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"CO
rECTURE AXD SCULPTURE
ITALY
BY CORK ADO R1CCI -
ROME
LONDON. WILLIAM HEIXEMAN.X.
BAROQUE ARCHITECTURE AND SCULPTURE
IN ITALY
Ill

BAROQUE
ARCHITECTURE
AND SCULPTURE
IN ITALY
BY

CORRADO RICCI
DIRECTOR GENERAL OF FINE ARTS
AND ANTIQUITIES OF ITALY

LONDON
WILLIAM HEINEMANN
1912
ARCHITECTURE AND SCULPTURE OF
THE ITALIAN ROCOCO PERIOD

emotional faculties of the human soul are Baroque Art was, indeed, a very gifted autocrat,
The infinite, and it is the function of art to satisfy fullof talent, fire, and resource, who neglected
them all. Hence we shall find that when in dif- nothing that could tend to establish the harmony
ferent periods, one particular sentiment, or several and stability of his kingdom.
such, prevail above all others, art takes the form We shall see presently when and why the equi-
most harmony with the dominant taste. At the
in librium broke down, and why this was one of the

period of the Renaissance, general culture, and main reasons for the discredit of Baroque Art.
even life itself, we may say, was based upon an- For the moment, we will consider it in its equili-
tiquity; simultaneously, art returned to that ideal brium and its harmony.
of calm and correct beauty which we call classical. Such a consideration will suffice to dispel the
During the Romantic period, melancholy became notion that Baroque art was insincere, as has been
fashionable, and souls found a voluptuous pleasure sometimes asserted ;
in other words, it is unjust to
in their own pain; too became sombre, and
art say that the 17 th century invented the needs of
veiled itself in sadness. Thus its manifestations a factitious enthusiasm, that it
might have the plea-
were successively tragic, joyous and magnificent. sure of satisfying them.

Magnificence was the prevailing note when society Artists, as well as the public, inclined to this
showed above all things a desire to be astonished. art because it answered perfectly to their taste.
Wonder was the sentiment most in harmony They may have sometimes vied with each other
with Baroque Art, according to the Baroque poet in the exaggeration of their principles, but neither

par excellence, the Cavaliere Marino: the one nor the other ever dreamt of a drastic

E del poeta il fin la maraviglia change in those principles.


Chi non sa far stupir vada alia striglia. For indeed, whether we look upon the Baroque
*)
Style as a spontaneous form of art expression, like
This explain why, at other periods, there
will
many or as a phase necessary to the in-
others,
were lightning flashes, so to say, of the Baroque
timate development of art itself, we shall note, not
th
Style; why, even in the 14 and 15 th centuries,
only that it corresponded to the psychological
we find fugitive traces of its the plastic pomp in
faculty of astonishment and to the general con-
arts. The love of the stupendous made its claims
ditions of public sentiment, but also that it was
felt even then ; and if these were not
very insistent, marked by similar characteristics in every artistic
it was because other tastes were in the ascendant.
centre where at a given moment, it was evolved.
But the tendency began to develop in the 16 th cen-
In the sculptures of the altar of Zeus, as in those
tury with Michelangelo, Correggio, Sansovino, and of Michelangelo and his disciples, we observe the
Vignola; it acquired a force which became boldness;
exaggeration of the muscles even in the feminine
it showed the happy audacities of the conqueror,
forms, while in certain buildings, notably those of
the irrepressible eccentricities of the victor and
Baalbek in Syria, there are features which might
the autocrat.
have been designed by Bernini or Borromini.

*) The aim of the poet is to surprise. He who cannot Baroque Art was, in short, an art evolved in
astonish us deserves a cudgelling-. perfect good faith. Artists and theorists alike of-

'C
all the products of the three kingdoms
ten appealed to the past and to reality; but they together
of nature."
themselves unconsciously when they for-
stultified

mulated their calm and reasonable theories, in the


that their art corresponded to their
persuasion
has been said that when one wanders through
Lomazzo, who denounced all imitation
It
intentions.
the ancient streets and squares of Siena, one's
and exaggeration, was even more baroque than
sense of fitness is outraged by the sight of pedes-
the rest; Vignola was much more attached to anti-
Scamozzi adjured trians with umbrellas and over -coats, and that
quity in theory than in practice;
his pupils to use ornament with restraint and so- when, on the other hand, the Companies of the
Doric buildings, the very ones various Contrade sally forth equipped for the Pallio,
briety, especially in
he himself over-loaded most. It was by virtue or some confraternity passes along with
religious
faces muffled cowls, a cross-bearer in front,
of such good intentions as theirs that men finally
in

