
BIBLOSARTE
((.
1673
i.
1
cm
(1961),
721) and Matteo
572
NOTES TO CHAPTER
•
19
M. Volpi, Paragone, x (1959), Domenico Mondo {orio
di
net 1642.
Rome, 1935. Notizic de' professori del dise^no da
Bellori (ed. V. Mariani).
Cimahue
F.
Florence,
in qua.
BELLORI,
Le
G. p.
1
interpretations OF THE BAROQUE
del
1642. Facsimile ed. with marginal notes by
BALDINUCCI,
A.
GENERAL STUDIES
ANCEScm,
'Retorica e Barocco'
stici:
Carlo Maratti (ed.
and G.
M.
Rome,
Piacentini).
Sacifii e
1942. Fac-
with an essay by Eugenio Battisti on
simile ed.
'Bellori as Critic', a Life
Works by Elena
and Catalogue of published and with Indices appeared
Caciagli,
1969) in the Qjiadenii
dell' Istituto di
Storia
dell' Arte
L. Vite de' pit tori holognesi
Felsina Pit trice.
DE DOMINICI, tetti
1769.
O. Giutite
stille
lognesi.
Vite dei pittori
napoletani
C. C. Felstna pit trice.
Vite de pittori ho-
Bologna, 1678; also Vite
di pittori Bolognesi
(Appunti
inedtti).
MANCINI,
Ed.
.\.
Arfelli,
Considerazioni
G.
Baroque Art and the Jesuit Contribution. .\ Symposium ed. by I. Jaff'e and R. Wittkower, New ^'ork, 197 1, with contributions bv
T. Culley,
BRIGANTI,
Bologna, 1961.
siilla
pittura
(ed.
.\.
du
XV^
ibjj.
sculton, ed architetti
Rome,
Jiiio
al
1772. Re-issued with notes by J. Hess.
dell'arte
vero
le
vite
degl' illustri pittori veneti e dello stato. Venice, 1648.
New critical ed.
with notes by D. von Hadeln. Berlin,
SANDRART,
von. L'academia todesca della archi-
J.
scultura
Modem
1675-9.
£5"
pittura.
ed.
with
Niirnberg-Frankfurt, notes
by A.
Peltzer.
SOPRANI, tori,
siecle", .4 travers
11
Bari, 1929. les arts
en
Fart italien
Paris, 1949.
Steele.
Storia segreta dello
Costruzione della
L.
interesting
stile
Emporium,
critica
d'arle.
dei
CI
Rome,
chapters on Baroque
N. 'Stile e maniera', in Saggi
storia dell'arte,
I
art
KURZ,
e
.Memorie di
(1957).
how
writers from the Renais-
sance onwards interpreted
'style'
and maniera.
o. 'Barocco: storia di una parola', in Lett ere
Italiane, XII (i960).
LEE,
w.
R.
Theory of
MAHON,
"t/
'
pictura poesis'^: the
Humanistic
Painting', .irt Bull., XXil (1940).
Studies
D.
R.,
and ratti,
C. G. Vite de' pittori, scul-
ed architetti genovesi. Genoa, 1768-9. F.
Le
MA HON,
in
Seicento
.Art
and Theory.
D. 'Eclecticism
vite dei pittori messinesi, 1724.
Martinelli, Florence i960.
and the Carracci: Further
Reflections on the Validity of a Label', J.IV.C.I., XVI (1953)-
pA N OFSK Y
Munich, 1925.
SUSINO,
3;
London, 1947.
1914-24. tectura,
i,
Best terminological study.
Le maraviglie
C.
(1950), nos
theory and good bibliography.
Vienna, 1934.
RIDOLFI,
XVr
Investigation of
Roma, morti dal 1641
che haiino lavorato in
i
L. 'Barocco e arti figurative'.
IVANOFF, pittori,
XX^
au
With
Vite de' pittori, sciiltori ed architetti
G. B.
epoque,
1955-
Rome, 1730-6.
moderni.
PASSERI,
style,
(1945)-
Many later editions
with additions.
du
GALASSi PALUZZi, c. Gesiiiti. Rome, 1951.
.ihecedario pittorico. Bologna, 1704.
.\n encyclopedia of artists.
Vite de
'Le "Baroque":
J.
G., in Paragone,
Italic a la fin
GRASSI,
L.
H. Hibbard, R. Taylor,
CROCE, B. Storia dell'etd barocca in Italia. FRANCASTEL, P. 'La contre-reforme et
tions until 1630. See also J. Hess, 'Note Manciniane', .Miinchner Jahrb., Xix (1968), 103 ft.
PASCOLI,
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L'Information d'Histoire de I'Art, VII
attitude', in
GRASSI,
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J.
S. J., F. Haskell,
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Marucchi and L. Salerno). Rome, 1956 7. Written between 16 14 and 1621, with addi-
ORLANDi,
Ba-
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O. .Morisani). Naples, 1941.
MALVASIA,
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Vite de' pit ton, sculton ed archi-
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Rome, B.
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1955.
rocco'.
BiALOSTOCKi,
della L niversita di Geriova, no. 4.
CRESPI,
Rome,
C. G. .\rgan, 'La "Rettorica" e Parte barocca',
ed architetti
Rem, Andrea
G. p. Vite di Giiidij
.
of important papers, above
Collection
moderm. Rome, 1672.
BELLORI,
Florence,
alt re prove.
Atti del III Congresso Internazionale di Stiidi L mani-
681 -1728.
vite de' pitlori. sciiltori
Del harocco ed
L.
1953-
,
E
.
Idea
' .
em Beit rag ziir
Begriffsgeschichte
derdlleren Kiinsttheorie. Leipzig-Berhn, 1924; Italian ed., 1952.
Ed. V.
RIEGL,
A.
Die Entstehung der Barockkunst
Vienna, 1908.
BIBLOSARTE
in
Rom.
583
ST A M M R (ed. )• Die Kutistformen des Baroikzeilalters. Munich, 1956. A collection of papers by fourteen authors. ,
.\n encyclopedic attempt with close to a thou-
.
TINTELNOT,
sand illustrations.
GRISERI,
H. Biiriuktht'iiUr unci hanicke Kunst.
Berlin, 1929.
many
WEISBACH, w. Der Barock ah reformalKin. Berlin, 192
wiTTKOWER, MORI,
der Cegen-
Ktirisl
in Italia',
«Wcanti-
D., 'L'eta barocca', in Manierismo, Barinco,
Accademia
termini,
e
cccLix (1962), 319, 395. H. Renaissance
WOLFFLIN,
iind
dei
ideas;
concentration
on
m
the
Patrons and Painters:
F.
Study
.A
Relations between Italian Art and Svciely in the the Baroque.
Age of
London, 1963.
An
Ltncei,
Barock. Munich,
challenging
Piedmont.
HASKELL,
1.
barocco
R. 'II
Rococo: concetti
important work; supplements ideally the present book.
LEES-MILNE,
1888.
J.
m
Baroque
London, 1959.
Italy.
Useful as an introduction.
SALMI, M. B.
Le metamorfost del harocco. Turin, 1967. and fascinating work, containing
A.
i\n unusual
ICONOGRAPHY
ASKEW,
'The Angelic Consolation of St Francis of
P.
L'arte italiana.
III.
Florence, 1944.
TAPIE, v.-L. The Age of Grandeur. Baroque and Classicism in Europe. London, i960 (first French ed., 1957)-
Assisi in Post-Tridentine Italian Painting',^. W.C./.,
Emphasis on
XXXII (1969), 280 306.
relatively small section.
An exemplary DEJOB,
De
C.
iconographical study.
r influence
dii
beaux arts
literature et les
1933
ft.
Stona
A.
dell' arte italiana.
6-7 Painting;
i.x,
Milan,
IX-XI.
Sculpture;
x, 3
xi,
2-3
.Architecture.
MALE, E. L'art religieux de la Jin du XVle siecle, du XVIIe siecle et du XVI lie siecle. Paris, 1951. The indispensable study.' MRAZEK, w. 'Ikonologie der barocken Deckenmalerei', Sitzungsberichte der phil. hist. Klasse der Oesterr.
VENTURI,
peuples catholiques.
Paris, 1884.
These volumes should be used for the tranfrom the sixteenth to the seventeenth
sition
century.
WEISBACH, w.
in
Kunstchronik.
m
Die Kunst des Barock
Italien,
Frankreich. Deutschland und Spanien. Berlin, 1924.
Volume XI of the 'Propylaen Kunstgeschichte'.
Akademie der Wissenschaften, 1952.
MRAZEK, w.
up a
Poor English trans-
lation.
Conctle de Treiite sur la
ctiez les
historical aspects. Italy takes
IX (1956).
Plan of an analytical index of Baroque icono-
2.
Painting
graphy.
MUNOZ,
A., in Rassegna d'Arle, in (1916), IV (1917),
PIGLER,
A.
Barocktliemen.
enlarged ed..
SALERNO,
L.
New 'II
Budapest,
1956.
New
// concetto di
dissenso nella pittura. Intorno a altri',
in Italy,
lumimsmo
e la pittura
veneta
best of Italian Seicento painting, drawing,
magic on one hand and stoicism on the other by a group of seventeenth-century painters, voss, H. 'Die Flucht nach Agypten', Saggte .Memone discussion of the interest
di stona dell' arte,
i
Pigler,
sculpture in .\merican collections.
in
(1957).
Supplements
1600- i~oo. Ed. F. Cummings, Intro-
duction R. Wittkower. Detroit, 1965. The Detroit Exhibition brought together the
dell'Arte. no. 6 (1970), 34-65.
A
.
Suggestive ideas.
Art
York, 197 1.
Filippo Napoletano, Caroselli, Salvator Rosa e
Stona
ARSLAN, E
barocca. Milan, 1946.
v(i9i8).
who does not mention
the
and
Learned
catalogue entries by seven experts.
BUSCAROLI,
R.
La
pitliira
di
paesaggw
in
Italia.
Bologna, 1935. The only comprehensive study.
COSTANTINI,
V.
La
pittura Italiana del 'boo. Milan,
930-
theme.
Contribution to the
HISTORIES AND STUDIES OF BAROQUE ART AND ARCHITECTURE
histor\-
of ideas rather than
style.
C.
DELOGU, G. La pittura
italiana del Seicento. Florence,
1931/.
FRIEDLAENDER, w. Mannerism and Anti-.Wannerism
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GOLZio, Third
v. // Seicento e
ed., 1968.
il
Seltecento.
Turin, 1950.
New
Reprint of classic 1929.
BIBLOSARTE
York, 1957. articles,
first
publ.
1925,
584
BIBLIOGRAPHY
•
GALETT
I
L
,
and C A M
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.
F,
SASCA
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E
.
Etiiuldpcdia
First serious attempt to catalogue
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Valuable
on
articles
eighteenth-century
and
seventeenth-
painters,
with
biblio-
graphies.
XV
See M. Levey, Burl. Mag., cm (1961), 139. PEVSNER, N. Die italienische Aialerei vom Ende der Renaissance his zum ausgehenden Riikoko (Handbuch
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Exhibition catalogue with a
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A
of great value. Review by E. Schaar, Zeituhr.f.
complete
pittarica dell' Italia. Bassano,
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pioneering work.
PEVSNER, N.
Kimstg., XXVI (1963), 52.
(first
siecle.
others. L'ideak ilassiio del Seicentii
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LANZI,L. Storm
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Exhibition catalogue with good bibliographies.
K.
Halle, 1923.
C, and
illustrate
Die ideiik LandsLhaftmuikrei.
GERSTENBERG, GNL'Dl,
and
Italian Seicento paintings in Spain.
all
English transl.
1795-6 by Roscoe,
Wandlung
'Die
urn
1650
der
in
italienischen Malerei', Wiener Jahrh., VIII (1932).
WATERHOUSE,E.
Italian
Baroque Painting. London,
1962.
1828.
An
Still unequalled for knowledge of the material and breadth of approach.
LORENZETTI,
G.
La
pit t lira Italiana del Settecento.
eminently readable introduction.
J. Sculpture
Novara, 1948.
The
BRINCKMANN,
best general treatment of the subject.
MARANGONI,
M. Arte hanicca. Florence, 1953
(first
A
ed. 1927).
Reprint of articles on still life, Guercino, G. M. Crespi, Caravaggio, Florentine Settecento painting,
MCCOM^
,
only general study in English. Limited
1967.
Introduction by R. Wittkower on the history oil sketch. A number of bozzetti never shown before are discussed and illustrated. Re-
of the
view D. Posner, Burl. Mag., cix (1967), 360
MOSCHINI,
La
V.
pittura
DELOGU,
italiana
ff.
del Settecento.
FALDI,
Useful brief compilation, not always reliable. I. La scultura barocca in Italia. Milan, 1958. Brief,
competent
text.
illustrations.
MARTINELLI,
V. Scultura Italiana dal tnanierismo al
rococo. Milan, 1968. illustrations.
High Renaissance and Baroque Sculpture. 3 vols. London, 1963. An excellent introduction, though the space allotted
to
J.
Italian
the Baroque
is
relatively
brief.
Scholarly catalogue entries. pittura italiana del Seicento. Novara,
SOBOTKA,
G. Die Bildhauerei der Barockzeil (ed. H.
Tietze). Vienna, 1927.
1946.
OJETTI,
DAMI,
U.,
L.,
and TARCHIANI, N. La
pittura italiana del Seicento e del Settecento alia mostra di
scultura italiana del Seicento e del
FERRARI, G. La tomha nell'arte italiana. Milan, [1916]. FERRARI,G. Lo stucco nell'arte Italiana. Milan, [1910]. These two volumes are handy collections of
bottini.
La
La
Useful introduction with good
- II Seicenio europeo. Rome, 1957. With contributions by various authors. Catalogue prepared by L. Salerno and A. Mara-
U.
G.
POPE-HENNESSY,
Brief text.
NEBBIA,
largely antiquated.
Barock-Bozzetti. Frankfurt,
E.
Settecento. Florence, 1932, 1933.
Florence, 193 1.
Mostra
A.
1923-4-
usefulness.
New York,
Berlin-Neu-
A vast and still important collection of material.
Masters of the Loaded Brush. Oil Sketches from Rubens to Tiepolo. Columbia University Exhibition Catalogue.
now
spirited enterprise,
BRINCKMANN,
etc.
\. Baroque Painters in Italy .H-iTSdivdi^ i934-
The
A. E. Barockskulptur.
babelsberg, 19 19.
Palazzo
Pitti.
and others. // ritratto vaggio al Tiepolo. Bergamo, 1927. A monumental work. U.,
PEREZ SANCHEZ, en Espana.
Architecture
ARGAN,
Still basic.
OJETTI,
4.
Milan-Rome, 1924.
A. E.
italiano dal
Ptntura Italiana del
Madrid, 1965.
Cara-
G. C. L'architeltitra harocca in Italia. Milan,
1957Brief, stimulating text.
ARGAN, G. s.
XVII
Appunti Tanno accademico 1959-
C. L'architettura harocca in Italia.
delle lezioni tenute durante
60, raccolti dal prof Maurizio Bonicatti.
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BIBLOSARTE
Rome
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585
BR AND I,
La prima
C.
tircliiletliini
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Cortnna,
A
Ihinma. Pictrn du
Bari, i()70.
Collections II. I'be Seienteenth Century in Italy.
paperback well worth while studying.
BRIGGS, M.
G.
Biirtiiiiic
London,
Architeclurc.
An important 1913.
A.
cix (1967), 253.
Bdukunsl
E.
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1919 (and
(IcS
I
Utld
J.
/,S.
Ldndeni (Handbuch
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der
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material.
Antiquated.
BRINCK.VIANN,
New
York, 1967.
Berlin Neubabelsberg,
.Much work has been done on draw ings of the Baroque in recent years. See entries under BOLOGNA, MILAN, and, above all, VENICE.
later editions).
Stimulating, but difficult to digest.
CATTAV
G. L' archil ett lira barmca.
I,
A
brief
CHIERICI,
G.
XIX. Milan,
Rome,
1962.
palazzfi italiarw dal secolu
//
XVII
al
BODM ER
General, useful illustrations. e del
Settecentn. Florence, 1935.
Rome
.Milan, 1926.
Geuliuhle dei Bannksliles
in
Italien.
Stuttgart, 1887. still
\V. Biiroik Architektiir.
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,
I
.
Coniune
'.\spettideirarchitetturabolognesedella
XVI
alia fine del Seicento*,
Bologna, XVlll (1931), XIX (1932).
di
others. .Maestri della pittura del Sei-
cento emiliano. Catalogue. Bologna, 1959.
The
learned Catalogue, which accompanied
decade, must be consulted for
ari lutein anticlii e mnderiii.
all
questions
concerning the Bolognese seventeenth century.
KURZ,
o. Bolognese Drawings of the
Centuries
O. 'Der .Architekt im 17. Jahrhundert in fiir Geseli. d. Arcliilektiir. in
(1909
LONGHi,
.
'Momenti
R.
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Turin, 1922.
XI
II 5()),
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An
of
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J'he Italian
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Kxhaustive monograph.
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Mahon, D.
.\.,
Carloiii. .Milan, 1967.
only comprehensive work on this dynasty
artists.
.Mass., 1966.
extensi\e compilation
tence
making an
at
not without
without the pre-
original contribution, but
pitfalls,
see reviews
by
.A.
lucci, Piiragiine, xviii (1967), no. 213,
Pao-
CARNF.O Geiger, B. Antonio Cameo. Ldine, 1940. Rizzi, A. Antonio
ft.;
(1968), 635
ft.;
{1970), 324
ft.
i960.
catalogue,
ueiivre
completely illustrated. See also
\V. Bissell, in Renaissaine Quarterly, xxi, 3
(1968), 325
Cameo. Ldine,
Preface by L. Coletti. With
67-78;
bombelli.
B. Nicolson, in Burl. Mas., cx
C.
Dempsey,
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CARPI OM G. M. Carpioni. Venice, 1962. CEuvre catalogue and bibliography.
Pilo,
Moir, A. 'Did Caravaggio Draw?", Art Quarterly, xxxiii (1969), 354.
Much
support tor the obvious, namely that
C. did draw.
Anderson,
Rottgen, H. 'Giuseppe Cesari, die Contarelli-Kapelle
und Caravaggio', 201
CARRACCI
Zeitsehr.
/'.
Kuiists., xx\ii (1964),
late .Annibale.
Kunst«., xx\iii (1965), 47
in
ft.
Publication of documents revolutionary for the chronology of C.'s work in the chapel.
Bellori,
Kunst. XX (1969), 143
I'llil.
A most
simboli nel C.
Scavizzi,
I
'Poesia e
dipinti emblematici', Palatino, X
G. Caravaggio
e caravaggesehi. Catalogo della
Bull., XLi (1959).
Venturi, L. // Caravaggio. Novara, 1951.
Wagner, H. Miehelangelo da Caravaggio. Caravaggio's art
Berlin, 1958.
in relation to the art
of the
Renaissance; industrious, but not always convincing. Large bibliography.
C.^RLEVARIJS, L. Mauroner, F. Luca
.igostino C.
Carraeci. Burg, 1939.
Friedlaender's review in Art Bull.,
Catalogue.
Rome,
Dempsey, C.
'
.
Le nuisioni
dei Carraeei.
1965.
"Et Nos Cedamus Amori" Observa:
tions on the Farnese Gallerv', Art Bull., L {1968),
ft.
Mostra. Palazzo Reale, Napoli. Naples, 1963. Steinberg, L. 'Observations in the Cerasi Chapel',
With
W.
See
XXIV (1942).
W. H.
the
1968.
Bodmer, H. Lodovico
Cahesi, M., and Casale, \
Wilson,
in
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ft.
T.,
Mahon on
The Lives of Annihale and
P.
stimulating interpretative paper.
Salerno, L., Kinkead, D.
(1966), 106
G.
(transl. C.
Rottgen, H. 'Caravaggio-Probleme', Muiuhrier Jalirh.
Art
an important essay by D.
pino's part in decorating the chapel.
J'.
Agostino Carracci"
96 1.
\\ ith
Cs. Werk", Zeitsehr.
d.
1
Mainly concerned with the Cavaliere d'ArRottgen, H. 'Die Steliung dcr Contarelli-Kapelle
di
Bacou, R. Dessins des Carraclies. Louvre Exhibition. Paris,
ff".
'The "Sala
J.
the Palazzo del Giardino", Art Bull., Lii (1970).
363Foratti,
.\.
/ Carraeei nella teoria e nell'arle. Citta di
Castello, 1913. .\ \ery good book. Kurz, O. 'Engravings on Silver by .\nnibale Carracci', Burl. Mag., xcvil (1955). Mahon, D. Mostra dei Carraeei. Disegni. Bologna,
1956.
Forms the critical basis Mahon, D. '.Afterthoughts on
for further study.
the Carracci Exhibi-
G.d.B.A., XLix (1957). Martin, J. R. 'Imagini della Virtu; tion',
Carlevarijs. Padua, 1945.
(Buvre catalogue and bibliography.
the
Camerino Farnese', Art
BIBLOSARTE
The
Paintings of
Bull., xxxviii (1956).
6oi
Martin,
An
R., in
J.
XLV (1963).
Bull.,
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monte
pedigree ot the Butcher's
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A
Brino, G., a.o. L'opera
R. The Faniese Gallery. Princeton, 1965. monumental study with a complete cata-
logue ot drawings and extensive discussion of the iconography. Reviews by D. Posner, in
(iqhh\ icy; Master Drawings, iv (1966),
.4rt Bull., xi.viii
\\
in
47.
\ itzthum,
.
Drawing by Agostino Carracci
Miller, D. C. 'A his Christ
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Mostra
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tor
critical
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dt Castella-
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Labo, M.,
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The Drawings of Giovanni Ballista Castiand SteJ'ano della Bella at H'indsor Castle. London, 1954.
Blunt,
.\.
glione
.
H. C.I.
.
Monotypes of Gio.
Calabi, A. 'The glione',
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.
assessment of Casti-
critical
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Battista Casti-
Collector's Qtiarterly, \ (1923), XII
(1925), XVII (1930). in
Master Drawings,
C. Johnston, Burl. .Mag., in .-irle .Anttcae
The
Amadeo
e
CASTELLO,
no. 9 (i960).
ill,
Bologna, 1966.
Posner, D.,
L.,
Contains new
Antica e Moderna,
Iconography of the Palazzo Fava frescoes. Ottani, .\. Gli affreschi Carracci in Palazzo Fava.
Reviews
Carlo
XXXIX (1937).
bibliography. S., in .4rte
di
monte. Turin, 1966.
CA.STIGLIONE
(1969), 410.
work of collaboration, with an introductory essay by Gnudi. Basic, with lull Ostrow,
Torino nel secolo XVII.
Master
dei Carracci. Catalogo critico. Bologna, 1956.
A
e lo sviluppo edilizio
Turin, 1896.
ci,\
.Moderna.
IV, 3
(1966), 311;
{1967), 596 Ill,
Delogu,
no. 12(1960).
Contribution
bale's latest period.
At the time of going aeuvre
Casliglione
detto
il
to C.'s life
ff.
and chronology, with
documents.
Posner, D. .'innihale Carracci. London, 1971.
an
Battista
Percy, A., in Burl. Mag., CIX (1967), 672
frescoes of the Herrera Chapel and .\nni-
contains
Giovan
G.
Grechetto. Bologna, 1928.
t.
to press the
catalogue,
Percy,
.A., in
.Master Drawings,
had not yet
appeared.
(1968), 144
fl.
have been identified.
least 13
Salerno, L. 'L'opera di Antonio Carracci", Boll. d'.4rie,
w
Attempted reconstruction of a large Castiglione 'album' of drawings of which so far at
work, that
Wunder,
R. P., in Art Bull., xlm (i960).
XLi (1956).
Mnnibale Carraccis Galerie
Tietze, H.
ini
Palazzo
Farnese und seine romische Werkstatte', Jahrb.
d.
kunsthist. SIg. des .illerhiichsten Kaiscrh., \XVI (1906).
Opens modern
at If indsor
Castle. London, 1952. Zamboni, S. 'Ludovico Carracci e Francesco Gessi: due dipinti inediti', Antichitd Viva, vii (1968), no. 1,
3
Benesch, O.,
in
Jahrb. der kunsth. SIg. Vienna, N.F.
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(1926).
De
research; a masterly work.
Wittkower, R. The Drawings of the Carracci
CAVALLINO
Rinaldis, A. Cavallmo.
