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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


('935)-

DUQUESNOY, Faldi,

I.,

in

Important inventory.

F.

Arle Antica

e

Modenia,

Rediscovery of the original

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11

(1959).

Amor divmo

e

pro-

M.

FERRETTl, Maser.E.

relief.

Frutifois

du QuestKiy uulpleiir d' L

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VIII. Brussels, 1942.

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

Busts by Francesco Mochi', Art Bull., 132

F..

Cum Domenun

A.

Ferrelii. Florence, 1968.

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Lavin,

G. D.

.V.

Two

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Lii (1970),

FETTI

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Lavin solved once and

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of Prince Urbano Bar-

berini that

to

XLIII (1961).

.\n important studv.

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e

Maderna,

'.An

by Domenico

Xiii (1962). \ii, no.

25

See also Burl. .Wag.,

(ill

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De Logu, G.

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Bernini

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Unknown

Portrait of .Monteverdi

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'Domenico I'etti a Venezia",

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706

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IX (1955).

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Contains observations on Duquesnoy's stylistic

Wilde,

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Schlegel, U., in Pnutheon, .vwii (1969), 390.

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Rome,

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J.,

1921.

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FINELLI

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Faccini's relation to and break with the Car-

Saxl, F., inJf.W.C.I.,

M.

C.

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A.,

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FANZ.^GO Cunzo, M.

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BIBLOSARTE

Bologna, xxi (1934). "o

"•

6o6

BIBLIOGRAPHY

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Miller, D.

C,

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GIORDANO, Ferrari,

Their Life and Milieu, with a Catalogue oj their

Drawings. Dissertation, Columbia University,

ciples of Giaquinto's drawings.

Volpi,

GUARDi,

Binion, A. Giovanni Antonio and Francesco Giiardi

1965.

L.

O. 'Una "vita" inedita

di

Luca Giordano',

Napoli Nobilissima. v (1966), 89 ft'., 129 ff. Publication of the 'Life' written by Francesco Saverio Baldinucci from the

MS.

Lma

The

work

will

be for

basis for further

W.

a

much new ground,

long time to

Giordano

come

studies.

the

Review

Vitzthum, Burl. Mag., cxil (1970), 239 the

work

ft.

Lurie, A. T. 'L.G.

The

.\ssisi'.

Art, LV (1968), 39

ft'.

(1933),

monograph

no. 197.45

i\

Bull.

la

ff-

Francesco Guardi

A

Moderna,

'Le pitture dell'.^ngelo Raftaele e

e

il

suo tempo nelle raccolte private

hergamasche. Bergamo, 1969.

Cleveland Miis. of

Galleria Lorenzelli F.xhibition. Contribu-

tions

(19A1).

A. and G. Montagu, J 'Antonio and Giuseppe Giorgetti Sculp:

tors to Cardinal Francesco Barberini", .4rl Bull., Lii

by R. Pallucchini, .VL Valsecchi, B.

Lorenzelli.

Goering,

M.

Haskell, F.,

GIORGETTI,

ft.

(1937), and his

by Fiocco

xiii

Confraternitadel Sacramento', Paragone, xvii ( 1966),

.\pparition of the Virgin to

Saint Francis of

(1970), 278

Fiocco, G.

in Spain.

Griseri, A., in Arte Antica e

.

il

Dedalo,

Francesco Guardi, L'.ingelo Rajfaele. Turin,

Giordano. 3 vols.

Griseri, A., in Paragone, Vli (1956), no. 81.

On

classic biography. .Mso articles

in Burl. .Mag., XLVi {1925),

in the Bibl.

1958.

tour de force breaking

this

the Rosary' by Francesco and

Giovanni .\ntonio Guardi.

Naples, 1966.

A

a

'Madonna of

Critica d'Arte,

and Scavizzi, G.

processional banner of the

Discovery of

Fiocco, G. Francesco Guardi. Florence, 1923.

Naz., Florence. Ferrari, O.,

New

York, 1971. Also idem. Burl. .Mag.. c.\ (1968), 519. Fenyo, L, in Burl. Mag., ex (19^18), 65 ft.