came to the style of Fontana, Buontalenti and one recognises the harmony that formerly existed
Giacomo della Porta. Such was the good faith between costumes and buildings, dwellings and
of these artists that as early as 1591 G. B. Paggi inhabitants. The impression is perfectly sound.
But why then, when we look at a Baroque build-
thought he had discovered an inherent harmony
between the art principles of his day, and the ing, do we not admit similar effects, and reason
forces of Nature. with the same justice? Why do we not allow
The accusations of falsity and of folly formerly that the lack of unity may result from the difference
levelled against the Baroque Style are no longer of costume, and the changes that have come about
first enunciated at the moment the style of decorations?
tenable. They were in

when this exuberant though powerful art was Let as take the magnificent theatre interiors
the world, after a domination of two built by the Bibiena. Many critics consider them
wearying
centuries. If in the domain o'f the fine arts, societies overloaded with consoles and balustrades ,
and
advance along the path of progress, it must be tormented with curves. But if for the audiences

admitted that the cause of such progress


initial of to-day (the men with bald or closely cropped
is the satiety engendered by the abuse of pre- hair in their tightly fitting gray or black coats, the

vailing forms. The desire for new manifestations women with their prim coiffures and discreetly
new enjoyment; but when the hour of it were possible to substitute
procures rouged complexions),
reaction, or even of discredit has passed, history the resplendent public of the days when the Bi-
and criticism should return to the impartial exercise biena designed these theatres, the damasks, jabots,
of their judicial functions. laces, embroideries, ribbons, feathers and flowing
It is to this violent reaction that we owe the wigs, and if we could illuminate these with thou-
appellation Baroque or Barocco, by which we now sands of candles inside and ontside the boxes,
describe the style which reached its apogee in would the architecture seem as heavy as it now
the 17"' century; a similar reaction in the sixteenth does?
century applied the invidious term Gothic or bar- the saloons of the Baroque palaces, the ela-
In

barous to Pointed architecture. The word Baroque borately decorated stucco ceilings often seem about
has, must be confessed, an opprobrious sense,
it to crush us; butwe were to remove our
if mi-
whether it be derived from the Latin Verruca, a serable modern furniture, if we were to strip the
wart, the Portuguese baroque, meaning an irregular walls of their cheap flowered papers, chromolitho-

pearl, or the Greek /frxooi;, signifying weight, hea- graphs and little photographs, and replace them

viness, or flagaxunoi;, which corresponds to mad, by old


theimposing furniture, with its painting
delirious. It is not known who first applied the and gilding, the tapestries, candelabra, pictures
term to art; but the word appears in 17 th century and mirrors with frames in high relief, would not
Italian, as a philosophical term. A century later, these ceilings seem to rise more lightly?
it passed into the vocabulary of art with this de- Would our Roman palaces seem to threaten
finition: ,,A pretentious and eccentric style which to crush the anaemic crowd that hurries through
came into vogue at the end of the 16 th and lasted our streets to-day, newspaper in hand, and our ill
throughont the 18 th century;" or: ,,a capricious kept carriages, drawn by horses which exhibit more
style prevalent in Italy from 1580 to abont 1760;" bone than muscle, if these could be transformed
or again ,,the style which for two centuries into a multi-coloured throng
:
heaped in every variety of

VI
costume, circulating the gorgeous coaches
among versatility was amazing. He painted pictures
His
of princes, cardinals, and popes, adorned with in the style of Poussin, drew portraits and cari-
joyous allegorical and mythological figures and catures, executed colossal statues for bridges, foun-
gilded reliefs, lined with satin, driven by splen- tains, public and churches, and statues of
sites

didly dressed coachmen, attended by magnificent smaller size for galleries and saloons; he built
lackeys, and drawn by great Saxony horses covered magnificent palaces, modelled ornaments for litters,
with rich draperies, pendants, and bows of ribbon, designed mosaic pavements and coaches, erected
their heads crowned with nodding plumes of various obelisks, enframed coats of arms, wrote comedies
colours? and satires, painted scenery for the theatre, in-
Nor must the historian overlook the psycholo- vented surprise machines, compounded fire-works,
gical relation between Baroque Art and the society raised catafalques, and arranged masquerades, ani-
which produced it, a society of conflicting faults mating every thing he touched wirth a spirit of
and heroism and debasement, of scientific
virtues, of resourcefulnes, subtlety, courage and audacity.
initiativeand of superstition, full, in a word, of The incessant struggle in which he was engaged
contrasts and contradictions, of bombast and exag- against envious rivals, the attacks of the ill-dis-
geration, but sustained by the conviction that there posed, and even of his own brother, did not dis-
was still much beauty to discover in the domain courage him. He worked incessantly, and for all