Liebmann, M.
Rome,
1921.
ex (1968), 456 ff. Picture in the Pushkin Museum, .Moscow.
Milicua,
J., in
P., in Burl. .Mag.,
Goya,
11
(1954).
Percy, A. The Paintings of Bernardo Cavallmo. Pennsylvania University Press, appearance imminent.
ft-
See also
articles
by F. .\rcangeli, F. Bologna,
Fenyo, M. Gregori, R. Longhi, and M. Jaffe in Paragone, \ii (1956), \lii (1957), Burl. Mag.. Cii
(i960); .M. Calvesi, Commeutari.
Bull,
vii
(1956);
du .Musee Hougrois des Beaux-Arts, xvii
(i960) and XXV (1964); Master Drawings,
Only
\.
\
(1967); L. Street, in Art Qiuirterly. xxxiii
monograph of Cavallino with
full
cata-
logue raisonne. Refice,
C,
in
Emporium,
cxili (1951).
Brief text. Sestieri, E., in L'Arte, xxiii (1920)
and Dedalo.
Tzeutscher Lurie, A. 'Bernardo Cavallino: Adoration of the Shepherds', Bull. Cleveland .Museum of
(1970).
Lvi (1969), 136
.-irt,
ff.
CARRIKRA Malamani, V. Rosaiha Carriera. Bergamo, 1910.
CAVEDONI Bodmer, H.,
On
CASTELLAMONTE Boggio, C. Gli architetti Carlo
e
.Amedeo di Castella-
11
(1921).
in
Die Graphischen Kiinste, v (1940).
drawings.
Roli, R., in Paragone. vii (1956), no. 77.
BIBLOSARTE
602
•
BIBLIOGRAPHY
CECCO BRAVO
see
MONTELATICI
CHIARI,
G. B.
Kerber, B., CKLF.STI, A.
Mucchi, A. M., and Delia Crocc, C. Celesti.
in .4rt Bull.,
.\n entirely II piliore
Roman
Late Baroque
Andrea
L (1968), 75.
monograph
satisfactory
of
this
painter.
Milan, ig54.
QLtivre catalogue
CIGNANI
and bibliography.
Buscaroli, S. V. Carlo Cignant ( 1628-i/ig). Bologna,
CERANO
(G. B. Crespi).
Deir Acqua, G.
A., in L'Arte,
Pevsner, N., in Jahrh. Rosci,
M. Mostra
1953-
xlv (1942), xlvi (1943).
Preiiss. Kiiiistslg.,
Novara,
del Ceratui. Cat.
Fullest treatment of Cerano,
.\ fine
monograph, with bibliography.
XLVi (1925). 1
CIGOLI
964.
summarizing
all
Cigoli,
{L. Cardi)
G. B. Vita
Commune
previous research. Testori, G., in Para^ime, vi (1955), no. 67.
Valsecchi, M., in Paragone, XV (1964), no. 173.
Cigoli,
di Lodovico Cigoli, per cura della
della citta di S. Mtniato. Florence, 19 13.
Biography by Cigoli's nephew. Lodovico Cardi da. '.Macchie di
sole e pittura;
carteggio L. Cigoli-G. Galilei, 1609- 1613', ed.
CERESA Longhi, R., Cipriani, R., and Testori, G. I pit tori
dellii
Lamhardia. Catalogo. Milan, 1953. Testori, G., in Parasmie, iv (1953), no. 39.
della citta di
amhiente. San .Miniato, 1959.
pittore
di
Gregori contributed
On
Boschetti, A., in Paragone, Xix (1968), no. 219, 55
ff".
Fiocco, G. 'Giacomo Antonio Ceruti a Padova', Saggi
a
on
artists in
paper on Cigoli
di storia dell' arte, vi (1968), 113
2 (1953).
The
Hague, 1954.
comment on
Fascinating
ff'.
i,
Cigoli as architect.
Panofsky, E. Galileo as a Critic of the Arts.
Longhi, R., Cipriani, R., and Testori, G. / pittori della realta in Lombardia. Catalogo. Milan, 1953.
Galileo's letter to
Cigoli, 1612.
CIPPER (Todeschini)
Also Longhi, in L'CEil, no. 73, Jan. 1961.
tempo
section
as architect.
CERUTI
tistica del siio
a
and L. Berti
Cigoli's circle
Fasolo, v., in Qitaderni, nos
Malle, L., and Testori, G. Giacomo Ceruti
letters.
Indispensable for the study of Cigoli. .M.
nature morte", Paragone, v (1954), no. 53. See also LAER, P. va.n.
Memorie
XXii, N.S. no. 32 (1959).
Bucci, M., and others. Catalogo della mostra del Cigoli e del suo
CERQU07.ZI Briganti, G. 'Michelangelo Cerquozzi,
San Miniato,
Fully annotated edition of Cigoli's
realta in
e
.\.
Matteoli, in Bollettino della .Accademia degli Euteleti
e la ritrat-
nell' Italia settentrionale.
Arslan, W., in L'Arte, xxxvi (1933).
Turin,
COCCORANTE
1967.
which next to Ceruti paintings by R. Carriera, G. B. CroCatalogue of an exhibition sato, V. Ghislandi, P. F.
in
On
la
"veduta ideata"
napoletana', Emporium, CXix (1954).
Guala, F. Guardi,
CODAZZI
and others were shown. Marini, O.,
O. 'Leonardo Coccorante e
Ferrari,
Paragone, xvii (1966), no. 199, 34 Ceruti's patrons at Brescia. in
ff.
Testori, G., in Paragone, v (1954), no. 57.
G. Giacomo Ceruti. Mostra di J2 opere inedite JO Oct. -14 Nov. ig66. 'Finarte', Milan, 1966. Bibliography. Emphasis on connexions with
Brunetti, E., in Paragone, Vli {1956), no. 79.
Longhi, R. 'Codazzi listica',
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Testori,
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CORNACCHINI Keutner, H., Bulletin,
I
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North Carolina Museum of Art
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II
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Monographic treatment. Wittkower, R., Graziani, A., in Critica d'Arte, iv (1939). An excellent paper.
in .Miscellanea Bibl.
Hertzianae, 1961.
Full documentation for the Charlemagne in
St Peter's.
CORRADINI Biasuz, G., in Boll. d\4rte, xxix (1935-6).
BIBLOSARTE
6o3
Callegari, A., in Boll. d'Arle, \xx (1936-7).
.\
Mariacher, G.,
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in
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Riccoboni, A., in Arte Veneta, vi (1952).
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Roman
.Masterly investigation of a great
CORTE,
J.
Ivanoft",
N., in Arte Veneta,
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CORTON.A, p. da Briganti, G. Pietro da Cortona
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XVI
Reviews by K. Noehles in Kiinstchronik,
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cv
.Ma^.,
Palazzo
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Publication of documents. Chiarini, Pitti:
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Jahrh. Preuss. Kunslslg.. XL (1919).
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spiiten Seicento
m
Ferri', in Studies
Renaissance and Bar-
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Lon-
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Basic study.
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Casale, V. 'P.d.C. e
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Vitzthum,
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Campbell, M. .Mustra affreschi di
des romischen Malers und Architekten Pietro da Cortona', Kumtchronik, xxiii (1912). Posse, H. 'Das Deckenfresco des P. da C. im Palazzo
Considers only Cortona as painter. Indispensable. Broad critical analysis and wuvre catalogue.
Bar-
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some
material.
Noehles, K. La chiesa dei SS. Liu a e .Martina nelr opera di Pietro da Cortona. Rome, 1969.
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ceircre
bird's eye view of C. as architect with
Roma.
I
pittori della Galleria di .\lessandro \'II
nel Palazzo del Quirinaie", Boll. d'.4rte,
ritrovato'. Boll. d'.4rte, lii (1967),
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first-rate
study based on
a
xi,
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wealth of
new
documents.
ff-
Del Piazzo, M. Pietro da Cortona. .Mostru docnmentana. Rome, 1969. A brief guide through the exhibition of Cor-
Wittkower, R. 'Pietro da Cortonas Hrganzungsprojekt des Tempels in Palestrina", Festschrift .4dolph Goldschmidt. Berlin, 1935.
tona documents organized in the .Archivio di Stato,
Rome, on
the occasion of the tricen-
tenary of Cortona's death.
tona, 1896.
Collection of Jacques Courtois's Drawings and a partial
Still useful.
Reconstruction of the Bellori N'olume', Burl.
.Mag., cviii (1966), 345
Geisenheimer, H. Pietro da Cortona Pitti.
Museum's Phillips-Fenwick
Holt, E. L. 'The British
Fabbrini, N. Vtta del Car. Pietro da Cortona. Cor-
Palazzo
COLRTOIS (CORTESE)
e gli affreschi di
Florence, 1909.
Salvagnini, F.
.\.
ft'.
/ pittori horgognoni Cortese.
Rome,
1937-
Documents. Lavin,
I.
'Pietro da
Cortona and the Frame', The Art
Moschini, V. 'Le architetture
di Pietro
da Cortona',
L'Arte, xxiv (1921).
Mostra
di Pietro
bottini
and L.
F.
Rome,
.A.
Fullest study of Cortona as painter before
CRESHI, D. Nicodemi, G. Daniele
2nd
Briganti's book. d'.\rte).
Paragone,
(1928). vi (1955), vii (1956).
vii (1956), no. 73.
.Vlara-
1956.
Mufioz, A. P. da Cortona (Bibl.
I
Montalto, L., in Commentari, .Vlortari, L., in
da Cortona. Catalogue by
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COZZ.\,
Lopresti, L., in Pinacuteca,
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Cortona as architect. Noehles, K. 'Die Louvre Projekte von P. da C. und First study of
Crespi.
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.\rsizio,
191 5;
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See R. Longhi's review in L'.-irte, XX (1917). Ruggeri, U. 'Per Daniele Crespi', Crttica d'.4rte, xiv, no. 90 (1967), 45
ft.;
XV, no,
93 (1968), 43
ft.
Carlo Rainaldi', Zeitschr.J. Ktinstg., xxiv (1961).
See also P. Portoghesi,
in Qjiaderni, nos. 31
48
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G. M.
.\rcangeli,
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CRESPI,
fl'.
F".,
and Gnudi, C. Mostra
celehrativa di
Giuseppe Maria Crespi. Calalogo. Bologna .Milan, 1948.
BIBLOSARTE
BIBLIOGRAPHY
604
Preface by R. Longhi. Important catalogue,
DERIZET
with bibliography.
Prandi,
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di S.
.A.
'.Antonio Derizet c
Giovanni
il
concorso per
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XIII (1962), no. 149.
Gnudi, C. 'Mazzoni Riv. del
Commune, Art
Lasareff', V., in
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M.
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late
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Paragone, xiv (1963), no. 163.
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Discusses Dolci's
Works by G. M.
Crespi',
Heinz, G.,
in
Jahrb.
development.
stylistic
d. kunslhisl. Slg. in
Wien, LVi
(i960).
ft'.
logue by the same author Volpi,
C,
Del Bravo,
monograph of Crespi with
full
DOLCI
America, xvii (1929).
cx(i968), 120
,Wrt^?.,
A
P.
e le origin! del Crespi', Bolngiui, XXII (1Q35).
.An excellent study
oeuvre cata-
in the press.
is
concerns Dolci's religious
;
convictions.
in Piinigone, VIII (1957), no. 91.
On
M.
the beginnings of G.
Voss, H. Giuseppe Maria Crespi.
DOMENICHINO
Crespi.
Rome,
Borea, E. 'Domenichino a Fano', Arte Antica
1921.
derna,
II,
e
Mo-
no. 8 (1959).
With documents.
CRETI
An
Borea, E. Domenichino. Milan, 1965. Offers valuable information particularly for
publication;
D.'s early career, but contains weaknesses and
Roll, R. Dorialo Creti. Milan, 1967.
Based on the author's own important,
richly
earlier papers.
illustrated
autre catalogue and bibliography. Review by D. C. Miller, Burl. Mag., cxi (1969), 306 f
CROSATO
inaccuracies. R. E. Spear's remarkable review
(Art Bull., XLix (1967), 360) should be read with the book. Borea, E., and Cellini, P., in Boll. d'Arte, xlvi (1961).
Fiocco, G. G. B. Crosato. Venice, 1941
;
2nd
Important
ed. 1944.
frescoes in S. Luigi de'
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Francesi.
DAL SOLE
Fagiolo-Dell'Arco,
Bruni, G. Lippi, in Arte Antica
With auvre
e
Muderna,
II
(1959).
M. Domenichino ovvero Classicismo
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With
catalogue.
Rome,
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well considered critical apparatus.
Keller, H. 'Das Jiinglingsbild des
DE FERRARI,
G. A.
Falletti, E., in
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A. M.,
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Rotondi,
P., in Boll. d'Arte,
A
XXXVI {1951).
affreschi del
brief, pedestrian
Pope-Hennessy,
DE FERRARI, G. De Masi, Y. La vita
opere di Gregorio de Ferrari.
London, 1948. With a stimulating
Rome,
introduction. il
Domenichino.
1909.
Standard work.
L.
Gavazza, E. Lorenzo de Ferrari
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1680-IJ44). Milan,
Spear, R. E. 'The Early Drawings of Domenichino at
1965.
important publication, because one of the
great
book.
J.
Serra, L. Domenico Zampieri detto
Griseri, A., in Paragone, VI (1955), no. 67.
An
D. a Roma. Rome, 1958.
Castle.
Genoa, 1945.
DE FERRARI,
in
The Drawings of Domenichino in the Collection of His Majesty the King at Windsor
^
e le
Domenichino
Middeldorf, Berlin,
1968, 408.
Neppi, A. Gil
ihid.
L'lrich
but not sufficiently
first
is
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Spear, R. E., in Master Drawings, vi (1968), iii
A
catalogue.
Bull., xlix (1967), 52.
the majority of which
time been
given a monographic treatment with oeuvre
Art
New identification and changes of attribution,
known Genoese
decorative talents has for the
Windsor Castle and some Drawings by the Car-
racci',
significant contribution to
ft".
Domenichino's pre-
paratory drawings (but see k. Sutherland Harris,
DEL GRANDE,
A.
Pollak, O.,
Kunstli. Jahrb. der
kommission.
in III
Burl. Mag., cxii (1970), 47 f). See also Spear's
K. K. Zentral-
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paper on Domenichino cartoons, ibid., v (1967), 144, and C. Johnston, Revue de PArt, no. 8 (1970), 56 ff^.
six
DELLA BELLA,
S.
See
CASTIGLIONE
new drawings.
Wittkower, R., in Burl. Mag., xc (1948).
BIBLOSARTE
6o5
DOTTl
FERRATA
Foratti, A., in L'Arte, xvi (1913).
See also above. Part
Cellini,
of Bibliography (under Bo-
iii
logna).
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N'.
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al
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F.rcole Ferrata', Ptiragnne, xii (19(11), no. 137.
Golzio, V. 'Lo "studio" di
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'>('935)-
DUQUESNOY, Faldi,
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Important inventory.
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Modenia,
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Amor divmo
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M.
FERRETTl, Maser.E.
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Huse, N. 'Zur "S. Susanna" des Duquesnoy', in Argo. Festschrift fiir Kurt Badt, Cologne, 1970, 324
The Disguises ofHarlei/iiin. An Kxhibition organized and presented by the University of Kansas -Museum of Art. Lawrence, 195ft.
Maser,
I.
'Duquesnoy's "Nano di Crequi" and
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Lavin,
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.V.
Two
graphy.
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FETTI
fl".
Lavin solved once and
for all the
small bust in the
of Prince Urbano Bar-
berini that
to
XLIII (1961).
.\n important studv.
vision of Mochi's
e
Maderna,
'.An
by Domenico
Xiii (1962). \ii, no.
25
See also Burl. .Wag.,
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De Logu, G.
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Martinelli, V., in
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had been attributed
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coll.
problem of a
Unknown
Portrait of .Monteverdi
Feti', Burl. .Wag., cix (1967),
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706
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.irte I'enela,
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Wilde,
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Schlegel, U., in Pnutheon, .vwii (1969), 390.
Feti.
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{'93^)-
FINELLI
EMPOLi (J. Chimenti da) De Vries, S., in Rn. d'Arte, Forlani, A. Mustra di
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Marangoni, M.,
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Dmuments and
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VI (1967), 98ft.
per
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Bologna, xxi (1934). "o
"•
6o6
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.iccademia Cle-
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(Baciccio)
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Palazzo
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Con-
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e di altri
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e la
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(1937), and his
by Fiocco
xiii
Confraternitadel Sacramento', Paragone, xvii ( 1966),
.\pparition of the Virgin to
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Fiocco, G.
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Griseri, A., in Arte Antica e
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tour de force breaking
this
the Rosary' by Francesco and
Giovanni .\ntonio Guardi.
Naples, 1966.
A
a
'Madonna of
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processional banner of the
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Naz., Florence. Ferrari, O.,
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Francesco Guardi. \ ienna, 1944-
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BIBLOSARTE
in der .-ilten
Pmakothek.
6o8
•
BIBLIOGRAPHY
Gum
Maftei, F. de.
AnlauKi Giiardi pillon-
tii
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Verona, 1031. Contains challenging hypotheses.
Mahon,
D., in Burl.
Mahon
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Guardi began painting Morassi, A., to
el
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Guarini, G. Architettura
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Greca.
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With 20 contributions, some of them provocative, especially D. Mahon's (66-155). Rasmo, N.,
in
Cultura Atesina,
An
dei
full
bibliography Tavassi
La
facsimile reprint of the Treatise
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W. 'Bemerkungen zu Guarino Guarini und Juan Caramuel de Lobkowitz', Raggi (Journal of Art History and Archaeology), ix, 3 (1969), 91 ft.
Oechslin,
Important investigation of Guarini's relationship to Caramuel and his unorthodox ideas.
excellent book.
Zampetti, P. Mostra
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work and theory,
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Valuable summary of Guardi problems. Shaw, J. Byam. The Drawings of Francesco Guardi. London, 195 1.
An
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Hager, W., Guardi.
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43 contributions, partly of considerable length, covering every aspect of Guarini's architec-
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T.
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Pignatti,
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Guarino Guarini
Interesting observations introducing a fac-
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at
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claims 1750 as the date
De Bernardi
Passanti,
M. Nel mondo
magico
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di
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A
revealing study
b^'
an architect.
Portoghesi, P. Guarino Guarini. Milan, 1956.
A fine, though brief monograph; bibliography.
Guardi. Venice, 1965.
expert catalogue with exhaustive biblio-
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Portoghesi, P. 'Guarini a Vicenza:
Maria
La
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An
Anderegg-Tille,
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A somewhat
pedantic work, based on the
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Published by the Turin 'Istituto
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di
half a century before.
Crepaldi, G.
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Most valuable measured
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discussion of Caramuel's theo-
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in the
Art
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Torretta, G. Un'analisi detla cappella di S. Lorenzo di
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A work
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BIBLOSARTE
.Mag.,
6o9
Mahon, D.
Studies
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in
Contains facsimile reproduction
Theory.
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Mahon, D.
// Giiercino.
Catalogo
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The best critical work on Guercino
:
reviews D.
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Mahon, D. Omaggio
Mezzetti, A., and
Mostra Denis
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Important especially Cento. D. for
Mahon
drawings from
al Guercino.
Elogio,
logue also appeared separately as Disegni del
Guercino
della
colleziofie
di Filippo
.Art
Bull.,
disegni di F.
'I
and near St Viale Ferrero, teatrale.
in the
palazzo del conclave',
.VI.
Conclave near the Lateran
Peter's.
Filippo Juvarra scenografoearchiletio
monumental work containing
catalogue of
fl.
J.'s
a
complete
theatre drawings and repro-
ductions of every drawing.
Barberini
Wittkower, R. 'Ln libro
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Works by Guercino recorded
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Publication of J.'s alternative projects of 1725
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a
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home-
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for a Palazzo del
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Atti della Accademia delle Sctenze di Torino, CIII
1967.
Reliable account of G.'s frescoes in his
work; contains
contemporary
the
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Mahon, Bologna,
Roli, R. / fregt centesi del Guercino. Bologna,
Juvarra. Messina, 1966.
Catalogue of Drawings, biographical data,
for G.'s early paintings at
This Cata-
bibliography.
full
indispensable
modem
his collection.
.
very useful.
Mostra
An
supplied 50 learned entries
.
L'arte dell'architelto Filippo Juvara in
.\.
Still
Viale, V.
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di
.
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di dipinli restaurati e dei disegni delta collezione
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'La formazione
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\
Filippo
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Careful
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careful, fully
ceiivre
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LANFRANCO
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X Congresso di storia dell'architettura. Rome,
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il
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Rediscovery of Juvarra's wooden model as well models believed burned during
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New
6lO
•
BIBLIOGRAPHY
New
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Agostino,
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la
in
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its
1
LHiOZZI
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LYS (Liss)
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Donati, U. Carlo .Maderno. Lugano, 1957. fiir den Vorplatz
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BIBLOSARTE
6ii
Hibbard, H. Carlo Madernn.
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MANCINI Berti
An
Toesca, E. 'Francesco Mancini Colonna', L'Arte, XLVi (1943).
important, fully documented study.
MADERNO,
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Cellini, A.
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book
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a
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Important study.
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XLViii
ihid.,
\
Geiger, B. / disegm del Magnasco. Padua, 1945. E.xhihitwn held
the C niversity
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Bildinhalte des A.
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Maratti.
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R. .4cadamia de
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ft
Nntizie della familia del pitlore Carlo
Monza,
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With bibliography.
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Fernando : Carlo .Maratti, 4J Dihujos de tema religioso. Madrid, 1965. The attribution of 10 of these 43 drawings is
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Morassi, A. Mostra del Magnasco. Genoa, 1949.
Syamken, G. Die
Rn.
Nieto .\lcaide, V. \\. Dihujos de
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delle pitture di Ales-
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to art theoreti-
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Alessandro Magnasco (i667-i74g).
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MAFFEI Ivanoff,
I
Rfnatssance and Baroque
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des heiligcn Franz Xaver"
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BIBLIOGRAPHY
6l2
MARCHIONNI,
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Cartlas bozzetto in the Victoria and Albert
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MEDICI,
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Monte
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New
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First
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L. Carlo Giuseppe Merlo architetto.
comprehensive study of
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Atti
Classe di
cxxv (1966-7), 195
ff^.
MITELLI,
A.
Feinblatt, E. Agostino Mitelli. Drawings.
in Riv. d'Arte, xvii (1935).
With
M.
Milan, 1966.
Berico. Vicenza, i960.
'Nuovi documenti
Puppi, L.
Tua, C,
mjahrb.
A.
oeuvre catalogue.
tion
from
the Kunstbiblwthek, Berlin.
Loan ExhibiLos Angeles
County Museum of Art, 1965.
MASSARI,
An
important addition on Mitelli.
G.
Bassi, E., in Boll. Centra Internaz. Studt di Archi-
to the scarce literature
tettura, iv(i962).
Moschini, V.,
Semenzato,
MASSARI, Volpe,
C,
in
C,
Dedalo,
in
xii
MITELLI,
(1932).
Arte Venetci,
xi (1957).
G.M.
Mitelli.
Bologna, 193 1.
MOCHI
L. in
G. M.
Buscaroli, R.
Paragone,
VI (1955), no. 71.
See
also
duquesnoy.
Martinelli, V., in Commentari,
MASTELLETTA
With
Marangoni, M.,
in
ceuvre catalogue
Arslan, W., in Boll. d'Arte.
.\.
Arslan, E. 'Disegni del
M.
'.^.M.:
Roman
presented
to
full
iii
(1952).
bibliography.
MOLA
MASUCCI of the
(1951) and
L'Arte, xv (19 12), reprinted in
Arte barocca, Florence, 1953.
Clark,
11
and
A
Conclusion and a Reformation
Baroque', Essays
R. Wittkoirer, 259
in the ft.
History of .4rt
M.
History of Art presented don, 1967.
London, 1967.
BIBLOSARTE
viii
(1928-9).
a Stoccolma', Essays in the
to
R. Wittkorrer, 197.
Lon-
6i3
W. 'Mola and
Lee, R.
An
sance an J Baroque
London,
no. xxvi.
A
lasso', in Studies in Renais-
presented
to
Anthony Blunt.
1967.
N.ACCHERINO Maresca
di Serracapriola, A.