Francesco Guardi. \ ienna, 1944-

mJ.W.C.I.,

xxiii (i9f>o).

Hutter, H. Francesco Guardi in der Gemdldegalene Wien. Vienna, der Akademie der Btldenden Kiinsle

w

1967.

Kultzen, R. Francesco Guardi

Munich, 1967.

BIBLOSARTE

in der .-ilten

Pmakothek.

6o8

•

BIBLIOGRAPHY

Gum

Maftei, F. de.

AnlauKi Giiardi pillon-

tii

Jiffure.

Verona, 1031. Contains challenging hypotheses.

Mahon,

D., in Burl.

Mahon

Mtii;..

Guardi began painting Morassi, A., to

el

which F.

Guarini, G. Architettura

of Art. Dedicated

(1968), 132

ff.

Greca.

Florence,

1967.

Prohlemi guardeschi. Atti del convegno di studi promosso da Ha mostra dei Guardi. Venice, 1967.

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

was

.

.

.

.4tti

igbS. 2 vols. Turin,

his contributions to

various fields of learning, and his influence. Miscellanea Bibtiothecae Hertzianae,

in

1961.

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

\

work and theory,

tural

IX (1955).

Valuable summary of Guardi problems. Shaw, J. Byam. The Drawings of Francesco Guardi. London, 195 1.

An

1968.

with brilliant intro-

critical edition

1970.

Hager, W., Guardi.

Turin, 1737.

civile. .Milan,

43 contributions, partly of considerable length, covering every aspect of Guarini's architec-

Venezia. Venice, 1942. dei

civile.

del convegno internazionale

Nicolson, B., in Burl. Mag., cvil (1965), 471 f. Pallucchini, R. / disegm del Guardi al museo Correr di

Disegm

arte del maestro.

published by the Gregg Press in 1964. Guarino Guarini e t'lnternazionatitd del harocco.

figure paintings by Francesco.

T.

I'

and notes, and appendix by B.

cxxx (1959)-

Pignatti,

Architettura

duction by N. Carboneri,

Moschini, V. Francesco Guardi. London, 1957. Muraro, M., in Burt. Mag., C (1958) and Emporium,

On

.

Modern

Emporium, CXXXI (1960). Reconstruction of Antonio's wuvre on the basis of new documents. - See also idem in Master vi

G

Guarini,

in

Drawings,

e

simile ed. ot the plates of Guarini's treatise.

William E. Suida. London, 195Q. On Francesco's beginnings as vedutista.

Morassi, A.,

Guarino Guarini

Interesting observations introducing a fac-

ff.

at

vediite esalle.

in Studies in the Histiiry

Ferrero, D. / 'Dtsegni d'arcliilettura civile

ecclesiastua' di

Turin, 1966.

ex (1968), 69

claims 1750 as the date

De Bernardi

Passanti,

M. Nel mondo

magico

Guarino Guarini.

di

Turin, 1963.

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-

graphy. See also idem, Bihliografia delta mostra, Venice, 1966, listing the publications discussing the Exhibition.

Portoghesi, P. 'Guarini a Vicenza:

Maria

La

chiesa di S.

d'Araceli', Critica d'Arte, nos 20, 21 (1957).

Sandonnini, T., patria

.

.

.

in Atti e

memorie R. Dep.

di storia

provincie modenesi e parmensi, ser. 3, v

(1888).

GUARINI

An

Anderegg-Tille,

M. Die Schule Guarinis.

Winterthur,

Guarino Guarini. Turin, 1968.

1962.

A somewhat

pedantic work, based on the

categories developed by A. E.

Published by the Turin 'Istituto

Brinckmann

di

half a century before.

Crepaldi, G.

M. La Real

Chtesa di

bis

Batthasar

M.

Pas-

Most valuable measured

I

di

De

Grazia, D. Guercino Drawings

'II

conte

I.