of art, much truth in that of science, much goodness sorts and conditions of men he worked for ;
his
in that of philosophy. own delight, as well as to satisfy the demands of

kings, princes and popes, who loaded him with


riches and honours.
Atthis period, painting was less flourishing in Like the magician of a fairy-tale, he moved
Italy then in other countries, which could boast mountains of marble, lakes of molten metal, and
their Rubens andtheir Van Dyck, their Rembrandt the streams of rivers, and transformed them all
and Frans Hals, their Velazquez, perhaps
their into works of art full of seduction and vigour.
even their Murillo. I must not be understood to It is to him and his
contemporaries that the tech-
mean that Italy could not point to manifestations nique of sculpture owes the perfected methods
of pictorial art of a very high quality, even at this now in general use. Thanks to him, also, marble
moment; the contrary is sufficiently proved by took on a melting and almost pictorial splendour
enumeration of artists scattered throughout the according to its character and colour whether ,

country, Michelangelo da Caravaggio, the Baciccia, striated or speckled or polished.


opaque ,
He
Pietro da Cortona, Luca Giordano, and the viva- modelled stucco in situ with astonishing rapidity,
cious Bolognese School formed by the Carracci. and a and vivacity never as yet surpassed.
fire

Yet it must be admitted that while the Italians Rome and manyother large towns owe to Bernini
did not not lack talent and application, the Flemings, their present aspect and their abiding character.

the Dutch, and the Spaniards were uplifted by the Do not Naples, Genoa, Bologna, Lecce and Palermo
inspiration of genius, and the fire of enthusiasm. impress us as Baroque cities? Michelangelo and
But the domain of architecture and sculpture,
in Vignola had, it is true, laid the grandiose impress
the Italians held the first place in these arts they
;
of their creations on Rome, but the decorative
produced a genius worthy to rank with Rubens, character, the mise-en-scene, as it were, the per-
Rembrandt and Velazquez, in the person of Gian spective of the most admired portions are the
Lorenzo Bernini. His facility of conception was work of Bernini and of his pupils.
equalled by the ease with which he translated his would point, in support of my contention,
1

ideas into buildings and statues. He was a supreme to the Piazza di San Pietro, with the curving flanks
master of effect; the greatest difficulties seemed of quadruple Colonnade, its gigantic fountains
its

but to stimulate him to the invention of the most with their iridescent cascades; the Piazza Navona
skilful expedients, and in him the sense of the with the Church of Sant' Agnese, Borromini's master-

grandiose attained highest expression. The pro-


its piece; the Palazzo Pamphili by Girolamo Rainaldi
blems he solved when he designed the Colonnade and the three fountains with their numerous figures;
of S. Peter's and carried out the transformation the Piazza di
Spagna, lower part sparkling
the
of the Scala Regia in the Vatican give us the full with light reflected from the waters that inundate
measure of his extraordinary skill. the Barcaccia, and the upper part climbing to the

VII
mained graceful and composed in her art, and
Church of La Trinita dei Monti by the majestic
produced architects, who clung
to the old tradition,
the group formed
steps of Alessandro Speech!;
Caterina da Siena, San Do- and so attracted little attention. Some names,
by the churches, Santa we
menico and San Sisto among the clustering trees however, must not be passed over in silence;
who
of the Aldobrandini gardens, perched apon
the may instance Giulio Parigi, Gherardo Silvani,
in the hanging gardens of Babylon died in 1675 almost a centenarian, and his son
great walls as
;

and Pier Francesco (1620 1685). In their hands, Tuscan


the mighty masses of San Giovanni Laterano,
the small, retired but nevertheless was a continuation of that
architecture in vogue
of the Vatican ;

Sant' Ignazio and Santa under Cosimo I which carrying on the ,


tradition
majestic Piazzi of Trevi,
,

Maria della Pace. of Michelangelo in the persons of Vasari and Am-


manati, persisted in that of Buontalenti under
mediaeval the
These, rather than Forum or Palatine,
or Renaissance buildings, are the features which Grand Duke Francesco.
give Rome its grandiose and sumptuous character;
this seemed essential to Popes like
character
would have been easy for the architects of
Sixtus V, Paul V, Urban VIII, Innocent X, and It