M.-Nacchenno
scultore
fiorenttno. Naples, 1924.
stimulating contribution.
Rudolph,
S., in
Arte lllustrata. nos 15
(1969), 10
1(1
ft.
Critical essay, containing; also a survey of all
NIGF.TTI
Rn. d'.irle. xxvi ( i95o)and xxvii
Berti, L., in
(
195
1
3).
previous Mola literature. See also R. Cocke, in Burl. Mat;.. CXi (1969), 712 ft., tcJem. ihid., ex (1968), 558 ft., and A. Czobor, ihid.. 565 ft'. Sutherland, .\. B., in Burl. .Mag.. CVI (1964).
NOME
(Monsii Desidcrio)
Causa, R., Sluys,
Paragone,
in
Didier Barra
F".
(1956), no. 75.
vii
et
Franfois de Nonudits Monsit
Desiderio. Paris, 1961.
MOLIN.^RI
The
Pappalardo,
M,
.\.
Science
.
.
in
.///;
dell' Istituto
Veneto dt
statement with
final
full
references and
ceuvre catalogue.
cxii (1953-4).
.,
NOVELLI
MONNOT
Di Stefano, G. Pietro Noielli. Palermo, 1940.
Sobotka, G.
'F.in
zum Grabinal
Elntwurf Marattas
Innocenz Xl\ Jahrh. Preuss. Kunstslg..
XX.XV (1914),
l^\
(J .\
N
I
p
,
Ivanoft, N., in Paragone. vili (1957), no. 89.
MONTEL.\Tici (Cecco Bravo)
Voss, H., in Belvedere,
viii
(1929).
Masetti, A. R. Cecco Bravo. Venice, 1962.
With auvre catalogue and bibliography.
PALM.\ GIOVANE Forlani,
MONTI,
F.
Mostra
.\.
Ruggeri, U.
Francesco
Monti
holognese.
Jacopo Palma
di
il
Bergamo,
PANNINI
1968.
A monumental
work with
a
of
catalogue
almost 500 drawings. Criticad' Arte. \\\, no. 108 (1969), 35 (1970), 37
ft.;
xvii, no.
109
G. M.
Panmi. Cassa
A monumental
di
Risparmio
di
Piacenza,
work, with wuvre catalogue;
fully illustrated.
PARIGI,
Waterhouse, E. 'A Note on G.M.M.', Studies in Renaissance and Baroque Art presented to Anthony
A.
and G.
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1
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R., in Riv. d'Arte.
.X.XXIII
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London, 1967.
Blunt, 117.
The
F. G. P.
96 1.
Ozzola, L. G. P. Pannini. Turin, 1921.
ff-
MORANDI,
.\risi, 1
Ruggeri, U. 'Francesco Monti bolognese a Brescia",
fullest
statement on
painter, with
this rather
neglected
work catalogue.
PARODI,
F.
Grossi, O., in Dedalo.
Rotondi Briasco,
MORAZZONE Baroni,
disegnt
dt
Giovane. Florence, 1958.
Not
(Mazzucchelli, P. F.)
C, in L'Arte. XLiv M. II .Morazzone.
Gregori,
11
(1921).
Genoa, 1962. monograph.
P. Ftltppo Parodi.
yet the final
(1941).
PASINELLI
Milan, 1962.
Exhibition catalogue, with complete docu-
Baroncini,
C,
in .irie .Intica e
.Moderna,
11
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mentation, veuire catalogue, and bibliography.
PELLEGRINI
Supersedes previous studies.
Nicodemi, G.
II
Uncritical,
see
review N. Pevsner, Rep.
Kunstir., L (1929).
Zuppinger,
Bettagno, A. Dtsegni e dipinti di G. A. Pellegrini.
Alorazzone. Varese, 1927.
E., in
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11
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f.
Venice, 1959. Exhibition catalogue. Basic study. See also T. Pignatti, in
Burl.
.'^\ag..
CI
(1959), 451; R.
Pallucchini,in/^rfn//i35ft'-
Schwanenberg, H. Lehen und Werk des Massimo Stanzioni. Bonn, 1937.
A
First attempt at chronology
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dissertation, not satisfactory.
opening up of Testa's
First
Lazareff, V., in .Miinchner Jahrh. der hild. Kiinst, VI,
The
icono-
M.
'L'attivita veneziana di
.\., in Commentari, v (1954). Important paper, with an account of Testa's
Bernardo
art theory.
Strozzi', Arte Veneta, IX (1955).
M.
B. Strozzi. Catalogue. Binghamton,
T AR
N.Y., 1967.
I
Paintings by Strozzi in America.
Mortari, L. Bernardo Strozzi.
Rome,
basic study.
Marabottini,
best study of the early Strozzi.
Matteucci, A.
Milkovich,
difficult
Lopresti, L., in L'Arte, .vxiv (1921).
(1929).
The
ff.
graphy.
STROZZI ii
of Testa's work.
Harris, A. S., and Lord, C. 'Pietro Testa and Par-
I
M
Fiori, T., in
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1966.
BIBLOSARTE
viii (1957)-
6l8
BIBLIOGRAPHY
•
Malaguzzi
\'aleri,
Cnmache
in
I".,
M. Andrea
Szollbsi,
d' Arlt\
i
morali
(\i.)i^).
Tuirtnt ptllare Ixilognese.
.
Buda-
),
.
.
.A
cxxvii (1967 8), 211
work and
pest, 1936.
50.
thoughtful study based on diligent archival a
wide knowledge of
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also idem, in .4ntichitd Viva (1968), 2, 34
TlEPOLO,
G. B.
D'Ancona,
P. Tiepnlo in
and G.
D.
Rizzi,
Milan: The Palazzo
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Hetzer, T. Die Freshen Tiepolos
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and Morassi, Udine, 1965.
.\.,
.\.
See ff.
Disegni del Tiepolo. Cata-
Shaw, J. Byam. The Drawings of Domenico London, 1962.
Tiepolo.
Restdenz. Frankfurt, ig43-
A
TORKI.l.
very sensitive study.
Knox, G. Catalogue of the Tiepolo Drawings in Victoria and Alhert Museum. London, i960. Fundamental for the study of Tiepolo
the
I
Bjurstrom,
as
.An
draughtsman. Knox, G. 'The Orioft .\lbum of Tiepolo Drawings',
TRAVERSI
Burl.
Mag.,
cm
Bollettino
del
Aiusei
Civici
Veneziani,
xi
Album published
in
in Vita Artistica,
11
Quintavalle, A. G., in Paragmie,
(1927).
1946 by G. Loren-
(1956), no. 81.
\ii
TREVISANI Griseri,
ff.
225 sheets of drawings in the Museo Correr, supplementary to the publication of the Gatteri
and Baroque Stage
Torelli
Reconstruction of Traversi's career.
Knox, G. 'Giambattista Domenico Tiepolo: "The Supplementary Drawings of the Quaderno Gat(1966), no. 3,3
Giacomn
important contribution.
Longhi, R.,
(1961).
Catalogue of g6 drawings.
teri" \
P.
Design. Stockholm, 1961.
.\.,
m
Paragone,
Xiii (1962), no. 153.
VACCARiNi see Sicily under heading cities and provinces :
zetti.
Knox, G. 'G. B. Tiepolo and the Ceiling of the
Scalzi',
Burl. Mag., CX (1968), 394.
Knox, G. Tiepolo. .4 Bicentenary E.xhthition 1770igjo. Fogg Art Museum, Harvard Univ., 1970.
vaccaro,
a.
Commodo
Izzo,
M.
.4ndrea Vaccaro pittore. Naples,
1951.
Indispensable for students of Tiepolo as a
VALENTIN
draughtsman.
Ivanoff, N. Valentin de Boulogne. Milan, 1966. Longhi, R., in La Revue des .4rts, vili (1958).
Knox, G., and Thiem, C.
Tiepolo. Zeichmingen von
With
Giambattista, Domenico und Lorenzo Tiepolo aus der
Graphischen Sammlung der Staatsgalerie Stuttgart
.
.
catalogue.
VALERI
Stuttgart, 1970.
An
ceiivre
.
excellent, fully illustrated catalogue of
210
numbers. Lorenzetti, G. .Mostra del Tiepolo. Catalogo. Venice,
Valeri,
U. L' ultimo
allievo del Bernini
Rome, 1946. Monograph on
:
.4ntonio Valeri.
the uninteresting teacher of
Canevari, Salvi, and Vanvitelli.
1951-
With chronological survey and
full
biblio-
graphy.
Molmenti,
P.
The
G. B. Tiepolo. Milan, 1909.
classic
monograph.
Morassi, A. G. B. Tiepolo. His Life and Work. Lon-
VALLE, F. della Honour, H., in Connoisseur, cxli\ With ceuvre catalogue. Moschini, V.,
(1959).
in L'.4rte, xxviii (1925).
don, 1955.
A
reliable survey; selected bibliography.
Morassi, A.
A
Complete Catalogue of the Paintings of
G. B. Tiepolo. London, 1962. despite
Levey,
in Art. Bull.,
Puppi, L. di villa
'I
Tiepolo
Valmarana
a
the
harsh
a S. Bertiano', .4tti dell' Istituto
Veneto di Scienze, Lettere ed
Briganti,
.-irti
(Classe di scienze
A
G.
G. Caspar Van Wit tele
settecentesca.
criticism by M. XLV (1963), 293. Vicenza e le statue dei "Nanni"
Basic,
VANVITELLI,
Rome,
I'
nrigine della veduta
1966.
broad study of topographical landscape
painting. CEuvre catalogue; richly illustrated.
Supersedes
all
previous writings on G.
Review W. Vitzthum, 317
f-
BIBLOSARTE
Burl.
v.
W.
Mag., Cix (1967),
6i9
VANVITELLl,
Oechshn, W. 'Ln tempio
L.
Atti dello VIII lanvegno nazumale di siorui
Rome,
tettura.
The
1956.
by many authors
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La
R.
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Reggiii di Caserla. Laiori cosio
effetti delld aistruzume.
G. La Reggiu
Rome,
di Caserta.
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M. Funzioni simboli Reggia di Caserta. Rome, 1963. Fichera, F. Liiigi lurivitelli. Rome, 1937. Not very
Portoghesi, P. Bernardo
some documents, bib-
satisfactory;
Illumimsmo
203
Viiione.
Rome,
Rococo.
e
I
n artliiletto ira
1966.
cation of about 20 papers (presently in the
Clementino Van\
im Ehrenbogen
Rhm. Jahrh.
in .Ancona',
architects, of
For the time being the standard monograph. .\ new situation will be created by the publi-
documents. E. 'Der .\rco
die Statue Cornacchinis
di Architettura e Rilie\o
considerable interest.
liography-
XII
Elementi
Monumenti. Scholarly work by
valori delta
Galasso, E. V'atniielli n ficHt'cCH/^. Benevento, 1959.
W.
co-operative enterprise published by the
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New
valuable collection of facts.
Panizza, A., a.o. S. Liiigi Gonzaga di Curteranzo. Turin, 1970.
New
1937.
I'lttone.
Turin, 1920. .\
based
a social historian
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the .Accademia di S. Luca, 1733. Olivero, E. Le opere di Bernardo .intnnw
ed., u)6q.
Stoppel,
di .\losc. I disegni ofterti da Vittone all'Accademia di San I.uca nel 1733',
Identification of Vittone's reception piece for
Milan, iq68.
Important study by on new documents. Chierici,
.\.
Bull. d'Arle. Lii (1967), 167
Vanvitelli.
CaroseUi,
B.
\olumc with contribu-
half of the
first
tions
ileH'iiri/ii-
und Clemens
fiir
Kunstg., Xil (1969),
f.
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ff.
Vanvitelli, L. Dichiaraztone dei disegni del real palazzo
Turin.
in
Rodolfo, G., in
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.•///;
.\v(i933).
Documents. Wittkowcr, R. 'Vittone's Drawings
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With engravings of Vanvitelli's
ArtsDccoTaiiis'yin
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Art presented
S
in the
Musee des
udiesm Renaissance and Baroijue
I
Anthony Blunt. London, 1967.
lu
VASANZio (Van Santen) Hoogewerfl, G. (1942),
J., in
and Arch,
Roma,
della R.
\i (1928), Palladia, \\
VITTOZZI
Dep. ronuina
Carboneri, N. Ascanio
di
sluria
Maniensmo
patria, LXVl (1943).
.•\
VASSALLO
fully
view bv V. .Moccagatta
Grosso, O. 'A.
M.
Vassallo e
la
pittura d'animali nei
primi del '600 a Genova", Dedalo.
iii
(1922
183
L
n architetto tra
in Palladio. \\
1
(
1966),
ft.'
Scotti, A. Ascanio Vitozzi ingegnere diicale a Torino
3).
of
(publication
VER.MEXIO .^gnello, G.
Vilozzi.
Rome, 1966. documented critical monograph. Re-
e Baroccn.
the
Istituto
storia
dell'arte
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.Vlilano).
di
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/ Vermexui. Florence, 1959.
VITTONE
WITTEL,
G.
ZANCHI,
A.
VAN
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VANVITELLI,
G.
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Brayda,
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i
Riccoboni,
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m Quadenii. xiiqf^T,), nos 55-60, 59-74.
Discussion of the Turin
\
olume of drawings
.\.
'.\ntonio Zanchi e
la
pittura vcneziana
del Seicento', Saggi e .\lemorie di storia delFarte. v
(1966), 55-134.
preparatory to V.'s publication of his Treatise
Full biography, catalogue raisonne. and biblio-
of 1766 and publication of drawings for the
graphy.
church Carboneri,
at
N.,
Pecetto Torinese.
and
\'iale,
V.
Bernardo
I'lltone
ZLCCARELLI Bassi Rathgeb,
architetto. \ercelli, 1967.
First-rate exhibition catalogue, published
on
Zuccarelli.
R.
in album
Bergamo, 1948.
the occasion of the restoration of Vittone's S.
Chiara
at Vercelli.
BIBLOSARTE
inedilo
di
Francesco
620
•
Levey,
BIBLIOGRAPHY
M.
J'^59)Rosa, G.
'F. Z.
in
England', Italian Studies, xiv
zumbo Lightbown, R. W.,
Ziicairelh. Milan, 1952.
Slight text.
563
in Burl. Mas;., cvi
(1064) t 486
fl
ft
pjrst professional attempt at assessing the in
wax of this remarkable
BIBLOSARTE
artist.
work
LIST OF ILLUSTRATIONS
Sculpture; If the
medium
is
not given,
it
is
always
marble
Annibale Carracci;
The
Farncse Gallery, begun
1597. Frescoes. Rome, Palazzo Farnese (G.F.N.)
Painting; If the
medium
is
not given,
it
is
always
oil
Abbreviation G.F.N. Gabinetto Fotografico Nazion;
ale,
18.
Rome
19.
Annibale Carracci; Polyphemus. Farnese Gallery
[cf i8| (G.F.N.) 20. .\nnibale Carracci
;
The Triumph of Bacchus and |cf. i8| (Anderson) The .Assumption of the Virgin,
Ariadne. Farnese Gallery 21.
Annibale Carracci
1601. Rome. S. Villani 1.
Rome,
2.
Flaminio Ponzio; Rome, S. Maria Maggiore, Cap-
piazza and fa(;ade of St Peter's (Anderson)
1605-11 Maria Maggiore, Cappella Paolina, I'omb
peila Paolina,
Rome,
3.
S.
of Paul V, 1608-15 (Alinari)
Rome,
4.
S.
S.
Gregorio Magno,
1629-33 (Alinari) Flaminio Ponzio and Giovanni Vasanzio; Rome, S.
6.
Flaminio Ponzio and Giovanni Vasanzio; Rome,
S.
30.
Mondragone. Garden
front.
1573, continued by Vasanzio, 1614 21
Flaminio Ponzio; Rome, Acqua Paola, 1610 14
(Anderson)
c.
1614.
Padrt Mer-
his Father, 1628.
van Laer(?); The Brandy-Vendor,
after
Domenichino; St Cecilia before the Judge, 1613 Fresco. Rome, S. Luigi de' Francesi (Anderson) Francesco .Albani; Earth, one of a series of The
14.
Four Elements, 1626-8. Turin. Pinacoleca (Alinari) Guido Reni; The Triumph of Samson, c. 1620. Bologna. Pinacoleca
Caravaggio; Bacchus,
c.
1595. Florence,
Uffizt
Palazzo 33.
Caravaggio; Supper at Emmaus, c. 1600. London, National Gallery (Reproduced by courtesy of the
34.
12.
Trustees, the National Gallery, London) 13. Caravaggio; Conversion of St Paul, 1600-1. Rome,
Maria del Populo. Cerast Chapel (Anderson) Caravaggio; Raising of Lazarus, 1608-9. Messina,
Museo Nazwnale (Alinari) Caravaggio; Martyrdom of St Matthew,
15.
1599.
Rome, S. Luigt de' Francesi, Conlarelli Chapel (Anderson) 16. Annibale Carracci; The Virgin with St John and St Catherine, 1593. Bologna, Pinacoleca (Alinari)
Lodovico Carracci; The Holy Family with St Francis, 591 Cento, Museo Cnico (A. Villani& Figli)
17.
1
Guido Reni;
32.
(Alinari)
S.
dei
31.
(Alinari)
14.
preaching,
Casa Generaltzta
Giovanni Serodine; Portrait of
28. Pieter
Begun
11.
della
Fontane (G.F.N.)
Raymond
cedart (.Alinari) 27.
29.
10.
alle Q^uattro
Carlo Saraceni; St
Rome. Chiesa
Giovanni Vasanzio; Rome, Villa Borghese, 1613From a painting (Anderson)
byM.Longhi,
Orazio Borgianni; St Charles Borromeo, 161 1-12.
Rome, S. Carlo
1625. Rome, Galleria Naztonale (G.F.N.)
15.
9. Frascati, Villa
Figli)
;
Sebastiano, 1609-13 (Alinari) 8.
&
Orazio Gentileschi; The .Annunciation, probably
Lugano. Museo Ctvico (V. Vicari author's copyright)
Sebastiano, 1609-13 (Alinari) 7.
with a .Monkey, before
1623. Turin, Pinacoleca (Anderson)
26.
Rome,
Man
1595. Florence, ijfizi (\. \ illani
(Alinari) Battista Soria;
Alba, S. Maria Maddalena, 565"
518",
522*^"
558"
Palazzo Ghilini (now del Governo), 565'^
265
Aglie, S. Marta,
81), 160
(ill.
"''O,
'''4-
89), 170, 172, 189, 195, 206, 212, 246, 279,
363, 442, 443, 526", 527"', 532'", 539-\ 543", 544", 566-
Alexander VIII, 440
BIBLOSARTE
632
INDEX
•
Alfieri,
Benedetto, 561% S^3*'^ 5^5"
Arigucci, Luigi, 540^'
Algardi, Alessandro, 138, 172, 261, 265, 266, 266-72 (ills.
162-7), 274, 308, 309, 310, 311, 312, 313, 314,
317, 318, 318-19, 322, 433, 436, 439, 440, 448, ,540^544^''^',567^',568^", 569^" 535' Algarotti, Francesco, 368, 553'", 554",
Aristotle, 69, 140, 535*
Arpino, Cavaliere Cesare
Arsoli, Palazzo
Allegory, 252-3, 445-6
Arti
AUegrini, Francesco, 330, 547^^ AUori, Alessandro, 98
Asam
(ills.
267, 268)
Massimo, decoration, 572'* 578'"''
brothers, 161
Piceno
Aspetti, Tiziano, 450
Asselyn, Jan, 323 Assereto, Gioacchino, 105-6
Antonino, 560'°*
Astarita, Giuseppe, 543''
Giacomo, 400, 560''
Aste,
560'"''
Andrea
dell',
(ill.
48), 347, 519^*, 551**
571'
Aste, Francesco d', 540^^
Paolo, 400, 560-'
Asti
Palazzo Alfieri, 565'^
Ambrosini, Floriano, 122 Ameli, Paolo, 377,
4), 33, 34,
S. Angelo Custode, facade, 538' Ascona (Serodine), 76-7
Galanino Valmarana, 557"'
Altieri, Giovan Battista, 290 Alzano Maggiore, S. Martino (Fantoni), 448 Amato, Andrea, 560'°*
Lorenzo,
(ill.
Chiesa del Carmine, fa9ade, 538'
Altavilla Vicentina, Villa
Amato, Amato, Amato, Amato,
32
Bologna (Carracci), 494, 496,
di
.'\scoli
Allori, Cristofano, 98, 518'''
Aloisi, Baldassare, see
d', 26, 28,
38, 45, 141, 173, 323, 356, 507", 508", 510"
Arrighi, Antonio, 391
574"
Luciano, 560""
All,
Ariosto, 486
S. Catarina, 565'-
556^''
Amico, Giovanni Biagio, 400-1, 560"^ Amidano, Giulio Cesare, 518'^ Amigoni, Jacopo, 462, 465, 479, 483,
Atri, cathedral, baldacchino, 176
572*,
576'^
August the Strong of Saxony, 414 Avanzato, Giovanni de, 560^' Avanzini, Bartolomeo, 291, 541^*
577"-", 578""
Ammanati, Bartolomeo,
Azzolino, Gian Bernardino, 356
125, 237, 370, 539^^
Amorosi, Antonio, 495
Arco Clementine, 395
Baalbek, temple, 210, 244, 529'^ Babel, Tower of, 529'"
Gesii, 395
Baburen, Dirck van, 78
Ancona
GauUi
lazzaretto, 395
Baciccio, see
lighthouse, 395
Badalocchio, Sisto, 78, 80, 85, 5i3'>'^', 5x6^^ Bagheria, villas, 401, 56o''"''°'
quay, 395 statue of Clement XII, 566"
Baglione, Giovanni, 28, 33, 35, 73, 74, 141, sh' Bagnaia, Villa Lante (.'\rpino, Gentileschi, Tassi),
Andrea, Giovanni, 551"
5o8^\
Andreasi, Ippolito, 107
Andreozzi, Anton Francesco, 542^-, 568^-'
^
Bagnoli di Sopra, Villa Baker,
Anesi, Paolo, 501
Thomas,
Widmann
(A. Bonazza), 570^''
150, 568-'
Mario, 550"'
Angeli, Giuseppe, 576""
Balassi,
Angelini, Francesco Maria, 390-1
Balbi, Alessandro, 122
Angeloni, Francesco, 39 Ansaldo, Andrea, 105-6, 551**
Baldi, Lazzaro, 330, 546'
Amelia, Donato
Baldinucci, Filippo, 161, 172, 212, 542*^
dell',
Baldini, Pietro Paolo, 546'
568^'
Balestra, Antonio, 461, 462, 479, 5,^76.77,80^5^810,
Antuhita romane (Piranesi), 364 Aprile, Carlo d', 459 Aprile, Francesco, 315
(ill.
205), 316,
sW'^
545^*
Aranjuez, S. Pascal (Mengs, Tiepolo), 486 Architettura civile (Guarini), 404, 405, 412, 413, 424,
562"
341),
Giacomo, 543'
Bamboccianti, 265, 266, 323, 515'*, 546* Bambocciate, 77, 515'* Bandini, Giovanni, 133, 523'^ Bandini, Ottavio, 543''
palace, 178, 527*'
Maria dell'Assunzione,
527""
(ill.
Bandinelli, Baccio, 134
Ariccia
S.
Balsimello,
483-4
;
(Naldini), 544^"
176, 178-81
(ills.
98-101),
Baratta, Francesco, 160, 305, 306, 308, 536-*, 543' Baratta, Francesco (brother of Giovanni), 568^^
BIBLOSARTE
633
Baratta, Giovanni, 447, 568'' Baratta,
Bencovich, Federico, 474, 479, 482, 48^ 576"", ""
Giovanni Maria, 217, 540-"
Baratta, Pietro, 568^', 570'' Baratti, Antonio, 503
Benedict XIII, 363, 439, 443 Benedict XIV, 364, 439
Barberini, Antonio, 263, 322
Benefial,
Barberini, Francesco, 112, 146, 231, 235, 246 Barberini, Giovan Battista, 568^''
Benso, Giulio, 551"
Barberini, Taddeo, 112
Barbiani, Domenico,
Museum
310)
Marco, 468 (ill. 328), 469, 471, 484, Bensberg Castle (Pellegrini), 483
Bergondi, .Andrea, 308, 567'" Bergonzoni, Giovan Battista, 291 2 (ill. 184), 541*" Berhn (Algardi), 267-8 (ill. 163), 535"; (Baglione),
227)
(ill.
cathedral (Fanzago), 319 Barnabite Congregation, 40
74, 514"; (formerly, Caravaggio), 510"; (formerly,
'Barocchetto', 393 Barocci, Federico, 28, 34, 41, 91, 92, 95, 97, 98, 99, 105, 5i8Baroncelli, Giovanni Francesco, 563"'
Cerano), 99; (formerly, Duquesnoy), 278
537^^ (Gentileschi),
(ill.