Caramuel de

Vigevano, architetto e teorico

dell'architettura", Pattadio, xv (1965), 91

ft'.

discussion of Caramuel's theo-

which influenced Guarini so deeply.

in the

Art

Museum

Princeton University. Princeton, 1969.

Grimaldi, N.

XLVii (1965), 531.

Bernardi Ferrero, D.

ries,

continues the style of

GuERc No

ant review by H. A. Millon, in Art Butt.,

modem

who

santi's investigations.

in

Primarily a social and cultural study. Import-

First

Elementi

drawings.

San Lorenzo

Torino. Turin, 1963.

Lobkowitz, vescovo

di

Arch, e Rilievo dei Monumenti'. By an

architect

Brinckmann, A. E. Von Guarino Giiarmo Neumann. Berhn, 1932.

De

important study.

Torretta, G. Un'analisi detla cappella di S. Lorenzo di

//

Guercino. Gtan Francesco Barbieri,

iSgi-1666. Bologna

[n.d., 1957?].

Improved 2nd

ed.

1968.

A work

of

little

distinction.

Mahon, D. 'Notes on the young Guercino', fi//r/. Lxx(i937).

BIBLOSARTE

.Mag.,

6o9

Mahon, D.

Studies

Art and

Seicentn

in

Contains facsimile reproduction

Theory.

London, 1947.

Mahon, D.

// Giiercino.

Catalogo

critico dei dipinti.

Bologna, 1968.

The best critical work on Guercino

:

reviews D.

Posner, Burl. Mag., C\ (1968), 596 ff'., R. Longhi, Paragone, xix (1968), no. 225, 63 fl". Mahon, D. // Guercino. Catalogo critico dei disegni.

Bologna, 1969. The standard work on G. as draughtsman.

Mahon, D. Omaggio

Mezzetti, A., and

Mostra Denis

Rovere, L., Viale, V.,

Juvarra. .Milan, 1937. Standard work; Telluccini,

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

archive.

il

Turin, 1970.

.\

Works by Guercino recorded

per

J.

Publication of J.'s alternative projects of 1725

LI (1969), 297.

Vivian, F., in Burl. .Mag., cxiii (1971), 22

a

(1968-9).

1968.

home-

.Maffei's

Sacchetti's

catalogue of drawings and models,

for a Palazzo del

town of Cento. Review Posner,

I'lta,

Atti della Accademia delle Sctenze di Torino, CIII

1967.

Reliable account of G.'s frescoes in his

work; contains

contemporary

the

and bibliography. Viale, V.

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.

Londra. Cento, 1967.

di

.

Piemonte. Turin, 1926.

di dipinli restaurati e dei disegni delta collezione

Mahon

ol 'Modello Torino 1758'. and Brinckmann, A. E. Filippu

della chiesa di S. Filippo

di schizzi di Filippo

a Chatsworth', Boll. Soc. Picmontese,

Juvarra

111

(1949).

GUIDI, D. Bershad, D. L. 'A Series of Papal Busts by Domenico Guidi', Burl. Mag., cxii (1970), 805

Cellini, A. N., in Paragone, xi (i960), no. 121.

porzioni.

Wittkower, R. 'Domenico Guidi and French Classicism', J. ff'.C./.,

II

LAER, P .van Briganti, G. 'P. van Laer and

ff.

.A.

rome.

L'ntersuchung

iiher

Pieter van Laer, genannt

.\.

'La formazione

artistica

di

\

Filippo

beginnings

of Juvarra's

study

Careful

documented study with

careful, fully

ceiivre

catalogue.

Juvara', Boll. d'Arte, XLI (1956), XLII (1957). at

LANFRANCO

Messina.

X Congresso di storia dell'architettura. Rome,

Atti del

den holldndischen Maler

Bamhoccio. Dissertation,

Wiirzburg, 1968.

JUVARRA Accascina,

M. Cerquozzi', Pro-

(1950).

Briganti, G.; see

Janeck,

(1938-9).

III

In addition to the literature given below, see also E. Schleier, Burl. .Wag., Civ (1962); idem.

1959-

Art

Papers by T. Bianchi, L. Angelini, V. Viale. Carboneri, N. 'Filipf)o "alia gotica" del

J.