Alexander VII; they wished to show by this means the rest of Italy to follow in the same path. An
definite rules
that the overthrow of Catholicism in many Euro- unswerving adherence to the very
economic established at the Renaissance would have enabled
pean countries had not robbed it of its

power or its moral empire. mediocre artists to compete with the greatest with
All the great towns of Italy began hereupon every chance of success. Happily, let us not be
to imitate the splendour of the Roman buildings; afraid to say, men began to feel a beneficent wea-
everywhere churches arose, and colossal palaces, riness of these rules, which prepared the way for
the works of skilful architects, not always natives liberation.

of the places inwhich they flourished. list of A The cupola of S. Peter's was the first and
these would be interminable. We must be content most powerful affirmation of this enfranchisement,
to mention the most distinguished. In Rome and besides being the model for the Roman churches
a large part of the States of the Church, in- of the new type, in which the bell-tower loses

cluding Umbria and the Marches, the following were much of its importance. From this time forth, bel-
active: Giacomo della Porta (15411604), Carlo fries became small, humble and unobtrusive; even
Maderna (15561629), G. B. Soria (15811651), Bernini, who had no great liking for cupolas, was
the Longhi, Pietro Paolo Floriani (about 1630), not able to bring belfries into favour again, although
Bernini (15981680), Francesco Borromini (1599 he gave them much architectonic richness, and set
-
1667), Alessandro Algardi (15921654) Pietro them on either side of the principal facade, a prac-
Berrettini da Cortona (1596 1669), Vincenzo della tice which found many imitators.
Greca (working in the first half of the 17 th cen- When we look down on Rome from a height,
tury), and the two Rainaldi, Girolamo (1570 1655) we see hundreds of cupolas raising their heads,
and Carlo 16111691); Carlo Fontana (1634- allmore or less resembling their majestic mother,
1714) Piedmont we find Ascanio Vittozzi
etc. ;
in who seems to be watching over them with ad-
(d. 1615), Guarino Guarini (1624 1683), Francesco mirable calm and solemnity.
Gallo (1672-1750), Filippo Juvara (16851735); In the interior, the churches consisted of a vast

in.Lombardy, Francesco Maria Ricchini and G. B. hall flanked by chapels, or in some cases of two
Pessina (working in the first half of the 17 th cen- narrow sustained
aisles, generally by pilasters.
tury) ;
in Liguria, Antonio Rocca and Gregorio Pe- The vaults are nearly always barrel vaults, deco-
tondi ;
in Venetia, Vincenzo Scamozzi (1562 1616) rated with stucco, or more often still, with a mix-
and Baldassarre Longhena (1604 1682) in ture of stucco and painting. The architectonic
Emilia, ;

G. B. Aleotti callled L'Argenta (15461636), Luca motive of the exterior is worked out without any
Danes! (15981672), Bartolomeo Triachini, Bartolo- relationto the interior, like a perfectly indepen-
meo Provaglia (d. 1672) Bartolomeo Avanzini , dent design. Looking at the facade of Santa
(working between 1630 and 1670); in southern Maria in Via Lata by Berrettini, no one would
Francesco Picchiata (d. 1690), Francesco Gri-
Italy, suppose the church to have two aisles; facing
maldi, Cosimo Fanzaga (15911678), and many that of San Marcello, designed by Carlo Fontana,
others. Tuscany, always cautious and correct, re- could we imagine that the interior is single-aisled?

VIII
Generally, however, these facades are divided rich, and adorned with many statues, the general
into two storeys, a lower one with columns and effect being similar to that of a polyptych. The
half columns, and an upper one with pilasters. figure of the defunct rising upon his elbow in ac-
The wider lower storey is related to the narrower cordance with Etruscan tradition, had a great vogue
upper storey by decorations (festoons or
floral after the tombs sculptured by Sansovino for Santa

palms), or by heavy consoles and volutes, which Maria del Popolo. The small architectural tomb,
latter are merely amplifications of a motive already with an inscription between two pillars or small
used in the 15 th century. It is tobe seen in Santa columns, and an oval niche for the bust of the
Maria Novella at Florence, in San Francesco at deceased became very popular in the 16 th century.
the Cathedral at Turin, in Sant' Agostino
Ferrara, in The example of the Medici tombs further gave
and Santa Maria del Popolo at Rome and else- ,
rise to the introduction of a multitude of allegorical

where. or symbolic figures, which had heretofore been


Such was the dominant type of the Baroque relegated to bas-reliefs or accessory decorations.
church; but this did not preclude occasional essays The 17 th century welcomed all aspects and all