108
Bernard, F., 563*Bernardi, Giuseppe, 57o'"'^5'>"
Barozzi, Serafino, 292
Bernardi-Torretti, Giuseppe, 570**
Barra, Didier, 359, 552"^ Barthel, Melchior, 569^"
'Bernardo,
Bartolommeo, Fra, 58
Bernero, Giovanni Battista, 450, 569'"
Baschenis, Evaristo, 350, 351 (ill. 234), 362, 493 Bassano, Jacopo, 95, 348, 505
Bernini, Gianlorcnzo, 24, 34, 38, 63, 112, 113
Bassano
Museo (di
Monsu\
see Keil
Bernasconi, Giuseppe, 121,
519^'^
Bernini,
sii^*"
Domenico, 172 (ill.
53),
114, 115, 127, 132, 136(111.70), 137, 138, 139, 140, 141,
Civico (Bernini), 170
Sutri)
174),
514''; (LcKatelli), 546'; (Lys),
Baronius, Cardinal, 23, 40, 509^"
Bassano,
(ill.
340), 576"""
etc.), 515''
Barletta, 399
Bassano, Leandro,
572"'-2'>
Bergantino, parish church (Bencovich), 482, 483
(Albani
Bardi, Ainolfo de', 345
540), 485,
Beretta, Carlo, 448 Bergamo, Colleoni Chapel (Tiepolo), 485
558''''
Barbieri, Giuseppe, 548^^
Barcelona,
(ill.
(ill.
(ill.
94)
Romano, Palazzo Odescalchi
(Albani, Domenichino, etc.), 79, 509^"* Bassetti, xMarcantonio, 5o8-\ 515", 520'"
142, 143-96
(ills.
71
108,
1
10-13), 197-8, 203, 206,
210, 219, 227, 229, 231, 234, 236, 237, 239, 242, 246, 247, 250, 261, 265, 266, 267-8, 269-70, 271, 272, 274, 275, 278, 279, 280, 284, 285-6 (ill. 181), 289, 29 1 , 303,
308,309,310,311,312,313,
Bassi, Martino, 120, 522''
305, 306, 307,
Bath, Royal Crescent, 399 Batoni, Pompeo, 468 (ill. 329), 470, 484, 493, 572'" Battaglia, Francesco, 560'""
203), 315, 316, 3i7->8, 323, 325, 334, 337, 354- 355,
363, 369, 370, 375, 376, 419, 422, 427, 431, 433, 434,
435, 436, 439, 440, 442, 443, 444, 446, 447, 448. 456, 458, 487, 52i'\ 524'", 529^ 545''540'^ 543"'", 544'"'
532-'",
Battaglioli, Francesco, 579'-'
564'", 567-=-, 568^' -''•"^\ 569^"-
5"
Battistello, see Caracciolo
Battaglio, 541^*
^
Bayreuth, opera house (Bibiena), 574^^ Bazzani, Giuseppe, 478-9
(ill.
337),
576-^'''*''
Beaumont, Claudio Francesco, 476-8, 575^^
^
524-, 543^ Berrettini, Francesco, 531"
Bellange, Jacques, 348
Berrettini, Lorenzo, 550''*
Bellarmine, Cardinal, 313-14
Berrettini, Luca, 532'', 533^"'
Giovanni, 266, 274, 314, 327, 337, 469, 547-S
Berrettini, Pietro, see
*°"
Cortona
Berrettoni, \iccol6, 467, 548^'
572-"
535-', 538'*,
548^ S62'^
563''.
Bernini, Luigi, 305, 528'"', 543Bernini, Pietro, 30, 128-9 ('"• 64). 134, '43- 523*",
Bella, Stefano della, 346, 550"'
Bellori,
314(111.
Bellotto, Bernardo, 479, 503, 579'-*"
Bertola, Antonio, 562", 563-"*
Bellotto, Pietro, 495
Bertoldo, 133
Bellucci, Antonio, 349, 483 Beltrami, .\gostino, 552'"'
Bertotti-Scamozzi, Ottavio, 372, 389
Belvedere, Andrea, 578""
Bianchi, Francesco, 518'"
Belvoir Castle (Dou), 537^-
Bianchi, Marco, 391
Benaglia, Paolo, 567'^
Bianchi, Pietro, 366, 553'\
Bettino, .Antonio,
562"
BIBLOSARTE
567"
634
INDEX
Bianco, Bartolomeo, 123 5 ('"s- fto, 61), 2yo, 522^"" Bibicna, Antonio, 39 1, 476, 574'' Bibiena, Ferdinando, 364
6,
474-6, $$4^, 556*", 574""
Bibiena, Giuseppe, 475 (ill. 335), 476, 565"\ 574^' Bibiena lamily, 474-6, 498, 574^' Biffi, Andrea, 99, 134
Giovanni, 98,
Bianconcini (Mazza), 569^" Cloetta-F*"antuzzi (Canali),
292
1
16-18
120,
122,
(Carlevarijs),
501;
(ill.
55),
521^2.23
(Gentileschi), 74, 514"
Battista, 524"'
Bizzacheri, Carlo Francesco, 376, 540^', 555"^
Blanchard, Jacques, 535'"
Casa del
Giustizia, di (Piacentini), 390
266)
see
(ill.
558''"
Magnani-Salem (Carracci), 64, 512^ Malvezzi-De Medici (Torreggiani), 391 Pepoli (Canuti), 548*-^; (Creti), 471 Sampieri-Talon (Carracci), 512^ Scagliarini, 558'"
Other secular buildings,
Comune
Bloch, Dr, Collection (Gentileschi), 514'
Bloemen, Jan Frans van, 561"
galleries, collections
472 (ill. 332), 574^^ Esposti, Ospedale degli (Spada), 94
Orizzonte
(Creti),
Blois, staircase,
Galliera, Porta, 291
Blondel, F., 372
Bocchi, Faustino, 574^*
Liceo Musicale (Torreggiani), 391 Linificio Nazionale, Casa del, 558''*
Boetto, Giovenale, 561', 578'°'
Pinacoteca
Boffrand, Germain, 563''^ Bolgi, Andrea, 305, 305-6
(ill.
391
Montanari, 390 391, 553^; (Angelini), 391
551**'*
Domenico and Giovan
(Borelli, Torreggiani),
Ghisilieri, see Linificio Nazionale,
Hercolani, staircase,
Biscaino, Bartolomeo, 353, Bisnati, Alessandro, 116
;
Fava (Carracci), 64, 88, 512*
518'''
115,
Birmingham, City Art Galler>
Bissoni,
Palazzi
Davia-Bargellini, 291
Bigari, Vittorio Maria, 474, 553", 574^^ Biggi, Francesco, 569^Biliverti,
59), 281
(ill.
Credito Italiano, 558'"
Binago
Binago, Lorenzo,
Pietro, S., 122, 522^"
Salvatore, S., 122
Stefano, S. (Tiarini), 92
Bibiena, Francesco, 474-6, 574^'
Biffi, see also
Bologna conlinued
195), 318,
523",
SAl,'^'''"'
(."Vlbani), 82 (Bigari), 474 (Cantarini), 342-3 (ill. 224); (Carracci), 58, 59 (ill. 16), 60, 62, 68, 5120", 5i6^'«; (Cavedoni), 93 (ill. 38); ;
;
BoUi, Bartolomeo, 391, 554^ Bologna, Giovanni, 130, 132-3, 134, 154, 319, 446, 542"'
(G. M. Crespi), 473 (ill. 334); (Faccini), 95; (Guercino), 88; (Mastelletta), 94 (ill. 39); (Reni),
Bologna
(Tiarini),
Churches
Bartolommeo,
S. (Albani),
83
Celestini (Burrini, Haffer),
83-4
31),
(ill.
85,
150,
474 Colombano, Oratorio S., decoration, 82, 518" Corpus Domini (Franceschini), 471, 474; (Haff-
Bolognetti, Giorgio, 315 Bombelli, Sebastiano, 493
ner), 474 Domenico,
Bonaventura,
'";
Bonarelli, Matteo, 543' S.,
518*; (Carracci), 62; (Mastelletta),
95; (Spada), 94-5; (Tiarini), 92, 93
(ill.
37)
Giacomo Maggiore,
S. (Cesi), 518" Girolamo ed Eustachio, SS., 537'
Bonazza, Giovanni, 57o'5-56
Lucia, S., 281, 282-3, 522*', 537' di S.
St, 55
Bonavia (Bonaria), Carlo, 498, 579"' Bonazza, Antonio, 570''' Bonazza, Francesco, 570'"
Gregorio, S. (Carracci), 60
Madonna
517'"
92 Teatro Comunale, 391, 574'" University (Tibaldi), 64 Zucchini, Casa (Angelini), 391
Luca, 370, 389-90
(ill.
265)
Bonechi, Matteo, 469, 573^''-*' Bonifiazio, Francesco, 546'
Maria della Purificazione, S. (Passarotti), 512'' Maria della Vita, S., 291-2 (ill. 184), SA^^""'*^ Michele in Bosco, S. (Canuti), 548^-
Bonito, Giuseppe, 465, 495 Bonone, Carlo, 92, 95-6 (ill. 40) Bonvicini, Pietro, 431, 565'"
Niccolo, S. (Carracci), 60
Bonvicino, .Ambrogio, 28, 30, 127, 508'' Bonzi, Pietro Paolo, 509", 533''-
Paolo, S., 122; (Algardi), 271-2
(ill.
167), 308,
536^'; (Carracci), 512"; (Cavedoni), 93; (Rolli), 549'"
Bordeaux, St Bruno (Bernini), 146 Borella, Carlo, 387, 557"'
Giacomo,
Petronio, S. (G. Rainaldi), 537'
Borella,
Philip Neri, Oratory of St, 390
Borelli, G., 391
557'''
BIBLOSARTE
(Spada), 94;
635
Borghese, Scipione, 33-7, 38, 79, 82, 84, 143, 144 5, 146, I4g (ill. 76), 167, i6y, 267-8, 517^'', 525", 535-' Borghini, Raftaello, 21
Broeck, Hendrick van den, Bronzino, .Angelo, 46, 73 Bruegcl, Jan, 43, 70, 509"'-
Borgianni, Orazio, 41,7^, 74 514'"
Brunelleschi, I'ilippo,
5
(ill.
25), 77, 107, log,
Brunelli, .Angiolo, 57
Borgo d'.Mc, Chiesa Parrocchialc, 565"' Borgognonc, .Michel, sec Maglia, Michele Borgomancro, S. Bartolomeo (.Morazzone), 5 19-' Borremans, W illem, 571 Borromeo, St (iharles, 21, 25, 40, 41, 56, 75 (ill. 98, 103
(ill.
Borromeo,
47),
1
15,
205
(ill.
(ills.
17, 210, 295,
369
1'''
Brusasorci, Felice,
515"
Brussels
25),
120)
I'ederico, 42-3,98, 99, 116, 118, 121, 521-"
1
Fiamingo, .\rrigo
Brunclli, Francesco, 507''
Borromini, IVancesco, 112, 114, 115, 122, 138, 197-
229
1
see
14-38), 231, 235, 239, 242, 279, 282. 283,
286, 289, 291, 303, 328, 366, 369, 370, 372, 377, 392,
.Musce des Bcaux-.^rts (Baschenis), 351 (Guercino), 88
Musees Royaux 537"
d'.Art ci d'Histoire
(Duquesnoy
Private Collection
Brustolon, .-Kndrea, 453, Bufalo, Paolo, 218
(ill.
(Duquesnoy),
version), 537**
570''"
395, 403, 404, 405, 408, 409, 412, 415, 422, 430, 431, 5'J 433, 521", 528>^' , 532^% 533'', 540", 562'*, 564^'-
Buonamici, G.
565"'
Buonarroti, .Michelangelo, the younger, 535--;
Borzone, Luciano, 105-6
Burlington, Lord, 558"-, 563^',
Giovan
Both, .\ndries,
Busca, .\ntonio, 550"-
t^zt,
Bushnell, John,
Giovanni Maria, 355
Bouchardon, Edme, 246, 567"' Boucher, Fran(;ois, 465
Bussola, Dionigi, 134, 523"'
(ill.
576*''
Buzio, Ippolito, 30, 41, 127
296), 429
(ill.
Bracci, Pietro, 366, 436, 439-40, 443
297), 565''^ (ill.
310), 444 5
Buzzi, Elia Vincenzo, 448, 569" Buzzi, Leiio, 116
544'\5^7""'' Cabianca, Francesco, 452, 570"' "• Caccia, Guglielmo, see .Moncalvo Caccini, Giovanni, 132, 542''
Bracciano, Castle (Bernini), 150
Duke
of,
150
Bracciolini, Francesco, 252,
535"
Caffa, .Melchiorre, 307 8
Braconio, N'iccolo, 520^
Bramante,
1
Bravo, Cecco, 344, 348, 349
(ill.
(ills.
Cagnola, Luigi, 122 Cairo, Francesco del, 339, 340 (ill. 222), 350, Calandrucci, Giacinto, 328, 467, 572" Calcagnini, Carlo Leopoldo, 444 5 (ill 3'^)
232), 550"'
N'uovo, 117, 121-2, 522^' Palazzo Gainbara (Seminario Vescovile), 558'^
Calderari, Ottone, 389, 558''
Palazzo Soncini, 558'^
Caligari, the,
Duomo
(ill.
196, 197), 316, 319,
Cagnacci, Guido, 342-3, 549"
Brescia
Pinacoteca (Ceruti), 494
**
448.543""
17, 120, 225, 292, 297, 541*'
Brambilla, 134 Brandi, Giacinto, 315, 328, 330, 547" Bratislava Cathedral (Ferrata, Guidi), 568-"
Calderoni, .Matteo,
Callalo,
349)
549'''
570''"'
569" Paolo, 570"
Callot, Jacques, 125, 346, 359, 478, 542'^'
Lorenzo .Martire, facade, 557'" S. Maria .Maggiore (Fantoni), 448 Briano, Giacomo, 507"
Caltanisetta, cathedral (Borremans), 571
Brignole Sale, brothers, 392
Camassei, .Andrea, 141, 249, 321, 322, 330, 533" Cambiaso. Luca, 104, 115, 353
S.
Brill,
alsn
Battista, 579"''
Busiri,
Bracciano,
st-f
5'i9"'
Giovanni
Bottiglieri, .Matteo, 456, 571"'^
(ill.312),
525"
.\ntonio, 474, 574*'
Burrini,
Bra, S. Chiara, 428
90), 167,
Burckhardt, Jacob, 573-'
578""
Boselli, Orfeo, 537'"*
Bottalla,
(ill.
Buontalenti, Bernardo, 125, 126 (ill. 62), 132, 232, 237, 253- 302, 359, 393< 409, 542"". 553'. 559""
518'''
Boschini, Marco, 250 Bosclli, Felice,
F., 558"'
Buonarelli, Costanza, 166
.Michelangelo
Bortoloni, Mattia, 476, 484, 577**"
Boschi, Fabrizio,
234);
Calvaert, Denis, 82, 94, 513"', 516''
Mattheus, 43, 326, 509^^
Brill, Paul, 27, 35, 43, 7°^ 5^^^
Brizio, Francesco, 63,
497> 507"- 509'-
"",
Cambiaso, Orazio, 105
Camera
579'"
518"
ohscura, 579'
"''
Cametti, Bernardo, 436, 443-4
BIBLOSARTE
('•'
3"
).
44'> 7.
5^'*
INDEX
636
Camilliani, Francesco, 134
Carlone, Diego, 569^^
Gammas, G., 397 Campagna, Girolamo, 450 Campana, Tommaso, 33
Carlone, Giovanni .Andrea, 354, 474, 551'", 559'^ Carlone, Giovanni Battista, 354, 551'"
Campi, Giulio and Antonio, 45 C!ampi, Pier Paolo, 447 Ganal, Fabio, 577" Canal, Giovanni Battista, 503
Carloni, Taddeo, 134 Carmelite Order, 25, 137 Carneo, Antonio, 347, 550'*
Carloni, Carlo Innocenzo, 575^''
Caro, G. and F. de,
Canale, Antonio, see Canaietto Canaletto, 461, 479, 501-3 also Bellotto,
(ill.
Bernardo
527"**
Carpi, Santuario del SS. Crocefisso, 554' Carpioni, Giulio, 340, 346 (ill. 228), 347, 550'" Carracci, Agostino, 57-8, 63, 68, 70-1, 82, 85, 92, ",518" 512^% 513-
Canepina, Mario da, 539-^ Canevari, Antonio,
559**'
Cangiani, Anselmo, 542" Canini, Angelo,
548'''
Carracci, Annibale, 28, 33, 38-9, 39, 42, 43, 45, 57 ff. (ills. 16, 18-23), 73, 78, 79, 80, 81, 82, 83, 85, 91, 98,
Canova, Antonio, 270, 443, 453, 570*° Cantarini, Simone, 342-3 (ill. 224), 549''' Canuti,
Caroselli, .Angelo, 515'', 519'', 548'**
Carpegna, Palazzo Carpegna, 540** Carpegna, Ambrogio, 227
Canali, Paolo, 292
Candiani,
543''
Caro, Lorenzo de, 572" ubrr.. ^^^ 354), 57^124.
Domenico Maria,
328, 330, 333 343, 473, 474, 548"- '-,549"' Capella, II, see Daggiii
(ill.
216), 334,
109, 130, 145, 247, 250, 259, 265, 327, 367, 465, 468, 469, 479, 494, 496, 497, 509^-, 512'" 5i6^\ 524^ Carracci, Antonio, 33, 508-*' ,
Carracci, Lodovico, 57-8, 60-3
(ill. 17), 81, 82, 83, 86, 88, 92, 93, 94, 96, 109, 173, 261, 266, 473, 512^'',
Capodimonte, palace, 393, 559*' Cappelli, Cosimo, 523'^
5I6-^
Cappelli, Pietro, 498 Cappellino, G. D., 551**
Carracci 'academy', 58, 73, 78, 92, 267, 470, 512^ Carriera, Rosalba, 479, 493, 578"" Carrii, S. Maria dell' Assunta, 538", 564^^
Caprarola, S. Silvestro, 537^ Caracciolo, Giovanni Battista, 73, 92, 340, 356
(ill.
241), 358, 360, 551'', 552""
Cartari, Giulio, 317, 434, 545^'
Cartellaccio, see Castellaccio
Caraffa, Vincenzo, 138
Casale Monferrato
Caraglio, 133
Cathedral, vestibule, 562'*
Carattoli, Pietro, 556^*
S. Filippo, 562-^
Caravaggio, 24, 26, 28, 33, 34, 38, 39, 43, 45 ff, (ills. 1 1 15), 57, 63-4, 68-9, 71, 73 ff., 91, 92, 93, 94, 96, 103,
Caserta, former Royal Palace, 372, 393, 395-8 (ills. 271-3), 559'*''" ; fountains and gardens, 456, 457 (ill. 322); (Persico), 571'''
355
104, 106, 107, 108, 109, 130, 266, 340-1, 347, 350, ff., 362, 367, 433, 469, 490, 509«, 510"' , 515'",
Casperia, S. Maria
5i7^-^552i»«
Cassana, Nicolo, 577"
Caravaggisti, 73 ffCarbone, Giovanni Bernardo, 352, 353 Carcani, Filippo, 316, 434, 435 (ill. 302), 436, 448, 545^", 566=
Nuova
207)
Cassani, Lorenzo, 554' Castel Fusano, Chigi
villa, 232, 531'"; (Camassei), 249, 321; (Cortona), 249, 533'"; (Sacchi), 249, 262,
(ill.
247)
Castelgandolfo
Cardi, Ludovico, see Cigoli
papal palace, 185
Carducci,
S.
.^chille,
400
Ospizio di Carita, 430,
Tomaso
di Villanova,
181, 182, 422, 526'""^
Caricature, 71, 495, 513^' Carignano, 561^
Giovanni
(ill.
533'"
Career! d'Invenziotie (Piranesi), 364-6
S.
(Sassoferrato), 322
;
176-8
Castellaccio, Santi, 534**
Battista, 565^-
Castellamonte, .Amedeo
di,
403, 407, 561'
Castellamonte, Carlo
Carlini, .Alberto, 579"^'
Castellazzo di Bollate,
Carlo Emanuele
Castelli,
Domenico, 458, 459
Castelli,
Domenico
Carlo Emanuele
74,
96, 97), 180,
544--; (Sacchi), 272 565*"''
Carlevarijs, Luca, 501, 553", 579'^^
I,
(ills.
(Cortese), 527''"; (Raggi),
403
II, 403, 406, 407 Carlone, Andrea, 551"'
di,
403, 561'
A'illa
Crivelli (Galliari), 575'''
(papal architect), 540'"
Castelli, Francesco, 120
BIBLOSARTE
637
Castelli,
Giovanni Domenico, 197
Castelio, Battista, 104
Casteilo, Bernardo, 28, 104, 352, 509^" Castelio, Valerio, 341, 352-3 (ill. 237), 355, 359 Castellucci, Salvi, 550'''
Castiglione, Francesco, 354 Castiglione, Giovanni Benedetto, 104, 139, 325, 341, 35i< 352- 35.V4 (ill- 238), 355> SS'""
Castle
Howard
(A. Pellegrini), 482-3
Champaigne, Philippe de, 438 Chantelou, Sieur de, 157, 167, 171, 197 Chantilly (Domenichino), 310; (Poussin), 265 Chardin, J. B. S., 362, 496 Charles
I
Charles
II,
of England, 74, 167, 525'",
568^"
Emperor, 458 Charles VII, Emperor, 479
Charles III, King ot Spain, 486 Charles III of Naples, 393, 395
Castletown (Co. Kildare), 556^'
Charles Borromeo, St,
Casuistry, 138
Chateauneuf-sur-Loire, church (Guidi), 568^
Catania, 400, 401
Benedictine monastery, 401, Cathedral, fac^ade, 401
see
Borromeo
Chatsworth (Juvarra), 563" Chelsea Old Church (Raggi), 568-^ Cheyne, Lady Jane, 568-"'
560'"''
Chiesa Collegiata, 402
Chiari, Fabrizio, 548^^
Collegio Cutelli, 401
Chiari, Giuseppe, 467, 572'*
Palazzi: Biscari, 401;
Cerami (Borgianni), 514'";
Municipale, 401 S. Agata, 401
S. Placido,
Chiarini, .Marcantonio, 474, 574*' Chiaruttini, Francesco, 474
Chieri
402
S.
Catanzaro (Fanzago), 319 Cateni, Giovanni Camillo, 568"
Andrea,
faijade,
S. Bernardino,
415
428-30
Chiesa, Silvestro, 551*"
Catullus, 137
Chigi, Agostino, 178
Cavallermaggiore, S. Croce (or S. Bernardino), 564'^
Chigi, Flavio, 178, 186
Cavallini, Francesco, 315, 316, 545^^'"'
Chigi, Mario, 178
Cavallino, Bernardo, 359 (ill. 244), 360, Cavarozzi, Bartolomeo, 515''
Cavedoni, Giacomo, 92, 93-4 Cavrioli, Francesco, 452
(ill.
552""'"
Chioggia, cathedral, 299, 541'*
38), 342, 358, 518"
Celesti, .\ndrea, 349, 550'"*
Ciarpi, Baccio, 231, 322
Cifrondi, Antonio, 496
Benvenuto, 154 Cenni, Cosimo, 523"^
Cignani, Carlo, 343, 469, 470, 471, 473, 474, 476,
Cennini, Bartolomeo, 523"
Cento Casa Provenzale (Guercino), 88 Museo Civico (Carracci), 60-2 (ill.
482, 572'", 573-"' Cignani, Felice, Filippo, and Paolo, 573"' Cignaroli, Giambettino, 484, 485 17), 512'*
43), loi, 103, 116, 120, 519-'"%
(ill.