Duomo

e

il

problema

di Milano',

Arte Lomharda,

Hager, H. Filippo Juvarra bandito da Clemente

Rome,

L (1968);

.\4.

Heimbiirger, Paragone,

Faldi,

I.,

in

Paragone,

vi (1955), no. 65.

Hibbard, H. 'The Date of Lanfranco's Fresco

VII (1962).

Pietro.

Bull.,

no. 243 (1970).

delle facciate

XI

per

e

il

la

concorso di modelli

nuova

sacrestia di S.

La

1970.

Rediscovery of Juvarra's wooden model as well models believed burned during

as of other

World War

II.

Villa

Informative

text.

Mandracci, V. Comoli. Le tnvenzwni di F.J. per chiesa dt S. Filippo Neri in Torino. Turin, 1967.

la

Borghese',

in

.Miscellanea

Bihl.

in

the

Hertzianae,

1961. Penta, B. L. 'La decorazione della Cappella del

Sacramento a San Paolo',

Boll. d'Arte. xi.viii (1963).

// I'asari, vi

(1933 4). Posner, D. 'Domenichino and Lanfranco: The Early Development of Baroque Painting in Rome', in

Pergola, P. della, in

Essays

in

Honor of If

alter Friedlaender, 135

York, 1965.

BIBLOSARTE

ff.

New

6lO

•

BIBLIOGRAPHY

New

assessment of the importance

of

Lan-

Salerno, L. 'The early

Work

mentskapelle

Paolo fuori

S.

in

Das wiedergefundene Bild des Antuae Moderna, no. 19(1965), 188

mura

le

The

della Valle. 13)

now

is

Ram

Sricchia, F. 'Lorenzo Lippi nello svolgimento della

S.

in a private collection.

pour

le

I'

decor de

Loge des

la

Benedictions a Saint-Pierre', Revue de

Art, no. 7

in Ball. d'Arte,

Frescoes

in S.

E. Schleier

Semenzato, C. L'architettura

meta

'600',

del

is

di Baldassare

Longhena.

Padua, 1954. Wittkower, R.

'S. Maria della Salute: Scenographic and the Venetian Baroque', Journal of the Society of Architectural Historians, xvi (1957) and

.Architecture

Memorie di storia dell' arte, in (1963). fully documented monograph on Longhena by Douglas Lewis is on the point of going to

e

A

preparing

XLiv (1959).

Agostino,

prima

LONGHENA

Lanfranco monograph.

a full

della

Proporzioni, IV (1963).

Saggi

ff.

A fundamental study. Toesca, L,

LanAndrea

fiorentina

pittura

originally

work before

et

monographic treatment.

Full

LIPPI

nf Quails (Exodus, XVI,

Regia au Quirinal

(1970), 40

di

9.

Wachtelfalls', Arte

Schleier, E. 'Les projets de Lanfranc pour

Sala

.

62ff. ;no. 30(1965),

destroyed),

decoration

(1927), no

Rom:

nos 31-2 (1965), 343 ff. Detailed investigation of the chapel (most of franco's most important

la

in

ff.;

its

1

LHiOZZI

'Lanfranco's Malereien in der Sakra-

Schleier, E.

dt Torino,

Bacci, M., in Proporzioni, IV (1963).

(1958): chronology of Lanfranco.

IX

Duomo

//

of Giovanni Lanfranco',

Burl. Mag., XCiv (1952); idem, Commentart, V (1Q54)

and

Duomo

Rovere, L. 'Le statue di Pietro Legros nel Torino',

franco's early style.

press.

Rome.

LONGHI, L.WGETTI

A.

Arslan, W., in Emporium, xcvill (1943).

Fiocco) G. 'G. B. Langetti e

il

naturalismo a Venezia',

Moschini, V.,

in

L'Arte, xxxv (1932).

Dedalu, in (1922).

The

LONGHI,

basic study.

P.

Pignatti, T. Ptetro Longhi. Venice, 1968. English ed.