in churches with a central space, in which mag- forms, and treated them with a breadth and free-
nificent resultswere obtained; thus Bernini showed dom that sometimes verged on exaggeration.
an elegant freedom in his adaptation of the Pan- Around their tombs, these artists lavished genii and
theon to the construction of Sant' Andrea Quirinale feminine figures with plump forms and smiling
and the church of Ariccia. faces, between the draperies of coloured marble
But, to my mind, the finest church of the ornamented with gilded bronze, while on every
th
17 century on these lines was conceived by Bal- side, skeletons and death's heads peer out, with
dassarre Longhena, the architect of Santa Maria terrifying and grotesque grins.
della Salute at Venice. When we descend the Marble polychroniy achieved a richness hitherto
Grand Canal gondola from the Accademia
in a unknown; from the altar-frontal and the tomb, it

eastwards, this admirable building presents a fresh passed to the altar itself, to the pavement, and

spectacle at every turn at one moment a graceful


;
the pillars of the vaults and lunettes, in the de-
curve appears, the next it is hidden by a sinuous coration of which skilful painters and vigorous
console which melts away in its turn; this play modellers of stucco vied with each other.
of light and shade, combined with the perpetual In Italy, the art of stucco ornament was a heri-

shimmer of the water, gives extraordinary animation tage from Etruscans and Romans; as is well known,
narrow academic they have left us admirable samples of their
to the building. a skill
Only spirit
could have condemned it as "a miracle of arbitra- in this domain. The Middle Ages never lost sight
riness;" as if the way of art were not very often of this tradition, as we may see at Ravenna and
an arbitrary way! at Cividale in Friuli; the Renaissance revived it,

The most surprising quality perhaps of the the 16 th century gave it new vigour; but it was
Baroque architects is the care, almost amounting in the 17 "'century that work in stucco reached
to a passion, with which they brought every minor its fullest development.
harmony with the grandiose aspect and
detail into The Baroque artists gave it an importance equal
the splendour of the monument as a whole. Al- to that of sculpture ;
the greatest artists saw nothing

tars, confessionals, ciboriums, fonts, organs and derogatory passing from marble and bronze to
in

desks, altar frontals and reliquaries, candelabra,


- stucco. Among those who worked in this medium
canopies and banners, all are treated with equal were Alessandro Vittoria, Gian Lorenzo Bernini,
richness, all are the objects of an equal effort. Ercole Ferrata, Antonio Raggi, Camillo Rusconi,

Holy water stoups, formerly isolated basins or cups, Giacomo Serpotta and Antonio Calegari. The
splendour of marble and the sombre vigour
were now attached columns and of
to the pillars of
the building, while confessionals were introduced bronze were never abandoned for stucco; but it
statues
among the mouldings that sustain singers' tribunes, completely superseded terra-cotta both for
balconies, and even cenotaphs. and ornament. All that Jacopo della Quercia,
But conceptions even more varied and felicitous Niccolo Area, Mazzoni, Begarelli, and Alfonso
dell'

were applied by Baroque art to the designing of Lombardi had executed in terra-cotta was trans-
tombs. The Renaissance tomb was sober and ferred by their successors to stucco; and this
restrained in Rome and Tuscany ;
at Venice it was material, rich and fragile as the other had been

IX
sober and durable, was used even on the exteriors floor are filled in with gratings of hammered iron,

of buildings. elaborately worked and very heavy, designed to


harmonise with the heavy adjacent mouldings. But
this solidity is not detrimental to the general design,
If we
pass from the churches to the palaces, which is developed with the utmost lightness and
we shall notice at once that the decorative style luxuriance ;
the gratings produce an effect of mingled
varies very little but, on the other hand, the archi-
; strength and elegance.
tectonic sentiment is totally different. At Venice, A brief examination of the various parts of the