342), 577"**
Cignaroli, \'ittorio .Amedeo, 478, 575'^
Cigoh, Lodovico, 28, 33, 34, 35, 55, 92, 97-8
(ill.
42),
104, 107, "09- i25> 5'8'*, 520', 523'-
549"
Cino, Giuseppe, 400 Cipper, Giacomo Francesco, 496
Ceresa, Carlo, 350, 493, 550'*' \'illa Alari-Visconti, 558''
Cernusco,
Cerquozzi, xMichelangelo, 323
(ill.
Cipriani, Giovanni Battista, 573--
208), 546"
Giovan Domenico, 266, 321, 322, 547"' Ceruti, Giacomo, 476, 493-4 (ill. 349), 496, 557'''"i Cerrini,
5^898.107
Cesari, Giuseppe, see Arpino, Cavaliere d'
Cesena, .Madonna del Monte, staircase " Cesi, Bartolomeo, 518' Cesi, Carlo, 546', 548'^ Sir William, 397
Cipriani, Sebastiano, 538'"
Circignani, Nicolo, see Pomarancio, Nicolo Citta di Castelio, Matteo di, 40, 509*" Cittadini family, 578""
Cervelli, Federico, 349
Chambers,
Marinetti
Ciampelli, .\gostino, 27, 97, 141, 247
5-'
Cellini,
(ill.
see
Christmas cribs, 456, 571''' Ciaminghi, Francesco, 568'^
Celebrano, Francesco, 456
Cerano, 92, 98-9
Chiozzotto, U,
Christina of Sweden, 185, 554"
Cecil, John, 568-"
Celio, Gaspare, 34, 38, 51
Chimenti da Empoli, Jacopo, 97
hall,
Cividale, cathedral,
554'
557"
Civitavecchia, arsenal, 185
Claude Lorraine, 43, 70, 82, ^26, ^27, 497, 501, 534", 575'-^
Clement VIII,
23, 25, 26, 27, 28, 30, 38, 40, 41
BIBLOSARTE
638
Clement I\, 443, 538'", 545^" Clement \, 2i)0, 443, 544-'' Clement XI, i^i, 364, 375, 573'' Clement XII, 363, 364, 382, 395, 438, 442, 556^\ 566' 567" Clement XIII, 364, 443 Clement XIV, 364
Correggio, 58, 60, 62, 69, 81, 85, 86, 88, 91, 93, 95, 96, loi, 252, 258, 259, 276, 332, 334, 352, 355, 471, 479,
5i8'\536'" '
Clemente, Stefano Maria, 450, 569^' Clementi, Rutilio, 507"
(Reni), 84, 517*"
Corsini, Agostino, 567'" Corsini, Filippo, 392 Corsini, Neri, 438, 439
(ill.
567"
305),
Cort, Giusto, see Corte Corte, Josse de, 450-2
Museum
of Art (Magnasco), 477 Coccapani, Sigismondo, 518"* Cleveland,
Corsham Court
(ill.
336)
(ills.
317, 318), 569'", 570*'
Corteranzo, S. Luigi Gonzaga, 565" Cortese, Giacomo, 330
Coccorante, Leonardo, 498, 579"'' Codazzi, Viviano, 323 (ill. 208), 546"*, 552'"
Cortese, Guglielmo, 330, 467,
Colbert, Jean-Baptiste, 187, 188, 189, 528"^
Cortona, Pietro da, 41, 138, 141, 142, 146, 173, 174, 178, 184, 188, 197, 199, 213-15, 225, 231-59 (ills.
Coli, Giovanni, 547;"; 548;^ Cellini, Filippo
^30,
^^4, 336
218), 349, 546',
(ill.
526''*,
527™, 546', 572",
579"^
139-58), 261, 262, 263-6, 268, 274, 279, 280, 283,
and Ignazio, 450, 569"
286, 289, 291, 301, 305, 316, 321, 322, 324, 328, 330,
Cologne, cathedral (Fortini), 568"
334> 337, 339, 344, 345, 347, 354-5, 37°, 380, 390, 399,
Colombo, Bartolomeo, 548'^ Colonna, Angelo Michele, ^43
403, 448, 462, 464, 467, 469, 470, 479, 487, 528""."5, 53031^ 531, rr,^ 535,,.^ 538.., 546.^
(ill.
225), 474, 476,
549", 551"^ Colonna, Marcantonio, 548^^
548", 560", 57I^ 572'5, (ill.
337)
Museum of Art (Carpioni),
346 (ill. 228) Comanini, Gregorio, 21 Cominelli, Andrea, 557^** Commodi, Andrea, 231 Conca, Sebastiano, 382, 465-7
Giacomo
di,
(ill.
Cosimo Cosimo Cosimo
327), 476, 572"'''-
"*,
125, 126, 253
Grand Duke, 133 Grand Duke, 469,
III,
Conti, Francesco, 573-''
Courtois, Guillaume, see Cortese
Cozza, Francesco, 321, 330, 331 Crabeth, 78
Coppola, Giovanni Andrea, 358
Palazzo Albergoni, 558*"
Maria
della Croce, 541^^
Palazzo Dati, 391 (ills. 267, 268) Palazzo Stanga, 371 (ill. 248), 554* Crescenzi, Giovan Battista, 38, 43 Crespi, Daniele, 103-4 ('" 47)
557-^''
Crespi, Giovanni Battista, see Cerano
de, 372
Cordier, Nicolo, 30, 41, 127,
Crespi, Giuseppe Maria, 341, 461, 472
523''-
Cordova, mosque, dome, 412
473-4
Corfu (Corradini), 453
(ill-
Crespi, Luigi, 474, 574^-
Cornacchini, Agostino, 318, 436-8
(ill.
304), 446-7,
545^566",567'^'^
Cresti,
Domenico,
see
Passignano
Cornaro, Caterino, 570^'
Donato, 471-2 Cristiani, G. F., 372
Corradi, Pier .Antonio, 125, 559^^ Corradini, Antonio, 453 (ill. 319), 454, 456,
Croce, Baldassare, 33 Croce, Francesco, 558'^
571"^
(ill.
t,},],),
334), 481, 482, 491, 493, 494, 496, 503, 574", 576'"", 579'-"
Corenzio, Belisario, 356
,
214), 546-
Cremona
Conti, Stefano, 501
55, 57, bO, 63
(ill.
SS. Trinita, 554^
Contini, Giovanni Battista, 376, 522^", 555^^ Conventi, Giulio Cesare, 266
570
568^^
(Galgario), 492 (ill. 348) Costanzi, Placido, 572"*
.S.
Cordemoy, Abbe
II,
Crema
127
82), 169, 171, 436, 458,
525-;'
Corbellini, Carlo, 521-',
I,
Costa di Mezzate, Conti Camozzi-Vertosa Collection (ill.
Concetto, 169-70 Concord of Free Hill with the Gifts of Grace (Molina), 24
Constantine, 150-1, 155
Cosatti, Lelio, 556^"
Costa, Gianfrancesco, 474 Costa, Stefano, 524*-
575^'
Conforto, Giovan
SIT,-'
Cortona, S. Agostino (Cortona), 258
Columbia, University of Missouri (Bazzani), 478
Columbia, South Carolina,
527' 566-\ 568-"
BIBLOSARTE
(ill.
307),
648
Monreale, cathedral, Cappella del Crocifisso, 400 Monrealese, see Novelli, Pietro
Naples Churches
Montalto, Cardinal, 145 Montalto, villa, formerly (Bernini), 145, 168
Agostino
Montano, G.
Angelo a Nilo, S., tombs, 571''^ Annunziata, dell', 395, 398 9, 559"
B., 521-', 530^568''*
Montauti, Antonio,
Monte, Francesco Maria
Monte
del, 38, 45, 510'
Berico, Sanctuary, 557"'
;
S., 542'^
noy), 278
(ill.
174),
537^\ 543^;
(Duques-
(Finelli), 543';
(Lanfranco), 357
cathedral, 34, 538'"
Montecchio Maggiore,
Zecca,
Apostoli, SS., 127; (Borromini), 530''';
(Marinali), 570'*'
Montecassino, decoration, 447
Monte Compatri,
alia
.Agostino degli Scalzi, S., 127
Arcangelo
Villa Cordellina, 558"-
a
Ascensione
Segno,
S. (Vouet), 357, 551'""
a Chiaia, dell', 304, 542"^
Montelatici, Francesco, see Bravo
Carlo all'Arena,
Monti, Francesco, 472, 474, 574"" Monti, Francesco (of Brescia), 574^''''*
Carmine,
S.,
127
del, 127
Cathedral (Domenichino), 81-2, 357, 516^"; (Lanfranco), 357 Cappella del Tesoro, 1 27 (Fanzago),
Monticello di Fara, La Favorita, 557" Monticiano, S. Agostino (Manetti), 98
;
;
319; (Finelli),
Montirone, Villa Lechi (C. Carloni and Lecchi),
575^''
543'^;
(Solimena), 393
Crocelle, delle, 559"^
Diego airOspedaletto,
Montorsoli, 134 Montreal, private collection (Canaletto), 501 Moor Park (Amigoni), 483
Domenico Maggiore, S. (Caravaggio), Domenico Soriano, S. (Preti), 552""
Morandi, Giovanni Maria, 549^*^ Morari, Giovan Battista Maria, 565'^
Filippo Neri, S. (Reni), 55
Moratti, Francesco, 436, 447 Morazzone, 98-9, 99-101 (ill. 44), 339, 340 ^78, 5 19^'. ^7.^^54951
Gerolamini, dei, 383 Gesii Nuovo, 117; (Fanzago), 319; (Lanfranco), 357; (Solimena), 571''
Donnaregina
(ill.
221),
Morelli, Lazzaro, 317,318, 434, 528'"', 543', 545"' Moretti, Giuseppe, 503
''' '"'
Giacomo
Morlaiter,
Gian Maria, 453, 57o"'-^' Morlaiter, Michelangelo, 557"", 577"
Giovanni
Moroni, Giovanni
Giuseppe degli Scalzi, Giuseppe dei Vecchi a
Morosini, Francesco, 448 Mostaert,
Mozart,
see Pippi,
W.
(ill.
315)
Nicolo
Muttoni, Francesco, 389, 557*^ Muttoni, Pietro, see Vecchia
Muziano, Girolamo, 27-8, 43
Martino,
Mulier, Pieter, 575''
Munich Alte Pinakothek (F. Guardi), 503 Graphische Sammlung (Cortona), 532-' St Michael, 419
Mura, Francesco de, 393, 465, 476, 572", 575'^ Murgia, Francesco, 548^'' Musso, Nicolo, 515" Muti, G. A. G., 443-4 (ill. 311) Muttone, Giacomo, 558'^
S., 542'
S., 542'"
Battista, S., 543'^ S.,
304
S. Potito, S.,
303 Lorenzo, S., facade, 559*''; (Bolgi), 543' Maria degli Angeli, S., 127
Maria Maria Maria Maria Maria Maria Maria Maria Maria Maria Maria Maria Maria
A., 505
1"*
degli Spagnuoli, S. (Naccherino), 523'''
Giorgio dei Genovesi, Giorgio Maggiore,
493
358 52, 510*
(Sanfelice), 559*^
Moretto, 45
Battista,
S. (Caracciolo),
degli Angeli alle Croci, S., 542'" di Costantinopoli, S., 127
Egiziaca, S., 303, 304 Maggiore, S., 542"'
Mater Domini,
S.
(ill.
194), 542*'
(Naccherino), 543'
dei Aliracoli, S., 543''
Monti, S., 542"" Nova, S. (Caracciolo), 358
dei la
dei Pellegrini, S. (Naccherino), 134 della Pazienza, S. (Naccherino), 134 della Sanita, S., 117, 127 della Sapienza, S., 127, 304, 542''
succurre mis^ris,
S., 559**^
(Caracciolo),
358; (Dosio), (Fanzago), 302, 303 (ill. 193), 319, 542"'; (Finoglia), 552""; (Giordano), 463 (ill. S.,
127;
Mysticism, 139, 337
542""''';
Naccherino, Michelangelo, 128, 134, 305, 523''-*°,
324); (Juvarra's altar projects), 414; (Lanfranco), 357; (Reni), 551"**; (Ribera), 552'"-; (Ruoppolo), 361 (ill. 246); (Stanzioni), 55-2""; (Vaccaro),
543-"'
Naldini, Paolo, 312, 317, 319, 366, 544-", 54S^^*^''" Nancy, theatre, 574'"
571"; (Vouet), 551'""
BIBLOSARTE
i
649
Naples continued
Monte
Nebbia, Cesare, 27, 28, 507'"
della Misericordia, del, 543'^; (Caracci-
356 (ill. 241 ); (Caravaggio), 53, 54, 356, 510Nicola alia Carita, S., facjade, 393 olo),
Nunziatelle, delle, 393; (De Mura), 572" Ospedaletto, dell" (Solimena), 393
Paolo Maggiore,
mena), 464
(ill.
126-7; (Finelli),
S.,
325), 571^"; (Stanzioni), 358
(ill.
PP. delle .Missioni, dei, 370, 527"^
Sebastiano, S., 127
SS. (Fanzago), 319; (Nac-
Pendino,
Teresa,
S.,
Monache,
S., 542"'*
Nicephorus, 171 Nicholas V, 567'"
(ill.
62), 301,
523",
542"-'
Nollekens, Joseph, 537*-
NoUi, G. B., 379
Nome,
.\nna, 304, 542'-
di, staircase,
Novara
394-5
Museo
della Misericordia, 543'
Reale, 126; (Stanzioni), 358
S.
in,
394
(ill.
Other secular buildings,
;
360
(Carracci),
41); (Spada). 94
Gennaro, 304;
Olivarez,
Duke, 133
Olivieri, Pietro Paolo,
512'-,
513-'';
40
Omodei, Cardinal, 539^' Onofri, Crescenzio, 547-"
Oratory of St Philip Neri, 23
5-^ 1
see
Orgiano,
Comune
di,
\
ilia
Orlandi, Stefano, 474 Oropa, sanctuary, 561'-
Nauclerio, Giambattista, 393, 559"
Orsini, Fulvio, 63, 512'-
Navona,
Orsolino, .\ndrea, 392
F., 555-" Nazari, Bartolomeo, 479, 578""
4, 25,
40
Turchi
Orbetto,
Oria, 399 Orizzonte, 498
Maria, 401
Nappi, Francesco, 5 Nardo, 399 Natali, G. B., 573-'
S.
69,
Piazza Dante, 399 Teatro S. Carlo, 393, 559"'
Tommaso
Odazzi, Giovanni, 467, 547*' Oliva, Gian Paolo, 137, 138
245); (Saraceni), 514'^ (Sche-
(ill.
(ill.
(Tanzio), 103
Nymphenburg (Amigoni), 483
Fontana Medina, 134 Foro Carolino, see Piazza Dante Granary, 383, 393 Guglia di S. Domenico, 543"' di deirimmacolata, 571"''
doni), 96
;
Nuvolo, Fra, 117, 127 Nuvolone, Carlo Francesco, 339, 350, 550"Nuvolone, Giuseppe, 350
galleries, collections
Albergo de" Poveri, 383, 393 Cavalry barracks, 399
(Preti),
loi
Novelli, Pietro, 340, 549"^" Novello, Giovanni Battista, 557""
270), 559"'
.\cquedotto Carolino, 399
Museo Nazionale
Civico (Tanzio), 103
Gaudenzio (.Morazzone),
Novelli, Pier .\ntonio, 577''
269)
(ill.
Serra Cassano, 394
Via Foria,
359 60
.Andrea, 554^ Nolo, 401, 560'"^
Noiiveau Traite (Cordemoy), 372
Maddaloni, 304 Majo, Bartolomeo
Sanfelice, 394
Fran(;ois,
Nono,
Firrao, fac^ade, 542^'
Napoli,
507
of,
Nogari, Paris, 27
Fernandez, staircase, 559*^
Monte
Nicaea, Council
Nogari, Giuseppe, 476, 484, 493, 577"'
127
a Chiaia, S., 542""
Trinita delle
(Algardi), 535-'; (Caffa),
Nightingale, Lady Klizabeth, 525"
Palazzi
Donn'
.Museum
Nigetti, .\latteo, 125, 126
127
S.,
Spirito Santo, 399
Teresa
.Altman C^ollection (Dou), 537*-
Nieulandt, Willem van, 509'-
cherino), 134 al
Sir Isaac, 432
^'ork
Nice, S. Gaetano, 428, 565"*"
454-6(111. 321), 570"-, 571"*
Severo
507^
577"'
Sansevero de' Sangri, Cappella, decoration, 450,
Sosio,
26c),
544"; (Caravaggio), 510"; (Fctti), 107 (ill. 49) Pierpont .Morgan Library (Tiepolo), 489 (ill. 345),
Reale, Cappella (Fanzago), 319
e
New
.Metropolitan
Pieta dei Turchini, della (Do), 551"'
Palma Giovane
Negri, Pietro, 347 Neri, St Philip, 22, 23, 25, 40, 41, 56, Netscher, Caspar, 537'-
Newton,
543''; (Soli-
243), 532'""'
Severino
Negrctti, Jacopo, see
Orsoni, Gioseffo, 474
BIBLOSARTE
Fracanzan, 557"-
650
•
INDEX
Orta, Sacro
Monte (Morazzone),
Palladio, Andrea, 115, 116, 123, 175, 180, 182, 187,
10
Orvieto
1H8, 224, 225, 229, 232,
Cathedral (Cornacchini), 436 8 Museo deirOpera (Mochi), 130
Osuna, Duke
of,
(ill.
304)
(ill.
66), 132
Palma, Andrea,
357
2947,
297, 298, 299, 370,
382, 386-7, 387, 389, 412, 417, 420, 427, 431, 531 541'', 556^', 55-752. 54. 58. SX^ g^^HU 538''
Ottobeuren (.^migoni), 483
Palma Giovane, 106, Palma Vecchio, 347
Ottoboni, Cardinal, 401, 414, 566"
Paltronieri, Pietro, see Mirandolesi
Ottonelli, 265
Pamphili, Camillo, 139, 181, 217, 268 (ill. 164) Pamphili, Panfilo(.'),'268 (ill. 164), 535-^
Ottino, Pasquale, 5o8-\ 515'", 520'"
Ottoni, Lorenzo, 316, 435, 436, 447, 545^\ $66*, 567-5
519'"'
Nuvolone, Carlo Francesco
Oxford Ashmolean Museum (Bernini), 526^** Christ Church (Carracci), 71, 513^"
Pannini, Gian Paolo, 498, 499
Padovanino, 106, 347,
Paolini, Pietro, 519-'
Panfilo, see
'«,
(ill.
352), 501, 553",
Pannini, Giuseppe, 377, 556^', 567'* 519'"'
Paracca, Giovan Antonio, see Valsoldo
Padua Palazzo Papafava, 557"°
Parigi, Alfonso, 125, 132, 523'^
Santo, Cappella del Tesoro, 569^'; (de Corte),
570M S.
Parigi, Giulio, 125, 132, 301, 359,
523", 54260
Paris
Maria del Pianto, 558"
Pagani, Paolo, 482,
Bibliotheque Nationale (Bernini), 171, 525-* Fontaine de Grenelle, 246
576''''
Pagano, Francesco, 571"'
Henry IV,
Paggi, Giovanni Battista, 104, 105
Hotel Mazarin (Romanelli), 321
statue (destroyed), 133, 523''-
561"
Palazzotto, Giuseppe, 560^''"
Invalides, 117,
Paleotti, Gabriele, 21, 27,
Louvre, 395; Bernini's projects, 185, 187-9 ('l'108), 527**", 562'^, 563'"; Candiani's project,
345
Palermo Churches
527***;
Cortona's project, 246, 527**, 533^^; Rai-
Agostino, S. (Serpotta), 459 Anna, S., fafade, 401, 560""
naldi's project, 527**, 533^^; (Caravaggio), 510'*;
Caterina aH'Olivella, Oratorio di S. (Serpotta), 459 Cita, Oratorio di S. (Serpotta), 458
(Cortona), 246, 258; (Dou), 537*-; (Gentileschi), 74, 514''; (Guercino), 88; (Michelangelo), 317;
Domenico,
(Raphael), 58; (Reni), 517^'; (Romanelli), 321;
S.,
(Carracci), 62, 69, 70, 513-*; (Champaigne), 438;
Oratorio del Rosario (Serpotta),
458-9 (ill- 323) Francesco d'Assisi,
(Titian), S. (Serpotta),
459
potta),
di S.
(Caravaggio), 510**; (Ser-
458
Orsola, S. (Serpotta), 458 Ospedale dei Sacerdoti, dell' (Serpotta), 458 Pieta, della, facade,
Sainte-Anne-la-Royale, 405 (ill. 275), 561 Val-de-Grace,baldacchino, 176, 526'*;domedesign,
561" Parma Cathedral (Correggio), 62 Gallery (Correggio),
400
Salvatore, S., 400
536^^'
;
(Schedoni), 96 (Spada), ;
94, 95
Stimmate, delle (Serpotta), 458 S., facade, 400
Teresa della Kalsa,
Palazzo del Giardino (Carracci), 68 Palazzo del Municipio, 522^' S. Alessandro, 522^'
Secular buildings Arsenal, 400
Antonio (Bibiena), 554^ Maria dell'Annunziata, 182; (G. Rainaldi), 537' S. Maria del Quartiere, 122, 522'Teatro Farnese, 123 S.
Bonagia, Palazzo, staircase, 401
Museo Nazionale
(Raggi), 544-"^'''
Gesii, decoration, 507"
Lorenzo, Oratorio
48
Notre-Dame
(Serpotta), 458
Pretoria, Piazza, fountain, 134
S.
Quattro Canti, 400, 560"^ Santa Croce, Palazzo (formerly, Giaquinto), 572'"
Parmigianino, 103, 348,
Statue of Charles H, 458
Parodi, Filippo,
Parodi,
Domenico,
5i8"'\
537^^
575^''
Palestrina, see Praeneste
..^36, 448 (ill. 315), 450, 569'"-, 570" Partanna, church (V. di Messina), 459
Paliano, Palazzo Colonna, 539-"*
Pasinelli,
Palladino, see Zabarclli
Pasqualino, 496
Lorenzo, 343, 471, 474, 549^*
BIBLOSARTE
651
Passalacqua, Pietro, 377, 556^' Passante, Bartolomeo, 551**'
Piamontini, Giuseppe, 568"' ** Pianca, Giuseppe .\ntonio, 576"
Passardi, Giovanni, 392
Plane,
Passariano, Villa Manin, 389, 558"* Passarotti, Bartolommeo, 512", 513^"
Piazzetta,
Giovanni Battista, Giuseppe, 467 Passignano, Domenico, 27, Passeri,
Giovan .Maria dellc, 575" Giovanni Battista, 340, 349, 461, 462, 474, 481-2 (ill. 339), 483. 485, 494, 503, 575^ 576'*, 578'""
174, 231, 266, 325
Passeri,
28, ^3, ^4, 35, 97, 98, 141,
5o8-'«,55i'"
Picchiati,
Bartolomeo, 542'-"
Picchiati,
Francesco .Antonio, 542"
Pompeo, 401, Domenico, t,2
Picherali,
Patronage, 28
ff.,
140-2, 363, 524'"
Pieratti,
Paul
III, 24, 157, 164, 364 Paul IV, 23, 25 Paul V, 23, 24, 25, 26, 27, 28-33
43, 56, 128, 138, 146, 148
(ill.
538", 560'"^
i
Piermarini, Giuseppe, 391, 558'* Pieroni, .Messandro, 126 (ill. 62) (ill-
3). 34. 40,
41
.
42.
75), 520"
Paulus Diaconus, 261
Pietrasanta, Federico, 558'
Pigneto, Villa del, 2^2 4
(ills.
Pavia Certosa, decoration, i34;(Cerano),99;(Crespi), 104
Pignoni, Simone, 345, 550"' Pimentel, Cardinal, 308, 544"
Palazzo Mezzabarba, 371, 527*', 553'
Pincellotti,
S. S.
Marco, fai^ade, 554' Maria di Canepanova, 297,
521-'',
541^'
Bartolomeo, 567''-'"
Raineri, F. M., see Schivenoglia
Mary of Altotting, 405-6
Rana, Andrea, 430-1,
565''''"'
Rancate, Zijst Collection (Serodine), 77 Raphael, 27,34, 57, 58,63, 65, 68, 80,81, 82,83,84, 178,
Prato, 301
Bacchino fountain, 319 delle Carceri, 178
231, 252, 259, 261, 263, 265, 270, 275, 321, 324, 462,
Francesco Maria, 372, 389
(ill.