Pallucchini, R., in Bull. d'Arte, XXVIII (1934).

London-New

York, 1969. Standard work with over 500 illustrations;

LANZANI M. G., in L'Arte, LIX With aeuvre catalogue.

Turchi,

supersedes V. Moschini's monograph of 1956. Reviews by M. Levey, Art Bull., Lii (1970), 463, J. Cailleux, Burl. Mag., CXi (1969) 567

(i960).

,

LAZZARINI Pilo, G. M.

'Lazzarini e Tiepolo', Arte Veneta, xi

LUTI

(1957), and 'Fortuna critica di Gregorio L.', Critica

Dowiey,

d'Arte, V (1958).

Moschini, V.,

F. H., in

Baumgarten,

Pierre Legros artiste romain. Paris,

S.

Bull., XLIV (1962).

Bloch, v., in Burl. Mag., xcvii (1955). Steinbart,

1933P., in

G.d.B.A..

xii

Legros and a Statue of the Blessed

Der .Maler aus Holstein.

Standard work.

Documents. March, G. M., in Archivum Historicum Soc.Jesu, in

dell' arte,

li

(1958-9).

Summarizes

Stanislas Kostka', Burl. Mag., xcvii (1955).

MADERNO,

all

recent research.

C.

N. Carlo Maderno. Munich, 1934. In many ways antiquated.

Caflisch,

(1934)-

Documents, Preimesberger,

Liss.

Steinbart, K., in Saggi e Aie?norie di storia

tribution. 'P.

K. Johann

Berlin, 1940.

(1934).

Correction of Baumgarten; important con-

Haskell, F.

Art

in L'Arte, XXVI (1923).

LYS (Liss)

LEGROS

D'Espezel,

ff'.

R.

altar

of St Ignatius, Gesu.

Legros'

fur

Antamore', Rom.

his-

'Entwiirfe

Filippo Juvarras Cappella

Pierre

lorische Mttteilungen, x (1966-7),

200

ff.

Donati, U. Carlo .Maderno. Lugano, 1957. fiir den Vorplatz

Egger, H. Carlo Madernas Projekt von San Pietro

in

Vaticano. Leipzig, 1928.

BIBLOSARTE

6ii

Hibbard, H. Carlo Madernn.

monograph, based on a broad foundation of new documents, appeared in 1972. Panofsky-Soergel, G. 'Zur Geschichte des Palazzo Mattei

Giove', Rvm.Jahrh.f. Kunslg.,

di

Hamburg

Originally a

A

Xi

(1967-8),

111-88.

represents the

first

dissertation, the

themes of M.'s paintings.

MANCINI Berti

An

Toesca, E. 'Francesco Mancini Colonna', L'Arte, XLVi (1943).

important, fully documented study.

MADERNO,

MANETTI,

St.

Nava.

Cellini, A.

Maderm

(I

maestri della scultura).

book

serious investigation of the

a

Palazzo

R.

Brandi, C. Rutilw Manetti. Siena, 1931.

Milan, 1966.

Nava. 'Stefano Maderno, Francesco Vanni

Cellini, A.

e

Guido Reni

a S. Cecilia in

Trastevere', Paragone,

XX (1969), no. 227, 18 ff. Donati, A. S.M. sciiltnre. Bellinzona, 1945. Hoist, N.

v., in

Ivanoff,

Bartolommeo Manfredi',

'

in Studies

m

Anthony

presented to

London, 1967.

Blunt, no. xxi.

in Burl.

MARABITTI

Mag., laix (1936).

Agnello. G., in Archivi, iv (1937) and xxii (1955). Giudice, R. Francesco Ignazw Marabittt. Palermo, 1937-

N. Francesco Maffei. Padua, 1947. N. Catalogo della mostra di Francesco Maffei.

Venice, 1956.

With Marini, R.,

in

MARATTI G.

Bellori,

full

bibliography.

P.

to clarify influences

and chronology.

Baptismal Chapel

Foratti, A., in Studi dedicati a P. C. Falletti. Bologna,

(19^15)-

1915in L'Arte, Ui. (1961).