264),
Preti, Mattia, 139, 322, 328, 330, 341, 357,
558" 360-1
(ill.
552"'-
465, 468, 469, 489, 507", 513^", 5I6^^ 567-', 57I^ 572'"
Ravenna Palazzo Baronio (now Rasponi Bonanzi),
Pinacoteca (Bravo), 349
Procaccini, Camillo, 10
Procaccini, Giulio Cesare, 92, 98 9, 101-3
(ill.
45),
5i9'-i'^J'3o
S.
Maria
S. Vitale,
in Porto,
(ill.
558''''
232), 550"'
554*
292
Recchi, Giovan Paolo and Giovan Antonio, 574'"
Provaglia, Bartolomeo, 291
Puget, Pierre, 317, 447, 448, Puglieschi, Antonio, 573-*
213-18
Rainaldi, Girolamo, 213-14
Prague Czernin Palace, 528"-"
245),464,S48^«, Probabilism, 138
197,
(ills.
S. Rosalia (Cametti), 567-'
Madonna
in,
175-81), 315, 328, 370, 375, 390, 399, 527S088, 533'\537'-^"-, 545'",564'^-''
Praeneste (Palestrina)
104,
Cathedral,
555", 556^" -^ 567^^
537''
Preti,
310-12
Raggi, Maria, 150, 160, 167
327, 340, 347, 354, 497, 534''''', 535", 537'' Pozzi, Stefano, 467
St
120), 307, 308,
(ill.
(ills.
545-*"
Pynas, Jan Symonsz., 78 Pyramid, use on tombs, 444
Recco, Giacomo, 361, 552'-" Recco, Giovan Battista, 361 Recco, Giuseppe, 361, 362, 5521^° Redi, Tomaso, 573--
Reggio Emilia, Madonna della Ghiara, 122-3 Quadratura, 33, 65-6, 88, 174, 250-2, 292, 334, 343-4, 366, 474-6, 487, 498 Quadri, Bernardino, 562" Qiiadri nporlali, 66, 80, 88, 263
Regnier, Nicolas, 108, 515", 520^" Reiff, Peter Paul, 566"
Rembrandt, 579"'
54, 77, 78, 346, 354, 462, 489, 490, 496,
Quadrio, Carlo Giulio, 555"
BIBLOSARTE
653
Reni, Guido, 32
(ill.
4), ^i, 34, 35, 63,
78-9, 79, 80, 82,
31-3), 92, 93, 105, 146, 265, 269, 322, 334, 337- 339< 34 1 -3 ('Hs. 223, 224), 344, 359, 360, 47 1 , 496, 5i5^\ 516^ 517"-'', 5i8», 519-'^ 524\ 549''-"-'\
83-s
(ills.
55i« 572", 573"
Rome Churches Adriano, S. (Longhi), 288, 539"
Agnese
in Piazza
Navona,
S.,
141, 212, 213
18
127-9), 279, 280, 303, 328, 420, 420-1, 529--", 564^'; (Bernini), 529-"; (Caffa), 307,
(ills.
Renieri, Niccolo, see Regnier
Resani, Arcangelo, 578""
543"; (Ferrata), 308 10
Reschi, Pandolfo, 579"'
(Ferri), 217. 328; (Gaulli), 217. 328; (Grande),
Retti,
Leonardo, 309
199), 310, 312, 316,
(ill.
544-%
545'"
Reynolds, Sir Joshua, 326, 577"* Rhetoric, 140,
524""
(ills.
198,
199),
539-"; (Raggi), 310- 1 1 (ill. 200) Agostino, S., 395; (.Abbatini), 173; (Bergondi), 308; (Bernini), 174, 526''; (Caffa), 307, 308;
(Caravaggio), 5 10"; (Ferrata), 543'\ 544'''; (Lan-
Rhetoric (.\ristotle), 140
franco), 80, 86, 516", 517'"'; convent of
Rho (Morazzone),
manelli), 308
loi
Ribera, Jusepe de, 340, 356-7, 358, 360, 462, 55
1'"*'^',
552"'-'"'
Riccardi, Gabrielc, 400
5
Ricchino, Francesco Maria, 115, 116,
1
18-21
(ills.
56-8), 290, 292, 52I-'*"', 554^
46
;
19
338), 482, 483, 484, 498, 500
130);
444
.\ndrea
al
Quirinale, S., 141, 160, 176, 181 4
(ills.
544" Andrea della
;
182,
(ill.
353), 503,
469, 470, 476, 478, 479-8
1 ,
(ill.
(Bracci),
3i2);(Cozza), 546-
(ill.
Valle, S., 40, 41, 507'", 509'"; (P.
Bernini), 129
Ricci, Sebastiano, 349,
78, 79), 545^'
"
Giovan Battista, 27, 28-9 Marco, 476, 478, 479, 498-501
576", 579'-"
(ill.
(ills.
102-5), '88, 195, 242, 280, 289, 303, 328, i,~o, 527'" " ; (Cortese), 527" ; (Legros), 1 39 (Raggi),
522*''
Ricchino, Gian Domenico,
Ricci,
delle Fratte, S., 40, 212, 218
(Bernini), 151
Ricchi, Pietro, 550"'
(Ro-
Anastasia, S., ^70; facade, 540''; (Aprile, Ferrata),
316 Andrea
Ricca, Antonio, 392
Ricci,
543'^
(ill.
353), 503, 573",
576"^-
(ill.
64); (Borromini), 197;
in, 400;
35), 88, 321, 328, 517'*"; (.Maderno),
Ricciolini, Niccolo,
(Preti), T,22,
372 Richardson, Jonathan, 367
(Do-
menichino), 81,83, 275, 516'" "';(Fontana), 375, 538'^ (Grimaldi), 127; (Lantranco). 81, 87 (ill. 328; (Raggi), 310; (Rainaldi), 279,
"'^
Richter, Johan, 579'--
283 (ill. 179),' 400, 538'"Angeli Custodi, SS. (Rainaldi), 538"'
Rieti, cathedral (Bernini), 526^^
Antonio
Rigaud, Hyacinthe, 575"
.ApoUinare, S., design by Fuga, 383; fa9ade, 538'
Riminaldi, Orazio, 519-'
Apostoli, SS., 376; (Gaulli). 328; (Odazzi), 547*" Bernardo alle Terme, S., 40; (Fancelli), 545*";
Riva di Chieri, church, 430 Riviera, Egidio della, 27
de' Portoghesi, S., 539-'
(Mariani), 129 30
(ill.
65)
Biagio in Campitelli, S., 373 Bibiana, S., 174-5 (>" 95). '84. 526"'; (Bernini),
Rivoli, castle, 563^"
Robert, Hubert, 456, 498 Robilant, Fihppo di, 565'-
145-6
(ill.
73), 154, 169, 274; (Ciampclli), 247;
Rocaille, 372
(Cortona), 175, 231, 247, 248
Rocca, Michele, 467
533'"
Roccatagliata, Nicolo, 450,
569-'''
Roccatagliata, Sebastiano, 569^''
'Rococo,
Italian',
Carlo ai Catinari, S., 40, 4 7, 52 '\ (Gherardi), 376, 555-'; (Gimignani), 322; (Lanfranco), 328; 1
(Preti),
371-2
Rodi, Faustino, 554^ Rodrigues dos Santos, Manoel, 377, 555"
Carlo
al
539"
Romano, Gaspare, 458 Rombouts, Theodoor, 78
548"
;
Corso,
1
1
1
(Rainaldi), 286; (Sacchi), 534^ S., 40, 41, 288, 539--
150), 399, 533^*,
(ill.
RoUi, Giuseppe, 549'" 266, 308, 321, 322, 546\
552"'
,
;
(Brandi),
328; (Cavallini), 316; (Cortona), 232, 237, 245
Rodriguez, .^lonso, 515'' Romanelli, Giovanni Francesco, 80, 141, 142, 173,
151), 249, 262,
(ill.
Carlo
alle
539-^
Quattro F'ontanc,
(C
Fancelli), 316,
S. earlier
Borromini's church, 198 206
(ills.
church, 40;
115 20), 212,
218, 219, 222, 235, 288, 395. 404, 405, 528'" , 529-^ 530'", 532-'", 562'" ; (Borgianni), 41, 75 (ill. 25); (Cerrini). 322
Caterina della Ruota, S., facade, 538'
BIBLOSARTE
INDEX
654
Rome: Clhurchcs mminuccl Caterina da (Bracci),
Rome: Churches Monte Magnanapoli,
Siena a
544'^
307-8
(Cafta),
196),
(ill.
S.
543",
544'^ '^ (Finelli). 543"; (Garzi), 328 Cecilia, S., 40; (Conca),
466
(ill.
327), 467, 572"*;
523"
(P'uga), 377; (S. .Vladerno), 128,
Girolamo
cimliiiucJ
della
Carita,
(Borromini),
S.
530^';
(Castelli), 540''
Girolamo Giuseppe Giuseppe
dei Schiavoni, S., 26
Capo
a
Case, S., 40
le
dei Falegnami, S. (.Maratti), 337 Magno, S. (Costanzi), 572'"; (Domeni-
Celso e Giuliano, SS., 377, 555^' S., 292, 528*
Gregorio
Crisogono,
34; (Reni), 79, 83; (Soria), 34 (ill. 5) Ignazio, S., 40, 41, 540"; Domenichino's project,
Costanza,
chino), 79, 80; (Lanfranco), 85 (N. Pomarancio), ;
40
S.,
Croce in Gerusalemme, S., 377 Croce dei Lucchesi, S. (Coli, Gherardi), 547-"
Domenico e Sisto, SS.
(Canuti), 328, 333 (ill. 216), 334; (Greca), 288-9, 539"'; (Raggi), 544-; (Turriani), 289, 539-''
Francesca Romana,
S.,
261 Ivo della Sapienza, S., 206-12
40
S., facade, 540^^
;
(Bernini), 152,
(Bernini), 313-14; (Cortona), 245, 533^''
(Gaulli), 139, 174, 311, 328, 329
(ill.
213), 332-3
215), 366, 547-^ 548''-; (Maglia, Naldini),
312, 544-^ (Raggi), 310, 311-12 544^5. (Retti), 312
Gesu
(ill.
201), 366,
S. (Bernini),
167, 444,
Badalocchio,
538'^
Sangallo's project,
S.,
541^";
fafade, 377, 555^-; (Borromini), 530^^;
(Cortona), 530^^. (Raggi), 310
Giovanni
Lucina, S. (Bernini), 152, 313-14
(ill.
(Stanzioni), 552'"^
Lorenzo in Miranda, S. (Cortona), 258-9 Lorenzo fuori le Mura, S. (Duquesnoy), 276, 537^' Lucia
S. (Finelli),
314-15, 544^-
in Selci, S. (Borromini), 530''
52-3 (ill. 15), 55, 55-6, 86, 510", 511^-; (Domenichino), 79, 80-1 (ill. 29), 247, 311, 516-8
gio), 45, 49, 50,
al Corso, S., fa(pade, 373-5 (ill. 249), 383, 399, 402, 554'\ 555'' ; (Algardi), 535-^ (Cametti), ;
443-4 (ill. 311) Maria degli Angeh,
Corsini,
decoration,
382;
438,
S.,
395; (Houdon), 433;
Cappella
567",
568^';
212-13
Algardi), 536-"* (Borromini), 126), 392, 529'"''^-*; (Camassei),
(i'l-
;
(Carcani), 435
(Finelli),
(
;
(ill.
302), 566'^; (Duca), 313;
(ill. 204); (Galilei), 377; (Gimi(Longhi), 314; (S. Maderno), 523*'';
314
gnani), 321
;
(Maini), 438, 439 (ill. 305), 442, 567'^; (Maratti), 32 1 366, 553" 566" (Monaldi), 442 (Montauti), 568^'; (Rossi), 289, 539-"'; (Rusconi), 436, 437 ,
;
;
303), 447, 566**; (Sacchi), 321; (Valle), 275,
438-9 (ill. 306); (Volterra), 212 Giovanni in Oleo, S., 530'^
171),
277
(ill.
S.
(Duquesnoy), 275-6
(ill.
172), 278, 537^'; (Saraceni), 76
in Araceli, S. (Bernini), 150; (Maglia),
316;
(Rainaldi), 286
facade, 363, 377, 382-3 (ill. 258), 556«'«; facade (Juvarra's project), 563^'; frescoes, 26;
Santori Chapel, 40
Maria dell'Anima, Maria
Fonte, S. (Sacchi), 263 in Laterano, S., 40, 122;
in
Giovanni
(ill.
in
203); (Rainaldi), 286, 538"'; (Saraceni), 41-2, 76;
(Romanelli), 322
Giovanni dei Fiorentini,
,
525'\
Marcello S. (Albani,
Lanfranco), 78-9, 51 5-' Giovanni Calibita, S., facade project (Longhi),
;
S. (Bernini), 167, 444,
Luigi de' Francesi, S. (.\rpino), 507"; (Caravag527''';
(Buzio), 127
Giacomo alia Lungarna, 525", 526« Giacomo degli Spagnuoli,
Lorenzo
Lucia dei Ginnasi,
e Maria, 315; decoration, 315-16, 316, 328,
5U"-^\ 571"; (Rainaldi), 286, 315 Giacomodegli Incurabili, S., 183, 280, 520-,
321
Damaso,
in
121-5), 218,
(ills.
565"
564'",
,
526^-^ (Cortona), 235
Gesii, 40, 41; altar of St Ignatius, 435-6, 553",
(ill.
219, 328, 529'"
Lorenzo
155(111.81)
Gallicano, S., 377
566^
575'"; (Rusconi), 436; (Valle), 438 Isidore, S., fa9ade, 376; (Bernini), 526^' ; (Sacchi),
Eligio dei Orefici, S., 178
Francesco a Ripa,
540^'; (Algardi), 536-^ (Legros), 433 (ill. 300), 438; (Pozzo), 140, 328, 334, 335 (ill. 217), 548^',
Maria
in Campitelli, S.,
279-83
328, 375, 390, 399, 537'''
Maria Maria
in
Campo Marzo,
della
,
(ills.
175-8), 288,
564"
S., 289, 539^'
Concezione,
S.,
decoration,
322;
(Cortona), 258-9
Maria in Cosmedin, S. (Maratti), 366, 553"' Maria Liberatrice, S., 40 Maria di Loreto, S. (Duquesnoy), 272-5 (ills. 168, 169), 536-"'^'^; (Finelli), 543^; (S. Maderno), 523'''
Maria Maddalena,
S., facade,
377, 380, 402, 555";
(G. .\mato), 400; (Monaldi), 567'^
Maria Maggiore,
S., apse,
project), 286, 527**";
29-33
(ills-
286; apse (Bernini's
Chapel of Paul
\',
26, 27, 28,
2-4), 79, 85, 98, 127-8,
143, 286,
BIBLOSARTE
Rome Churches ;
508'"
-';
Rome Churches
continued 27, 2g, 33, 127, 286,
525"; fa(;ade, 377, 383; sacristy, frescoes, 508-"; Sforza Chapel, 289; (Algardi), 267; (Arpino), 32 (ill.4),
33; (P. Bernini), 128, i43;(Carcani), 566';
(Cigoli),
T,],,
q8; (Fancelli, Ferrata), 545^"; (Guidi),
443; (Lanfranco), 85; (Lucenti), 317;
(S.
Ma-
demo), 523"^; (Rainaldi), 286, 538'"; (Reni), 32 79; (Valsoldo), 27, 127 Maria sopra Minerva, S., decoration, 40, 41 (Bernini), 144, 150, i6o;(Bianchi),567-';(Bracci), (ill.
4), 33,
439, 443 (ill. 310), 567-'; (Carcani), 566' ; (Celio), 34; (Cordier), 127; (Ferrata), 308, 544'"; (S.
Maderno),
523'"*;
continued
:
Chapel ofSixtus V,
(Marchionni), 567-'; (Mari),
-Maria in Via Lata, S., 232, 244 5 280, 530", 533J" *'; (Fancelli).
148. 149),
(ills.
316
Maria
della Vittoria, S., 34, 40,
173; (Bernini), 150, 154 161,
in;
157 60
3,
(.Abbatini),
174, 308, 315, 328, 419, 525""
169,
Martina e Luca, SS., 141, 41
i(>9,
213
15, 232,
390, 532-""
306 Martino
560";
,
(Fancelli), 316; (Nlcnghini),
.Monti,
ai
S.
(Dughct),
(Grimaldi), 547-'; (Naldini),
Mercedari,
Chiesa della
Casa Gencralizia dci
5
283 6
(ills.
180, 181), 375,
Maria Maria
di di
538'-
Maria
;
(Maratti), 339
(ill.
220) (Teodoli), ;
Maria deU'Orto,
S.
(Baglione),
sss-^"
(Lan-
della .Morte, S., facade, 370, 383;
franco), 86 Maria della Neve, S., facade, 555-Maria dell'Orazione e Morte, S., 377,
243
(ill.
514";
(Calan-
Maria del Popolo,
544" (Bernini),
Cappella (Guidi), 312-13
Pieta,
(ill.
Nereo and Niccolo
Nicolo
.Achilleo, SS., 40, 509*"
Carcere, S., 40 da Tolentino, S., in
536"^^\
540^';
(.Mgardi),
40;
(Baratta),
308,
536-^
308,
(C^oli,
(Ferrata),
533^";
316,
Nome
536'*;
533'",
308,
(Ferri), 533^"; (Guidi), 308, 536-'
(Raggi),
;
533"
di .Maria, SS., 377, 555'^
Orazione
see .Maria in Vallicella, S.
e .Morte,
Orazione e .Morte,
Chiesa delP,
see .Maria dell'
S.
Pantaleo, S. (Gherardi), 328
Mura,
Paolo fuori
le
Peter's
altarpieces,
S. (Lanfranco, destroyed),
S. (Algardi), 267, 314, 535-',
151, 152-4
(Caravaggio), 49, 50
(ill.
(ill.
80),
526", 568-';
13), 53, 55, 510";
racci), 68-9(ill. 21), 79;(Ferrata),
(Car-
544"~;(Fontana),
375 (Ghisleri), 567-" (Guidi), 312; (Lorenzetti), 152; (Raggi), 544"; (Raphael), 567-'; (Tacconi), ;
;
St,
508"";
28,
baldacchino
(Bernini), 141, 143, 144, 155, 161, 162 172,
174,
(Borromini),
(G.
.\.
197;
F'ancelli),
(Duquesnoy),
(ill.
86),
526*""";
175-6, 272, 305, 525-',
536**;
272,
316; (Finelli), 536"; baptismal
chapel (Fontana), 375 (Trevisani), 572"" Benediction Loggia (Lanfranco), 517** Cappella del
79; (Valsoldo), 313
;
;
.Maria del Priorato, S., 556^''
Maria Maria Maria
di
Nuova, Chiesa, 241-2 (ill. 147), 244, 528»», 532-*-, 538^
(Albani), 79; (Fancelli), 316, 545^"; (Ferrata), 545^"; (S. Maderno), 523-^
;
Monte
li),
527*^, 555^"
della Pace, S., 141, 184, 188, 232,
146),
26),
Gherardi), 547-"; (Cortona), 245, 533'"; (Fancel-
drucci), 328
Maria
(ill.
'4"
202); (Rossi), 289, 540'-'
Monserrato, S. (Bernini), 146 Monte Santo, S., 283-6 (ills. 180, 181),
'^
547-";
327,
544-''
(Raguzzini), 567-'; (Rainaldi), 538'" S.,
235-
142-5), 244, 245, 253, 280, 283, 288, 328,
(ills.
Padri (Borgianni), 75; (Saraceni), 76
538'- '^ (Lucenti), 317; (Raggi), 310
*';
(Cerrini), 547-"
308; (Pincellotti), 567-'; (Raggi), 308, 544--;
Maria de' Miracoli,
84, 85),
(ills.
;
in Publicolis, S., 539^"
Sacramento (Bernini), 152, 160-1; (Lucenti),
della Quercia, S., fac^ade, 556^^
545^*; cathedra (Bernini), 141, 144, 151, 155, 160,
della Scala, S., 40; (Slodtz, Valle), 438;
Maria dei Sette Dolori,
S.,
219
161-4 525-"
(Stanzioni, formerly), 552'"' (ill.
131), 221, 235,
(ills.
-';
(Raggi),
87, 88),
169,
170,
174, 308,
311,
(Ferrata), 544'"; (Morclli), 318, 434;
544"
;
(Retti), 544-"
;
clock-tower, former
(Ferrabosco), 29, 528""; decoration, 141, 305,
Maria del Suffragio, S., 40 Maria in Trastevere, S., 40; (Domenichino), (Gherardi), 376 in Trivio, S. (Gherardi), 328
Maria Maria
in Vallicella, S., 23, 40, 41, 509^"
269; (Cortona), 232, 256 8
(ill.
i
;
382 (ill. 257), 383; (Rainaldi's project), 537'; nave (.Maderno), 28, 112; pilasters (Raggi), 310; portico (Bernini's project), 286; (Bonvicino, .Maderno, III, 112, 175, 190 3
;
(Algardi),
157), 328,
547-"; (Fancelli), 316; (Reni), 269
Maria Maria
dome, 299, 541"; (Arpino), 28; (Fontana), 376; (Ncbbia, Roncalli), 507" facade (.Maderno), 28, 29 (ill. ), 543-, 566^; designs for, 117, 520'';
516^"";
534",
28-9;
(ills.
109,
1
reliefs (Algardi),
10), 198,
270
(ill.
166),
delle Vergini, S. (Gimignani), 547"'
Ricci),
in Via, S., fa9ade, 538'"
272, 308, 536-*; (Bernini), 150; (Guidi), 536-";
BIBLOSARTE
i
656
INDEX
•
Rome: Churches
Rome: (Churches
conlimifd
sacristy, ss^)*";
Ouvarra's project), 563''
;
(Algardi), 268 9 (Bernini), 144, 146, 147
(ill.
;
154, 155
statues 74),
82), 160, 167, 169, 171, 275, 306,
(ill.
317, 525-'"; (L. Bernini), 543-; (Bolgi), 305,
305
f)
(ill.
ig5);(Cornacchini),436;(Duquesnoy),
266, 272, 275
170), 306, 536^"; (Mochi), 130-
(ill.
306; (Slodtz), 446
2,
(Algardi), 266,
269-70
tombs
568-"*;
(ill.
313),
(ill.
165), 308, 318, 442,
536-'", 567-'; (Bernini), 141, 144, 150, 156 83), 157, r64, 165
(ill.
89), 171, 172, 269, 270,
(ill.
525i"'\ 526^^"-, 308, 434, 440, 442, 443, 521'-, 527"', 566', 567-- (Canova), 443, 567-* ; (Ferrata), ;
443;(Fontana), 554"';(Lucenti), 545^';(Monnot),
440
307), 442,
(ill.
(della Porta),
157,
567'^ (Morelli), 318, 434; 164; (Retti), 544-"; (Rossi),
440; (Rusconi), 440-2 (ill. 308), 445, 567-«'^»; (Speranza), 305 ( Valle), 442 (ill. 309), 443, 567^2 towers, 112, 190, 198, 520", 528""', 537\ 538^^, ;
543-
;
\ atican, see Palazzi
272. 308, 318, 442,
(ills.
165, 166),
567-'; (Arpino), 28;
,
(Bernini), 141, 142, 143, 144, 146, 147 150, 151, 152, 154, 155
(ill.
82), 156
(ill.
(ill.
74),
83), 157,
160, 160-1, i6i-4(ills. 86-8), i65(ill. 89), 167,169, 170, 171, 172,174, 175-6, iSgfF.
(ills,
no, in), 269,
270, 272, 275, 305, 306, 308, 311, 434, 436, 440, 442,443,52I'-,525"''*-l-•'•-'^^526^^•^5.52fr..62^
S2t\ 566', 567-305-6
305,
(ill.
;
(L. Bernini), 305, 543- ; (Bolgi),
(Bonvicino), 28; (Bor-
195);
219, 227; (Borromini's), 219 22 235,
530"
*';
(Pellegrini),
Secular Buildings,
Silvestro in Capite, S. (Brandi), 328 ; (Morazzone),
99 Silvestro
Quirinale, S. (.\lgardi), 267
al
Stefano Rotondo, S. (Pomarancio), 27 Sudario,
S., 538"'
no
S., 26, 40,
(ill.
Maderno), 305; (Maglia),
257), 383, 52o5; (S.
566';
(.Marchionni),
198, 382
109),
556^*;
(Menghini),
306;
(Mochi), 130-2, 306; (Monnot), 440 (ill. 307), 442, 567'"; (.Morelli), 318, 434; (Nebbia), 507'^; (Ottoni), 566^; (della Porta), 157, 164; (Raggi),
310,
544--;
(Ricci),
(Rainaldi),
537^
28-9; (Roncalli),
(Rusconi), 440-2
(ill.
566'; (Slodtz), 446
507''';
(Rossi), 440;
308), 445, 567-"-'
(ill.
544^";
(Retti),
;
(Sale),
313), 568-'*; (Speranza),
305; (Trevisani), 572""; (Valle), 442
(ill.
309),
443. 567" Philip Neri, Oratory of St, 212, 221, 222-5 ('"s. 36fr 134, 135), 227, 229, 239, 404, 530^5.
Pietro e Marcellino, SS., 377 Pietro in Montorio, S. (.Abbatini), 173; (Baratta), 160,
306; (Bernini),
150,
160,
269,
526""-;
in,
51),
120, 130,
Trinita de' Pellegrini, SS., 40, 522*"; facade, 377 Trinita in Via Condotti, SS., 377, 555^'; faipade,
538"
Venanzio, S. (Rainaldi),
538'«'
Vincenzo ed Anastasio, SS., fa9ade, 242, 287 182), 288, 538'^"
(ill.
539^'
;
Fountains Acetosa, Acqua, 540^' Barcaccia, 525-''
'Ponte Sisto, di\ 508^'
(ill.
(ill.
$20'
536"; (Fontana), 375, 376, 554'^ (Guidi), 536^*; (Lanfranco), 517'"; (Lucenti), 545^'; (Maderno), 111-12, 190-3
162);
(ill.
(Finelli), 543^
Moro,
i),
0//;fr
.«cc
le Mura, S., 34, 35 (ills. 6, 7), 40, 508"'; (Fontana), 375; (Giorgetti), 317
305, 316; (Ferrabosco), 29, 526'*, 528""; (Ferrata), 308, 443, 544"*; (Finelli), 305,
(ill.
;
Sebastiano luori
Felice,
28-9
132, 133),
(ills.
73 collcgio,
etc.
romini), 197, 203, 528-; (Canova), 443, 567^''; (Cornacchini), 436, 566"; (Duquesnoy), 266, 272, 274, 273 (ill. 170), 305, 306, 536''-'"; (G. A. Fancelli),
1
Pudenziana, S., 40 Quattro Coronati, SS., 40; (San Giovanni), 344 Sabina, S. (Sassoferrato), 322 Salvatore in Lauro, S., 522''"
Susanna,
Artists: (.\lgardi), 266, 268-71 536-^ff
Kiiilintied
(Romanelii), 173; (Sale), 566' Prasscdc, S. (.\rpino), 507"; (Bernini), 144 Propaganda Fide, church (Bernini's), 182, 184,
Acqua, 38 Four Rivers, 150, 168-9
(ill.
93),
169-70,306,400,
525-"-\544--, 566' del, 168, 544^'
Paola, Acqua, 37-8
10), 508^'
(ill.
Trevi, 246, 363, 377, 380, 381 40, 556-'5, 567>«
Triton, 168
(ill.
(ill.
255), 382,
439-
92), 525'"*
and Collections Borghese Gallery (Albani), 517^"; (Bernini), 144-5
Galleries
(ills.
71, 72), 146, 148
152, 167, 173, 267-8,
(ill.
524\
75), 149 (ill. 76), 150, 526^"-^' (Caravaggio), ;
510"*, 511^^-'; (Carracci), 71; (Domenichino), 82, 516*'
Capitoline
;
see also Villa
Museum
Borghese
(Palazzo dei Conservatori)
(Algardi), 269, 536-'' ; (Bernini),
vaggio),
51 1-";
(Cortona),
1
50, 526^' (Cara;
249-50
(Guercino), 89; (Reni), 341
(ill.
(ill.
152);
223); see also
Palazzi
Coppi, Casa (Caravaggio), 50 (Caravaggio), Doria-Pamphili Gallery
54,
22), 513-'';
(Lan-
Sii'"-^-"; (Carracci), 70 franco), 80
BIBLOSARTE
(ill.
657
Rome:
Galleries and Collections continued Gabinetto Nazionale delle Stampe (Cortona), 533*'
Mercedari, Convento dei (Borgianni), 75 Nazionale, Galleria (Cortona copy), 534'' (ill.
Pala/.zi,
28). sis"*; (Serodinc),
works
;
(I.aer),
in other, see Palazzi
208)
Petriano,
Museo
Roma, Museo
(Dughet), 327; (Badalocchio, Domenichino, Guercino, Lanfranco), 80, 516"'" ; (Mola, Romanelli), 80
D'.^ste-Bonaparte, 289. 290
Doria-Pamphili
77
Pallavicini Collection (Ccrquozzi, Codazzi), 323 (ill.
Palazzi continued
Corsini, 377, 383
Costaguti
Incisa della Rocchetta Collection (Bernini), 526^"
78
Rome;
(.Algardi),
;
1
in, see Palazzi
18-20), 109, 130, 145, 247, 250, 512'-", 524^;
(Domenichino), 38, 78, 512'^", 513-', 515-";
in, see Villas
Palazzi
(Lanfranco), 38, 85-6, 88, 513-' (Salviati), Gaetani-Ruspoli, 539-'; (Perrier), 517^ ;
.\lmagia, see Gaetani-Ruspoli
289 go, 540"; (Carlone), 551'"; (Maratti
.\ltieri,
etc.),
Banco
330, 334, 337, 338
Barberini, 112 227,
520*'^'^,
14
549"
2iq), 467,
534"-'
Giustiniani, 508'"
Grillo (Rainaldi), 538'"
Lante (Romanelli), 321, 548^'
52, 53), 140, 141, 187-8,
(ills.
532'";
(ill.
527'*''
di S. Spirito, del,
156),
(ill.
Farnese, 26, 34, 112, 186, 187, 188, 189, 369; (Badalocchio), 5 3-' (C^rracci), 42, 57, 63 ff. (ills.
Vallicelliana, Biblioteca (.\lgardi), 536-'*
works
164), 535^';
(Ameli), 377; (Dughet), 327; (Grande), 289. 539-»; (Valvassori), 371, 377, 380 (ill. 254), 382. 553'
530", 53'"
q8 S. Luca, .\ccademia di (Cortona), 531*
Villas,
183), 540^* (ill.
Falconieri (Borromini), 212, 225, 226
(Pellegrini), 173
di (Cigoli),
Vatican, works
(ill.
268
(Bernini),
184,
(formerly,
Bernini), 526^"'; (Borromini), 197, 198
(ill.
114),
521'^ (Cortona), 232, 234-5 (iH- HO, 235> 237, 250-3 (ill. 153), 253, 321, 532'*'^^, 534""";
Lateran, 26, 140
Ludovisi, see Montecitorio
Madama,
540'"
Mancini-Salviati
Mattei
di
al
Corso, 538""
Giove, 112, 302, 515-', 520'
'-,
521'^;
(formerly, Cortona), 258 (ill. 158), 259; (.\laderno), 112-14, 520'*" ; (Menghini), 306; (Ro-
(Albani), 79, 82, 516*^ (Bonzi), 533^-; (Celio),
manelli), 321, 548^'
80, 5i6-";(Nappi), 515-'
;
(Sacchi), 263, 264
(ill.
161),
515-'; (Cortona), 247, 531", 533'*-; (Lanfranco),
Millini-Cagiati, 290
534' Barberini
alli
Giubbonari, 531^'
Montecitorio, i85-6(ill. 106), 188,
Bigazzini, 540^^
Borghese, 34, 140, 508^', 522**; fountains, 545^"; (Domenichino), 82, 516+^; (Fancelli), 545^°, 553'- ; (Grimaldi), 545^", 547-', 553' ' ; (Maderno),
52i>-;(Rainaldi),
Capitoline Palaces and
Pamphili, 141, 225, 279, 289, 291; Borromini's project, 530", 531^"^; (Cortona), 225, i^^z, 256 8, etc.),
330, 331
(ill.
214); (F. Rosa),
547''
Museum,
175, 186 7, 203,
221, 224, 283, 364, 382, 531^", 538"; Juvarra's plans, 414; see also Galleries and Collections
376
Quirinal, 28, 33; decoration, 33, 141, 142, 508^^" ; (Albani), 82; (Bernini), 184, 527""; (Fuga), 383;
(Lanfranco), 80, 85, 517'*"; (Mola (ill.
etc.),
323-4
209), 330, 546'-, 548^"; (Pannini), 499
(ill.
352);(Reni),79,82,83
Carpegna, 227, 531*", 562'' Cavallerini a via dei Barbieri (Gimignani), 546^
Rondanini, 556'"
Cenci-Bolognetti, 383, 527'*' Chigi, 289, 539^^; Cortona's design, 188, 246,
Rospigliosi-Pallavicini, 34 5, 80, 84 (ill. 32), 88, 549^"
508'^ (Reni), 35, 79,
Ruspoli, see Gaetani-Ruspoli
528"^
Chigi-Odescalchi, 140, 185, 186-7
(iH-
'O?)' 395.
52785-7
Colonna (Coli-Gherardi), 330, 334, 336 548**;
"^( Fon-
375 Naro (.\. Gherardi), 548^'
330; (Cozza
538^545«
Caetani, see Gaetani-Ruspoli
Carolis, de, 290,
527"*'
tana),
(Dughet),
327;
(G.
(ill.
Fontana),
218),
539-';
(Grande), 289; (.Mancini, Michetti), 572'" Conservatori, dei, see Capitoline
Consulta, della, 377, 381 559"'
(ill.
Museum
256), 382, 383, 555'',
S. Luigi de' Francesi, 555-' Santacroce (Grimaldi), 547-'
Sanseverino (Giaquinto), 465 (ill. 326), 572'" Sciarra (formerly, Caravaggio), 510" Senatorio, 527'*"
Spada (Borromini), 225, 531^' (Duquesnoy), 537*'' ;
Spagna,
di, 531^'
Vatican
(Brill),
;
(Grande), 539-"
27,
BIBLOSARTE
507"; Belvedere, 232, 399;
658
Rome:
Rome: Other Secular
Palazzi coiilitmcd
Borghi, 375; Cortile S. Damaso, fountain (Algardi), 536-^; Galleria Lapidaria, 364; Library,
frescoes,
26; (Bernini),
191
(ill.
no); Logge
(Raphael) 65, 80, 252, 513"'; Museum of Early Christian Antiquities, 364; Pinacoteca (Caravaggio), 4c), 50, 53, 510", 511'";
(Domenichino), 82;
(Poussin), 173; (Reni), 83, 517^' 159, 160), 534'; Sala
(ills.
;
(Sacchi), 261
Clementina
3 (Alberti),
65 Sala della Contessa Matilda (Romanelli), 42 ;
1
Sala delle
Dame (Reni),
544--; Sala delle
79; Sala Ducale (Raggi),
Nozze Aldobrandini
Scala Regia, 150
i,
(Reni), 79;
155, 160, 169, 171, 192
Ill), 193, 528'", 544-"; Sistine
(ill.
Chapel (Michel-
Buildings, etc. continued
Rospigliosi, Loggctta (Baglione), 514'; (Cigoli), see Galleries
and
Collections:
Roma, Museo
di
S. Spirito, Hospital of, 185, 527**'
Sicpe,
Tempio di, 529" House of (.Arpino), 507"
'Sixtus V,
Spanish ^79
Stairs, 288, 363, 372, 377,
(ill.
2S2),
SS"?"''.
378
(ill.
251),
556^'; Juvarra's project,
Strada Felice, 26, 114
Teatro Alibcrti, 574^' Tcatro Argentina, SSS"** Trajan's Column,
533'''
Villas
Albani, 364, 377, 383, 556^*; (Mengs), 5722'
angelo), 513^", 534'-
Venezia (Caffa), 543'-
Borghese, 35-6 (ill. 8), 112, 114; (Bernini), 143; (Lanfranco), 86-8 (ill. 34), 5 1755. s. Doria-Pamphili, 370, 534"'*, 540^'; Borromini's
Verospi (Albani), 80, 82, 516'^
Piazzas
(Du-
Barberini, see Fountains: Triton
project for, 531^'; (.Algardi), 536-\ 544-';
Colonna, 539-*
quesnoy), 537^^ (Grimaldi), 547-' (Raggi), 544-'
Navona,
see
;
Fountains Four Rivers and Moro, del :
Popolo, del, 26, 141, 283-6
(ills.
Quirinale, Bernini's project, 527**"
Patrizi (Pannini),
379-80 (ill. 253) S. Maria Maggiore, 26 S. Maria sopra Minerva, Elephant carrying the S. Ignazio, 370, 377,
Obelisk, 170, 544'*
(ill.
;
1
12,
1
13),
Fontana's project, 375-6
250); Rainaldi's project, 537^; (Maderno),
37; (MoreUi), 318 Other Secular Buildings,
Rome, Sack
498
of, 2
Roncalli, Cristoforo, 28, 38, 507''"', 515^'
Rondanini, Paolo, 535-' Rondinelli, Francesco, 253
StPeter's, 29(ill. 0,37, 141, 189-96(1115.
242, 246, 286, 528"" "
Farnesina, 36, 65, 114; (Raphael), 63, 80
Medici, 36, 112, 232
180, 181)
Rondinini, Natale, 312
Roomer, Caspar,
553''^
Roos, Jan, 104, 354 Rosa, Cristoforo, 549^' Rosa, Francesco, 347, 547^^ Rosa, Giovanni, see Roos
etc.
Biblioteca Alessandrina, 227 Biblioteca Angelica, 227
Rosa, Pacecco de, 358, 360, 551'"
Cancelleria, theatre, 414, 563^'
Rosa, Salvator, 43, 323, 325-7 (ills. 211, 212), 327, 341, 360, 364, 478, 497, 498, 501, 546''^^, 579"5
Carceri Nuovi, 289 Collegio
Romano
(Sacchi), 534-
Rosa, Stefano, 549" Rosati, Rosato, 117, 122, 521''
Colosseum, Fontana's plan
for,
Corso, 379 Credito Italiano, Corso,
Palazzo Verospi
376
Rosis, G. de, 507'' see
Ludovisi, Casino (Guercino), 88, 89
(ill.
Matteo, 98, 344, 347 Rossi, Angelo de', 436, 440, 448, 566''
Rosselli,
36);
(formerly, Titian), 534'''
Pantheon, 237, 369, 387, 422; Bernini's project for, 180, 527"'
555" Giovan Francesco,
539;'"",
Pedacchia, Via della, Cortona's house, 246, 533^Pius IV, Casino of, 36
Rossi,
Ponte Molle, statues, 132 (ill. 68) Ponte S. Angelo, angels, 151 2, 154, 171-2, 316525J\ 544'"--, 545-" 17 (ill. 206), 524\ Porta del Popolo, 283, 284 (Bernini), 185; (Mochi), 132 Propaganda Fide, Collegio di, 184, 212, 227-9
Rossi, Pasquale, see Pasqualino
;
(ills.
'"
Domenico, 386, 452, 556^", 557°'Rossi, Giovan Antonio de', 286 8, 289-90
Rossi,
543'^
Rossi, Mattia de', 189, 528"",
540"
Rossi, Vincenzo de', 134
Rosso, G., 562'" Rosso, Zanobi Filippo del, 392-3 Rossone, Pietro Giorgio, 522^' Rotari, Pietro, 484, 578'""
Roubiliac, Louis Franc^ois, 525'^
137, 138)
Ripetta, Port of the, 289, 377, 379
Rovere, Francesco Maria
BIBLOSARTE
della,
392
(ill.
183),
^59
Rubens, Sir
P. P., 56, 68, 74, 78, qi, 103, 104, 105, 107, 108, 253, 276, 278, 352, 352 3, 354, 462, 478, 1"' 489, 509^-^,523'", 537^\ 55
Rubertini, Zambattista, 292
Rubini, 129 Ruer, Thomas,
569'*", 570*-' ^*
Sanmicheli, Micheic, 115, 299, 541" San Pier d'Arena, Palazzo C^rpanetto
(Strozzi). 106
Sanquirico, Paolo, 127 Sansovino, Jacopo, 1 15, 188, 299, 450. 454 Santafede, Fabrizio, 356
Santa Giustina, parish church (Le Clerc), 514" Santa Maria di Sala, Villa Farsetii, 554"'
Ruggeri, Giovanni, 391, 558" Ruggieri, Fcrdinando, 392
Santarelli,
Odoardo, 267, 5^5-'
Ruggieri, Giovan Battista, 38 Ruggieri, Giuseppe, 542""
Santcn, Jan van, sir \'asanzio Santoni, 144, 524-'
Rughesi, Fausto, 40, 509^'' fl,, 579'"
Santorio, Giulio .Antonio, 314 15 (ill. 204) Saraceni, C^rlo, ^i, 41 2, 73, 74, 75 6 (ill. 26), 77, 107, 109, 358, 514^"", 519*"
Ruins, 364, 497
Ruoppolo, Giovan 578""
Battista,
^61
2
(ill.
246),
55V"'
Rusconi, Camillo, 316, 436, 437 (ill. 30^), 4:58, 440-2 (ill. 308), 445, 447, 448, 545^^ 566\ 576'^-"^', 569^"
Rusconi, Giuseppe, 438, 450, 567" Rusnati, Giuseppe, 316, 438, 447, 566"
Saragossa, cathedral, dome, 562''; (Coniini), 376 Sardi, Giuseppe (Roman architect), 377, 555", 556" Sardi, Giuseppe (Venetian architect), 386, 452, 538" Sarto, Andrea del, 97 Sartorio,
M. and
Sarzana, see
Rustici, Francesco, 5 18-'
Sassi,
P. G.,
558"
F'iasella
Ludovico Rusconi, 556*"
Sassoferrato, 73, 266, 321, 322
Sabbioneta, S. Maria .\ssunta, chapel, 554^ Sacchetti, Giovanni Battista, 528'"", 563"', 564^''
Savelli, Elena,
Sacchetti, Giulio, 232, 532'-
Savelli, Giulio, 178
Sacchetti, Marcello, 231, 232, 249, 531^, 532'-, 534'"
Savigliano
Sacchi, Andrea, 138, 140, 141, 173, 249, 250, 261-6 (ills.
159-61), 267, 268, 270, 272, 274, 321, 322, 323,
330, 334. 340, 360,
552'",
4fty-
524". 533"', 540", 546",
572'''
Savoldo, 45
8^'*
(ill.
262), ^88
Siena per angola, 366, 574*' Stenography, 297-8, 376, 398
107), 377, 380, 381
(ill.
255),
382, 395, 556'', 567'* Samarra, great mosque, 210
Sammartino, Giuseppe, 456, 571''^ San Benigno, abbey church, baldacchino, 176 Sanctis, Francesco de, 377, 378
(ill.
251), 379
(ill.
Sanfelice, Ferdinando, 370,
393-5
(ills.
252),
269, 270),
541^"
41),
Schildersbent, 323 Schivenoglia, Francesco .Maria, 576'"'
Schor, Cristoforo, 330, 539'', 566' Schor, Egidio, 547" Schor, Giovan Paolo, 330, 334, 539-', 545"'> 547". 566'
Sangallo, Giuliano da, 178, 245
San Germano \ ercellese, church, 565'^ San Giovanni, Giovanni da, 344-5, 550""''^
Schulenburg, Marshal von der, 453, 570"" Schwerin, .Museum (Bernini), 158 (ill. 84)
Sangro, Raimondo
Scorza, Sinibaldo, 354
454
(ill.
Schleissheim (.Amigoni), 483 Schbnfeld, Johann Hcinrich, 552'"
559"" 527"'',
Schedoni, Bartolommeo, 86, 92, 9^, 95, 96 517". 5'8"'^ Schiaffino, Bernardo, 448, 450 Schiaffino, Francesco, 448, 450, 569^'
Sandrart, J. von, 38, 534'"
del,
(ill.
263), 557""
Scandellari, Filippo, 569'"'
Cosimo, 132, 534""
Sangallo, Antonio da,
526*
Scarsellino, 95, 517*', 518''
509''
(ill.
Siri (Bernini),
Scalfarotto, Giovanni .\ntonio, ^87
Recoletas
Lodovico, 523"'
Salvi, Nicola, 186
564'*^
S. .Maria dell'Assunta, 564*'
Scamozzi, Vincenzo, 115, 12^, 299, ^70, ^86, ^87, 521"- '\ 557"'
Salimbeni, Ventura, 27, 91, 98, 104, 51 Salvestrini,
Chiesa della Pieta,
Cappella
(FineUi), 543-^
Salvetti,
313
Misericordia (Borgianni), 75
Sale, Niccolo, 543', 566'
Tommaso,
207), 345
Savona
Giovan Camillo, 469, 573-^ Saint-Denis, Bourbon Chapel, 561" Saint-Maximin, church (Algardi), 568-" Salamanca, Church of the Agustinas Sagrestani,
Salini,
(ill.
Sassuolo, Ducal Palace, 541'"
BIBLOSARTE
66o
INDEX
•
Segaloni, Matteo, 542"'
Spello, S. Lorenzo, baldacchino, 176
Scghcrs, Gerard, 78, 57c)"*
Spcranza, Stefano, 305 Spinazzi, Innocenzo, 447
Seiter, Daniel, 476, 574^"
G. Antonio, 387 Sementi, Giovan Giacomo, 341 Senago, Villa Borromeo d'Adda (Cerano), 519^^ Selva,
Serlio, Sebastiano,
1
Spinelli,
Town
Stanzioni,
Massimo, 340,
358-9
Stati, Cristoforo, 30, 127, 523'''
Shaftesbury, Lord, 571'
Still-life painting,
Siena 50
(ill.
77),
1
5
1
-2,
526", 544"*
(Caffa), 319, 543'^; (Ferrata), 319, 543'^ 544"*;
(Raggi), 319, 544'«--
Gallery (Manetti), 98 S. Martino (Mazzuoli), 434 Silva, Francesco, 523*' Silvani,
42 flF., 350, 511'^, 578"" Stockholm, Royal Palace, 528'"" Stomer, Matthias, 552"" Stone, Nicholas, 317 Stra
Villa Pisani,
389
(ill.
264), 558^-% (Tiepolo), 389,
486 (ill.
192),
Silvani, Pier Francesco, 392, 559''' Inc.,
Museum
of Art (Romanelli),
Stradanus, 43 Strambino, Chiesa del Rosario, 431 Strassengel, church, high altar, 564''^ Strozzi, Bernardo, 77, 92, 105, 106, 107, 109, 332,
347. 348, 351-2
546'
(ills.
235, 236), 355, 482, 503, 5
Studius, 43
Sinatra, Vincenzo, 401
Stupinigi, Castle, 414, 415-16
Sirani, Elisabetta, 341
423-4
Giovanni Andrea, 341 ff.,
39, 41,
313), 568-"
Smith, Joseph, Consul, 502, 578"", Snyders, Franz, 104, 354
579'"'*
(ill.
286),
Suger, Abbot, 55 Superga, 420-2 (ills. 289, 290), 424, S2-j''\ 564^"^''-; (Cametti, Cornacchini), 446; (Conca), 575^' Susini, Antonio, 132
Society of Jesus, 23-5, 27, 40, 137, 138, 139, 227, 363,
509«
Susini, Francesco, 132, 523'"
Sustermans, Justus, 345-6 Syracuse
Solari, Pietro, 571""
Soldani, Massimiliano, 447, 568^-'^^ Sole, Gian Gioseffo dal, 471, 479, 573"^'
Cathedral, facade, 401, 538' ^-,
Palazzo Beneventano, 560'"^
575'^
Solimena, Francesco, 357, 366, 393, 399, 462-5
(ill.
325), 469, 476, 483, 493, 571^-', 578'""
Giovan
285), 417
Subleyras, Pierre, 468
379 (ill.
Soria,
(ill.
292), 425, 428, 563^"-"-, 5755^; (Crosato),
'Style Sixtus
Slodtz, Michelangelo, 433, 438, 446 Smiriglio, Mariano, 400, 560'^
507^''-'-,
(ill.