Important study.

Saint Peter's",

M.

Diirst,

H. Alessandro Magnasco. Teufen-Basel, 1966. Attempt at an analysis in depth of the phenomenon Magnasco.

Geiger, B. Alessandro Magnasco. Berlin, 1914.

important contribution, also

problems, supplemented by F. Schaar, Bull.,

XLViii

ihid.,

\

Geiger, B. / disegm del Magnasco. Padua, 1945. E.xhihitwn held

the C niversity

with an Introduction by

of

review Raftaele, E.

Florence, 1945.

Bildinhalte des A.

M. Hamburg,

vervielfdlt.

del 1st., iv (1955).

Maratti.

im

F.

critical aeuvre catalogue. e

.Moderna, la

iv

(1961).

R. .4cadamia de

H. Dowley

in .4rt Bull.,

San

i.ii

in

an informative

(1970), 456

ft

Nntizie della familia del pitlore Carlo

Monza,

Schaar, E. 'C.M.'s

With bibliography.

f

Fernando : Carlo .Maratti, 4J Dihujos de tema religioso. Madrid, 1965. The attribution of 10 of these 43 drawings is

doubted by

Morassi, A. Mostra del Magnasco. Genoa, 1949.

Syamken, G. Die

Rn.

Nieto .\lcaide, V. \\. Dihujos de

.\.

Morassi.

M. Magnasco.

L (1968), 194. O. 'Fin kunsttheoretisches

Standard work, with See also Arte Antica

Michigan Museum of Art. Catalogue. 1967. fine catalogue

in

F.R. di

classic paper.

Mezzetti, A., in

sandro Magnasco. Regesti e hihliografia. Venice, 1945.

An

(1966), 414, and

Kunst, XLII {1919).

delle pitture di Ales-

Speed Art Museum and

to art theoreti-

.\nschauungcn\ .Witteilungen der Ges.

Standard work.

Alessandro Magnasco (i667-i74g).

Bull., XLVii

Thesenblatt Carlo Vlarattas und seine asthetischen

Saggi sul Magnasco. Genoa, 1947.

Geiger, B. Saggto d'un catalogo

.-trt

cal

Federico,

A

in

Kutschera-Woborski,

Bonzi,

e

Piacentini).

An Art

MAGNASCO

at the J. B.

M.

Dowley, F. H., in Art Quarterly. XX (1957). Drawings at Diisseldorf Dowley, F. H. 'Carlo Maratti, Carlo Fontana, and the

MAGENTA

Mezzanotte, G.,

Rem, Andrea Sacchi Rome, 1942.

Vita di Guido

Carlo Maratti (ed.

Arte Veneta, xv (1961).

Attempt

Pospisil,

.4rt

Zeitschr.f. Kunstg., iv (1935).

MAFFEI Ivanoff,

I

Rfnatssance and Baroque

Illuminating study of the St Cecilia.

Robertson, J,

MANKRED

Nicolson, B.

1943.

"Tod

Gesii', Festschrift

1968.

1965.

BIBLOSARTE

des heiligcn Franz Xaver"

H. Kauff'mann. 247

ft

Berlin,

BIBLIOGRAPHY

6l2

MARCHIONNI,

The

C.

Pietro nella Basilica Vaticana', Sliidi Romani,

Minuhner Jalirh.

Berliner, R., in

der Inld. KunsI, ix x

Gaus,

and

style

of

Connoisseur, cxLViii (1961).

J., in

With auvre

catalogue.

Riccomini, E. 'Opere veneziane

di

Giuseppe Maria

Mazza', Arte Venela, xxi (1967), 173

ments.

docu-

a richly

life

MAZZA Fleming,

Drawings by Carlo and Filippo Marchionni. A very rich study with a wealth of new docu-

providing

at

Masucci.

iv

(1958-9)-

only attempt

mented account of the

Berliner, R. 'Le sedie settecentesche della statua di S.

ft.

Carlo Marchionni. Ein Beilrag zur rotmschen

J.

.MAZZONI

Architekur des Settecento. Cologne, 1967.

A

documented monograph. Review A.

fully

Blunt, Burl. Mag., CXi {1969), 162

Gnudi, C, Ivanoff^,

ft.

in Critica d'Arte,

(1935-6).

I

N., in Saggi e Memorie di storm dell'arte,

II

(1958-9).

MARCHIORI Arslan,W.,

Basic study with ceuvre catalogue and biblio-

in Bull. i'yir/6',v(

1925-6) and

VI

graphy.

(1926-7).

MAZZUOLI

MARIANI

Pansecchi, F.,

Fiocco, G., in Le Arti, in (1940-1).

The

Commentari, x (1959).

in

Schlegel, U., in Burl. Mag., cix (1967), 388

basic study.

ft".

Cartlas bozzetto in the Victoria and Albert

MARIESCHI

Museum.

Mtchele Marieschi (iyio-i/4j). Bergamo, 1966.

Catalogue

Exhibition

with

Suboff^, v.,

by

preface

The first comprehensive appreciation M. Precerutti-

Morassi.

of this veduttsta. - See also

Garberi, in Pantheon, xxvi (1968), 37

Preiiss. Kunstslg., ill (1928).

MEDICI,

G. DE'

Daddi Giovannozzi,

V., in Mitteilungen des kunst-

historischen Instituts in Florenz, V (1937).

ft.

MERLO

MARINALI Barbieri, F. L'attivita dei

Monte

della basilica di

New

Marmali

per

la

decorazione

Gatti Perer,

documents.

First

Veneto di scienze,

dell'Istitutu

scienze morali, lettere ed

sui

lettere

arti,

Marinali',

ed

arti,

L. Carlo Giuseppe Merlo architetto.

comprehensive study of

this architect

based on documents and drawings.

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.

Berti, L., in Palladio,

Linnenkamp,

1

(1951).

R., in Riv. d'Arte.

.X.XXIII

(i960).

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

(1958).

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

Commentari.

11

(1951).

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

nassus', Burl. Mag., CXil (1970), 15

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

Commentari,

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

literature.

also idem, in .4ntichitd Viva (1968), 2, 34

TlEPOLO,

G. B.

D'Ancona,

P. Tiepnlo in

and G.

D.

Rizzi,

Milan: The Palazzo

Clerici

Frescoes. Milan, 195A.

Hetzer, T. Die Freshen Tiepolos

in der

IViirzhiirger

logo.

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

M.

La

R.

is-

dedicated to L.

Reggiii di Caserla. Laiori cosio

effetti delld aistruzume.

G. La Reggiu

Rome,

di Caserta.

.\

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

Istituto di

Fagiolo-dell'Arco,

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

fl.

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.

press) delivered at the \ ittone Congress of

itcllis

1970 aril.

ff.

Vanvitelli, L. Dichiaraztone dei disegni del real palazzo

Turin.

in

Rodolfo, G., in

della soc. piemoniese di arch, e belle

.•///;

.\v(i933).

Documents. Wittkowcr, R. 'Vittone's Drawings

di Caserta. Naples, 1756.

With engravings of Vanvitelli's

ArtsDccoTaiiis'yin

project.

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

medievale e moderna all'Lniversita di

.Vlilano).

di

Florence, 1970.

/ Vermexui. Florence, 1959.

VITTONE

WITTEL,

G.

ZANCHI,

A.

VAN

SCe

VANVITELLI,

G.

Baracca, C. 'Bernardo Vittone e I'architettura guariniana', Torino, xvi (1938).

Brayda,

C,

in Boll. Soc. Piemontese. n.s.

Carboneri, N.,

i

Riccoboni,

(1947).

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)

Canada

S12. 95

U.S.A. S12. 95

ISBN0140561161

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

these have been incorporated into the text, which - far from being abridged - has where necessary been revised and updated. The integrated editions make available, at the lowest price possible, volumes from a series which has been called 'a landmark in the history of art publishing' and 'one of the cornerstones of twentieth-century scholarship'. tion of plates included, but itself

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