476; (Valeriani), 575'^ V, 26 ff.
Siscara, Matteo, 571'
Sixtus V, 2^, 25, 26
19^9' '",
551H4.H.
Simonetta, Carlo, 447 Simonini, Francesco, 578'"^
Sirani,
360,
243),
Villa 'La Barbariga', 554'
301), 435
(ill.
Gherardo, 125, 291, 300-1, 301-2
Simon, Norton,
(ill.
552'"s.io^
Hall (Borgianni), 75
1
70)
Stamford, St Martin (Monnot), 568-"
Stondratc, Cardinal, 40
Cathedral (Bernini),
(ill.
Spranger, Bartholomeus, 99 Squinch, use of, 212, 430
Serodine, Giovanni, 73, 76-7 (ill. 27), 515"' Serpotta, Giacomo, 454, 458 9 (ill. 323) Serpotta, Procopio, 459
Sezze Romano,
Battista, 551'"
Spoleto, cathedral, 370; (Bernini), 136
529"
15, 203, 528",
Giovan
Spiritual Exercises (St Ignatius), 24-5, 56, 139
Battista, 34
(ill.
5),
Palazzo Comunale, 400, 560"" S. Lucia (Caravaggio), 50, 53,
510**
521'''
Spada, Leonello, 92, 94-5, 96, 518"'
Tacca, Ferdinando, 319, 523'"" Tacca, Pietro, 132-3 (ill. 69), 305, 319, 458, 523'"' Tacconi, Innocenzo, 79, 515--
Spada family,
Tadolini, Francesco, 391, 558"'*
Sorri, Pietro, 104, 105 Sorrisi,
Giovanni Maria,
Spadarino,
534"**
530'''
Tagliafichi, Andrea, 125, 392
see Galli
Spadaro, Micco, 323, 359, 360, 501, 552^^^ Spagnuolo, see Crespi, G. M. Spalato, 244 Specchi, Alessandro, 289, 290, 376-7, 379, 555-^-"
Tagliapietra, .^Ivise and Carlo, 570-^'' Talman, John, 533^'' Tanzio da Varallo, loi, 102 (ill. 46),
Tarsia, Antonio,
5'7o'-'^''^''
BIBLOSARTE
103, 519^'"^
66
Tassi, Agostino, ^^, ^s, 4^, 80, 88, 125, ^27, 497,
5o8---'>-^\509^\5i6"\547-«
Torri, Giuseppe .Antonio, 558'^ Torriani, Francesco, 549'*
Tassi, Giambattisia, 330
Torrigiani, Ottavio, 520"'
Tasso, 486
Toulouse, Trapani
Taurine brothers, 507" Tavarone, Lazzaro, 104
397
Jesuit College and church, 400
Museum
Tavella, Carlo Antonio, 575^'
Tavigliano, Ignazio, 564*^-
'^
(Serpotta), 458
Trattalo della Pittura (Agucchi), 39, 509*-'; (Cortona), 265, 535"
Temanza, Tomaso, 387, 557^° Tempesta, Antonio, 35, 43, 128, 508^* Tcmplum Vaticanum (F"ontana), 376 Teodoli, Girolamo, 377, 555-* Tcrbrugghen, Hendrik, 78
Traversi, Gaspare, 494 5 Travi, Antonio, 551""
Tremignon,
350), 578""
(ill.
.Alessandro, 386, 452, 557*'"''
Trent, cathedral, baldacchino, 176 Trent, Council ot, 21 3, 34, 137
Teresa, St, 25, 41, 157, 169, 171
Termessus, 244 Tesi,
C^apitole,
Trevisani, .\ngelo, 484 Trevisani, Francesco, 467, 478, 572"* Treviso, 369
Mauro, 574*"
Tessin, N., 528'"" Testa, Pietro, 323, 324-5 Testi, Fulvio, 536^-'
210), 327, 546"' '\
(ill.
547-
Trissino, Villa Trissino,
558"
Tristano, G., 507"
Theatres, 123, 3^)4-6, 476 Theodoli, see Teodoli
Tronchi, Bartolomeo, 507"
Theodon, G.
Turbini, .Antonio and Gaspare, 558"*
Tubertini, Giuseppe, 541'"
B., 433, 436, 566*
Thomism, 24 Tibaldi,
578""
Trezzi, .Aurelio, 118
Theatine Order, 40, 137
Turchi, .Alessandro,
Tiarini, Alessandro, 92-3
"*,
37), 96,
(ill.
518""
Domenico, 122
t,22,
5o8-\ 515'", 520'"
Turin Churches
Tibaldi, Pellegrino, 64, 99, 115, 117, 134 Ticciati, Girolamo, 568''
Carmine, 416 19
Tiepolo, Giambattista, 341, 354, 366, 367, 389, 461, 343-6), 493, 497,
Cathedral, Juvarra's projects, 423 (ill. 291), 428; Cappella della SS. Sindone,4o6 io(ills. 277 80),
347), 577**'
Chierici Rcgolari, Collegio dei, church, 565''
474, 479, 481, 482, 484-91
(ills-
Tiepolo, Lorenzo,
562'-"
577"'''''
503, 550«', 553", 576'",
Tiepolo, Gian Domenico, 491
(ill.
(ills.
287, 288), 423, 424, 427,
428, 564*^
-^
Consolata, La, 406, 562'"; (Alberoni),
577'*"
Timanthes ofSikyon, 577*"
Corpus Domini, 125-6
Tineili, Tiberio, 520^'
Cristina, S., fa(;ade, 414, 415, 555-'
Tintoretto,
Domenico,
Croce,
106, 519''"
Tintoretto, Jacopo, 52, 54, 62, 75, 91, 98, 106, 107,
S., 563^'*
Filippo N'eri, S. (Guarini), 406, 562'*; (^luvarra),
416-17,564"
348, 360, 505
Lorenzo,
S.,
406, 410
Titian, 34, 45, 48, 53, 54, 60, 60-2, 69, 91, 106, 107, 250, 276-8, 462, 489, 505, 5345^ 537'^
Lucento,
di,
561'
Tito, Santi di, 97, 130
Maurizio e Lazzaro, SS., 561-
Tirali,
Andrea, 370, 384
(ill.
259), 386-7, 452, 557''
12
.Maria di Piazza, S., 430
(ills.
(ill.
281
3),
562-'"
298)
.Michele, S., 431
Tivoli
Hadrian's Villa, Piazza d'Oro, 203, 529" Scrapcum, ;
Pelagia, S., 565'Raffaello, S.,
210
Rocco,
Villa d'Este, 507'"
Spirito Santo, 565"-
Torelli, Felice, 573-*^
Giacomo,
Teresa, S. (Giaquinto), 575"
541'**
Toronto, R. Ontario
Museum
(Cortona), 533''
Torreggiani, .\lfonso, 122, 389, 390 i, 554' Torretti, Giuseppe, see Bernardi, Giuseppe 549''^
Trinita, SS., 206
Venaria Reale, 420, 563^", 564*"; (Conca), 575"
Torre, Pietro .Andrea, 524--
Torri, Flaminio,
564"
S., 282, 561-'
Salvario in Via Nizza, S., 561'
Todeschini, see Cipper Torelli,
565'*^
Visitazione, 561-
Palazzi Barolo, 563-"'
BIBLOSARTE
662
•
Turin
INDEX
Vaga, Picrino
cnntinui'd
Belgrano, 563*"
del, 534"-
Birago, see Valle, della
Valadier, Giuseppe, 26, 383 Valentin, 73, 76, 77, 98, 141, 5i4\
C-araglio, 565'-
Valeriani,
Carignano, 227, 406,
562''''"'
Valeriani, Giuseppe, 575*''
Citta, di, 561-
Valeriano, Giuseppe, S.
Curia Maxima,
della, 561'
Madama,
see
1
17, 521-''
Valle, Filippo della, 275, 366, 436,
Ormea,
442
d'
372, 414, 415
Martini di Cigala,
Ormea,
J.,
Valesio, 554'"
Graneri, 563-"
Guarene,
515"
Domenico, 575^*
d', 527"',
see
(ill.
284), 563^^'^'
(ill.
309), 443, 459, 567'^-
Valletta, see
La
15-
(ill.
Valletta
Vallinotto, Sanctuary,
563^"
561'; (Alfieri), 565'-; (Beaumont), 478, 575"; (Crosato), 476, 575'^; (Conca), 5755';
Valperga, Maurizio, 563-"
(Mura), 465, 5755' di Covasolo, 563*"
Valtrini, Alessandro, 167, 526^'
330,548^'-'^
Valsoldo, 27, 30, 41, 127, 313
Richa
564-''''
Valvassori, Gabriele, 370, 371, 377, 380
(ill.
254), 382,
"'
Valle, della, 563^"
Other Secular Buildings,
etc.
Accademia Filarmonica,
see
Palazzo Caraglio
Castello Sforzesco (Cairo), 549''
390,393, 556"" Van Dyck, Sir Anthony, 74, 104, 105, 332, 340, 346, 352, 353, 354, 478, 514", 535", 552""
Castello del Valentino, 561^
Vanloo, Charles Andre (Carlo .\ndrea), 476, Vanloo, G. B., 575'"
Collegio dei Nobili, 406 Corso Valdocco, 414
Vanni, Francesco, 28, 91, 98, 104, 518^, 546' Vanni, Raffaello, 546'
Hospital of S. Giovanni, 561' Piazza
Emanuele
Filiberto,
Piazza S. Carlo, 403 Pinacoteca ( Albani), 82
(ill.
575^"-^''
Vannini, Ottavio, 344 Vanvitelli, Carlo, 456, 559**
414
30), 83
472 (ill. T,T,i,)\ (Gentileschi), 74 Replanning, 403, 561^
;
(G.
(ill.
M. Crespi),
VanvitelH, Luigi, 186, 369, 370, 372, 391, 392, 393, 395 9 (ills. 271-3), 456, 457 (ill. 322), 527", 556^*,
559"'"
24)
;
see also Wittel,
Caspar van
Varallo
Via del Carmine, 414 Via Milano, 414
Pinacoteca (Tanzio), 102
(ill.
46), 103
Sacro Monte (Morazzone), 100
Via Roma, 403 Villa Regina (Crosato), 476; (Giaquinto), 575"
(ill.
44), loi
Varese Lizza-Bassi Collection (Gentileschi), 514^
Sacro Monte, 121, 522^"; (Bussola),
Turriani, Nicola, 289, 539-' Turriani, Orazio, 539-^
razzone), loi S. Vittore
Udine
;
523**';
(Mo-
(Silva), 523*'
(Morazzone), loi
Varotari, Alessandro, see Padovanino
Archiepiscopal Palace (Tiepolo), 485, 490 Cappella Manin (Torretti), 570""
Vasanzio, Giovanni, 34-7
Giacomo (Corradini), 453, 570''-' Urban VIII, 25, 41, 112, 136 (ill. 70), S.
137, 138, 139,
140, 141, 141-2, 143, 144, 146, 150, 156 172, 190, 252-3, 269, 270, 311, 526^'
(ill.
83), 157,
Urbino, 28 Utrecht, Peace Vaccarini,
(ills.
6-9),
114, 508^"'^',
531''
Cathedral (Corradini), 571"^; (Tiepolo), 485, 490 Chiesa della Purita (Tiepolo), 486
Vasari, Giorgio, 367 Vassallo,
Anton Maria, 354
Vecchia, Pietro della, 347, 550*' Vedute di Roma (Piranesi), 364
Velasquez, 78, 105, 173, 352, 495, 523'* Velletri, Palazzo Ginetti, staircase hall, 539-'
393
see Turin Vendramin, Francesco, 569^"
Battista, 401-2, 560'"^
Veneroni, Gianantonio, 371, 527*", 553^ Venice
Venaria Reale, of,
Giovan
Vaccaro, Andrea, 359, 552'"** Vaccaro, Domenico Antonio, 393, 395, 456, 543"', 559*',
306),
424-8 (ills. 293-5), 565'" ^'"•** Valmontone, Palazzo Doria-Pamphili, decoration,
Belgrano
Reale,
Saluzzo-Paesana,
438-9
'«-;^
571"
Vaccaro, Lorenzo, 366, 571"
Churches
Andrea
della Zirada, S. (Corte), 570''
AngeloRaffaelle, deir(Guardi), 50^, 504 580'^"
BIBLOSARTE
(ill.
355),
663
\ en ice continued
Venice continued
Benedetto, S. (Mazzoni), 348
Clemente
alPIsola, S. (Cortc),
452
Ducale, 256; (Le Clerc-Saraceni), 514"; (Veronese), 252
318)
(ill.
Frari (Longhena), 557*' Geremia, S., 521-", 557'*
Gesuati, dei, 385 (Tiepolo), 485
(ill.
Foscarini, stuccoes,
260), 387, 452, 453, 570'*";
Gesuiti, dei, 386, 557'-; favade, 452, 557''-; Pozzo), 557^-; (Torretti), 570'"
Giorgio Maggiore, ghena), 300, 301
S..
(ill.
2^5, 387,
541
^';
A.
(J.
191), 398, 558""; (S. Ricci),
479 Giovanni Evangelista, S., 557'' Giovanni e Paolo, SS., Cappella del Rosario, 453, 570'"; (Mazza). 449 (ill. 316), 450; (Piazzetta), 481 (Tirali), 386, 452, 557'", 570" Lazzaro dei .Mendicanti, S. (Bushnell, Corte), ;
569-^"
Marco, S., 299 Maria del Carmine, S. (Corradini), 453 (ill. 319) Maria della Fava, S. (Piazzetta), 481 (ill. 339) Maria del Giglio, S., facade, 452 Maria .Maddalena, S., 387 Maria della Salute, S., 292-9 (ills. 185-9), 375, 387, 398, 541^-", 547-^ 554'\ 559"", 564''; exterior decoration, 452; (Corte), 450-2 (ill. 317), 570''
Maria
;
(Giordano), 349
538" (.Meyring), 569*" (Pozzo), 485, 485-6, 577*^' Marziale, S. (S. Ricci), 479 ;
Moise, 557*'
S., ;
facade, 386, 452,
557"
fac^ade,
S.,
;
;
(Tiepolo),
(Meyring),
384
(ill.
259),
557*''; (Lvs),
386-7; Palladio's project, ^87, (ill.
564^''
(Roccatagliata), 569^-
Nicolo da Tolentino,
108
5o);(Parodi),448(ill. 315)
Ospedaletto,
dell',
299,
Pieta, della (Tiepolo),
II,
(ill.
190), 541'"
nari),
350
(ill.
233); (Tiepolo), 486
Vendramin, stuccoes, 554" Other secular huildings. .•\ccademia
galleries, collections
(Cignaroli),
485 (ill. 342), 577'"*; (Mazzoni), 349 (ill. 231); (Piazzetta), 482, 576" Brass Collection (Traversi), 495 (ill. 350) Carmini, Scuola dei (Tiepolo), 485 Cini Foundation (Zanetti), 578"" Correr, .Museo (Corradini), 570"' Library, 188
Ospedaletto (Tiepolo), 485 Querini Stampalia Gallery (Frangipani), 511'^ Venier, Casino, stuccoes, 554" Venturoli, .\ngelo, 558'* Vercelli 563-"*
Padri Gesuiti, 564** S. Chiara, 565"'
Vermeer, Jan, 78 Vermexio, Giovanni, 400, Verona
560'""
Museo di Castelvecchio (MafFei), 348 Museo Civico (Bassetti), 520^'
(ill.
Palazzo Canossa (Tiepolo), 486
Gran Guardia,
1
1
Maria di Campagna, 541*' Teatro Filarmonico, 574''
486
225, 295, 297, 298, 387, 417, 420
Veronese, Paolo, 27, 34, 58, 60, 62, 91, 93, 96, 98, 99, 106, 250, 252, 258,
u^'
Wh
^S", ^60, 462, 479, 484,
480 (ill.
263),
Verrocchio, 319 Versailles, 395, 398, 415, 456; (Bernini),
557^" Stae, S., facade, 452-3, 557^-,
570";
(Piazzetta),
(ill.
S., facade,
386
Zaccaria, S. (Balestra), 484 Zitelle, delle,
(ill.
7,
557"
341)
1
299 Corner della Regina, 386 1
1
5,
328), 572'"
dcIT, 557"' S., 427,
561"
Nicola da Tolentino, Oratory of S. (.Maflei), 348
Barbarigo, stuccoes, 554"
Contarini dagli Scrigni,
(ill.
Churches
Gaetano,
Palazzt
167
Vicenza
.•\raceli,
299
152,
91), 169, 171 ;(Girardon), 456;(Guidi), 434, 566-
Vetralla, S. .Andrea (Bencfial), 468
481 Vidal (Vitale),
230)
S.
Rocco, S. (Marchiori), 454 (ill. 320) Simeone e Giuda, SS., ^87 (ill. 262), 388
Corner,
Maderno), 128
Rezzonico, 299 300, 541"'"; stuccoes, 554"; (F. Guardi), 503; (Langctti), 347 (ill. 229); (Moli-
Palazzo della
541''''
Pietro di Castello, S. (Fabris, Longhena), 569^"
Redentore,
d' (S.
Cathedral (Garove),
degli Scalzi, S., 299, 541''; facade, 452, ;
Oro, Ca
Pesaro, 299 300
(Lon-
554"
Giustinian-Lolin, 54 1" Grassi-Stucky, 386 (ill. 261), 387, 557»'Labia, 557''"; (Tiepolo). 486, 487
15, 521'"
Zitelle,
Oratorio delle (Maffei), 348
Palazzi Barbieri-Piovene, 557"'
Piovini-Beltrame, 557*'
BIBLOSARTE
664
V'icenza lonlimwd
Volpino, 134
Forto-Cx)llconi, 224
Volterra, 301
Repeta, 558"-
Volterra, Daniele da, 212
Valmarana, 187, 53 1''* Other secular buildings Basilica,
Volterra, Francesco da,
Loggia del Capitano, 188,
;
polo), 491 (ill. 347) Vicoforte di Mondovi, Sanctuary, 564'^
(Bortoloni),
;
476 Vienna
Wael, Cornelius de, 104 Waldsassen, Stittskirchc,
(ill.
172),
278
572"
Jesuit church (Pozzo), 548^', 564^'
(Caravaggio),
510'*;
(Chimenti), 97; (Dou), 537^-; (Gentileschi), 74, 514"; (Guercino), 88; (Lanfranco), 86, 517^^; (Parmigianino), 537^^
Liechtenstein Palace,
527'*'
;
Caspar van, 395, 498, 501, 579'"*"^
Wood, John, the younger, 399 Worms, Heylshof Collection Werff), (
537^'
Wren, Sir Christopher, 382 Wurzburg, Residenz (Tiepolo), 486, 487, 577"' 'X,
Monsu', 579'"
Xavier, St Francis, 25, 41
of, 527*'
Van Beuningen
142
(Pozzo), 548''^
Opera House, 574^" Prince Eugen, Palace
of,
Wiener Neustadt, cathedral (Bernini), 568^'' Winckelmann, J. J., 266, 364, 468, 469, 572^' Windsor Castle (Bernini copy), 525"'; (Fontana), Wittel,
Museum
(Ricci),
500 ('"• 35.1) Watteau, .\ntoine, 479, 496 VVeingarten, 422 Werft, Adriaen van der, 537^^
555'"
Karlskirche, 564''
Kunsthistorisches
564^''
Washington, National Gallery (Bernini), 146;
Westphalia, Peace (Guglielmi),
Albertina (Borromini), 199; (Fischer von Erlach), 564"; (M. Longhi), 538''; (Rainaldi), 279
Coll. (Strozzi), 352
(ill.
Zabarelli, .\driano, 546'
236) Viggiii, Silla da, 30, 33, 127
Zaccagni, Bernardino, 522^'
Vignali, Jacopo, 344
Zacchia, Laudivio, 267-8
Vignola, 37, 400, 508", 555^*
Zais, Giuseppe, 501
Villanova di Mondovi, S. Croce, 430, 431 Villa Pasquali, church,
(ill.
(ill.
299),
Zanchi, .\ntonio, 347, 349, 467 Zanchi, Francesco, 557'"° Zanetti, Antonio Maria, the elder, 578'"'
554-''
Venetian, 389 Villaverla, Villa Ghellini dalFOlmo, 557"'
Tommaso,
Villas,
Zanoli,
Virgil, 486, 525'*,
Zarabatta, Francesco, 447 Zianigo, Tiepolo's house, 389 Ziborghi, Giovanni, 558"'
537«
Visentini, Antonio, 579'-^
Zola, Giuseppe, 574'"*
de, 543'^
Zola Predosa, Villa Albergati-Theodoli (Colonna,
Vitale, .\lessandro, 91
Vitelleschi,
539"^
Zimbalo, Giuseppe, 400
Vismara, Gaspare, 99, 134
Giuseppe
163), 535-'-^
Zamboni, Orazio, 535'^
Villadeati, Castello, 246, 533^'
Vita,
183, 280, 520-
Vryburch, Andricn, 275-6, 277
531^"*
Teatro Olimpico, 225, 299 Villa Valmarana (G.B. Tiepolo), 486, 487 (ill. 343), 487-g, 490 (ill. 346), 491, 577"'" (G. D. Tie-
Vierhouten,
1,
(Maftei), 348; (Marinali), 570^^
Proti, Istituto dei, 557"'
Academy
1
Vouet, Simon, 78, 105, 141, 357, 515'", 519^" Vranx, Sebastian, 509''-
225
Biblioteca Bertoliana, 389
Museum
1
Volterrano, 344, 345
Muzio, 138
Alboresi), 549'"
Zompini, Gaetano, 482, 576""
Vitruvius, 386, 422 Vittone, Bernardo, 370, 372, 403, 404, 424-32 293-9), 556'", 5'>4'''"" Vittoria, Alessandro, 128, 129, 450, 453,
Amedeo H,
454
(ills.
Zuccarelli, Francesco, 478, 501
Zuccari, Federigo, 27, 28, 39 Zucchi, .Antonio, 577^^
355, 403, 414, 446, 364^" Vittozzi, .Ascanio, 115, 125, 206, 403, 561', 564'^
Zugno, Francesco, 577''^ Zumbo, Gaetano Giulio, 571"'
Viviani, Antonio, 27, 91
Zurbaran, 97, 104
Vliete, Gillis van den, see Riviera
Zurich, private collection (Lys), 108
Vittorio
BIBLOSARTE
BIBLOSARTE
BIBLOSARTE
BIBLOSARTE
The
Pelican History of Art
United Kingdom C7. 50 Australia S19.50 (recomnnended)
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For scholarship, readability, and the range of its illustrations The Pelican History has come to be recognized as a unique enterprise in the field of art history. Forty volumes have already appeared in a work which is planned to cover the art and architecture of all ages in about fifty volumes. Written by authorities whose international standing is unquestioned, they have notably maintained the strict standards set by the Editor, Sir Nikolaus Pevsner. of Art
This is one of the integrated editions which are now being offered at a price that students of art and general readers can afford. Newly printed n a compact format which is particularly suitable for art books, these editions add qualities of theirown to the excellence of the cloth-bound originals. Not only is the same lavish colleci
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Art and Architecture in Italy 1600-1750 Shortly before his death Professor Wittkower again thoroughly revised this important study, about which the Spectator, dubbing the book a classic, wrote: 'Not only is it the first serious work in English on one of the greatest creative periods in the history of Italian art, but whole sections of it-the chapters on Borromini and the great Piedmontese architects especially- either supersede anything on them in any language or are totally new contributions to knowledge.' From the dark, monumental canvases of Caravaggio and the more traditional work of the Carracci, painting, during this period, seemed to leap a century to the prodigious ceilings and frescoes of Tiepolo and leave little impression. To these masters Professor Wittkower does full justice, just as he describes the progress of the arts in every centre between Venice and Sicily in each of the three periods into which his book falls. But the heart of this splendid volume lies in the fields of architecture and sculpture during the exhilarating years of Roman High Baroque, when Bernini, Borromini, and Cortona were all at work under a series of enlight-
ened popes. The cover, designed by Gerald Cinamon, shows a
da Gran
detail of the fresco of 1633-9 by Pietro
Cortona representing the Glorification of the Reign of Urban Salone of the Palazzo Barberini, Rome (photo Scala)
Vill
BIBLOSARTE
on the ceiling
uf the
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