Longhena followed in the footsteps of Sansovino; palaces will now enable us to define some of the

the lower part of his palaces is built of rusticated characteristics which were evolved more particu-
stones and surmounted by two storeys with balus- larly in the 17 th century.
trades, and large round-headed windows flanked buildings of the Renaissance, the main
In the

with columns. At Verona and Vicenza, the per- doorway opened into a relatively modest entrance
sistent influence of Palladio manifests itself in with lateral doors, giving access to magnificent
the tall columns like buttresses, rising to the upper inner courtyards surrounded by loggias. This
cornice. At Genoa, architects went on building was the arrangement in the most important palaces,

palaces in the style made fashionable by Galeazzo such as the ducal palace at Urbino; the Giraud,
Alessi. At Bologna, the buildings have a very della Cancelleria and di Venezia Palaces at Rome;
individual character, due to the habitual use of the Strozzi and Riccardi Palaces at Florence, and
porticoes. The Roman
structures adopted a cer- the Bevilacqua Palace at Bologna. The atrium
tain pomp and solidity of aspect, derived from with columns began with Antonio di San Gallo,
the colossal ruins of antiquity and the buildings Vignola, and more especially Alessi, who at Ge-
of the second half of the 16"' century, in which noa connected the vestibules of several palaces
Michelangelo's influence was most apparent. The to enhance the effect of the perspective. From
fa$ade of the Barberini Palace is identical with the atrium we pass into the inner court, and here
that of the Palazzo Farnese which looks upon the Baroque artists followed the Renaissance de-
the Tiber. their courts are generally square with a
sign ;

The Marches and Romagna imitated Rome Milan ; double row of loggias; they preferred, it is true,
combined the principles of Roman and Genoese the twin columns which were popular at Genoa
architecture, the first transmitted to her by the as well as at Milan, Padua, Bologna, Florence and
Pellegrini and Tibaldi, the second by Alessi. Fi- Rome throughout Italy, courts resemble each other
;

nally, Naples, Lecce and Sicily also felt the in- much more Thus the plan
closely than facades.
fluence of Spain. of the court of the Brera Palace,
at Milan, by
It should be noted that the architectural Ricchini, is identical with that of the Borghese
organism
is
especially solid in the Roman palaces, and in Palace at Rome by Martino Longhi the elder, and
buildings inspired by these. Very often, the simple that of the University of Genoa, by Bartolomeo
and Robust fagade is only relieved by a Bianco.
doorway
with three connected openings, as at Montecitorio. was only possible
When, for lack of space, it

But more frequently still, the to follow up the atrium by a small \court, it was
portal consists of
one large bay with an architrave or a round-headed usual to construct a niche in trie wall facing the
arch (very seldom modified or
pointed) surrounded entrance door, and to place in the niche a statue,
by rusticated stones between two columns it serves ;
a fountain, sometimes a landscape, painted or
to support a
balcony. On the doorways and bal- modelled, and very often architectural perspectives,
conies, and sometimes also at the angles of the optical illusions designed to increase the apparent
building, are large shields and coats of arms, size of the court.
which would by themselves suffice to show the In the Middle
Ages, stairs were steep and nar-
prolific fancy of the Baroque artists.
Everything row; during the Renaissance, they were enlarged
serves them as a pretext for to some extent, but
ornament, in which they remained comparatively
they intertwine monsters which twist and struggle, small, as we may see in the palace of Urbino,
human figures, and animals in the midst of a pro- in the Riccardi and Strozzi Palaces at Florence,
fusion of flowers, sea-shells and coral. The
fruit, in the Castello at Milan and elsewhere. Bra-
lunettes over doors and windows on the ground mante introduced the so-called cordonate, and

X
spiral stair-cases; his example was followed by to study them at ease, and even to ventilate the

Vignola, and later by Bernini and others. It room.


may be said that every important palace in Rome *
* *
(from the Vatican tho the Casino of the Villa

Borghese, from the Palazzo of the Via Giulia to The genre of all others in which the talent of
the Barberini and Borghese Palaces) had its spiral the Baroque artists found its fullest and most
staircase. But all these staircases occupied a rela- capricious expression was the construction of foun-
tively modest space. Those which the Baroque tains. To this they applied the most fantastic
architects constructed, on the other hand, increased forms of architecture, and these accorded well
to such proportions that they invaded half the with the restlessness of water, now falling into
palace. Genoa and Bologna had examples even broad pools, now rising in delicate spray, like an
more magnificent than Rome ;
each of these cities iridescent now rushing down in abundant
mist,
gave a special character to its staircases. At cascades. gushed sometimes from the mouth
It

Genoa, the staircase was put in the vestibule at ; of a God or a monster, sometimes from that of

Bologna, the stairs were built in a lateral space, a Triton or Siren, Moses or Neptune, a marine
in order to leave the entrance free. One of the or a river-god, a serpent, a dolphin, a horse, a
reasons for the introduction of the staircase in the lion, the beak of an eagle, the jaws of a griffin
vestibule at Genoa, was the limitation of space or a dragon on every side, these were supported
;

caused by the inequalities of the ground on which by nymphs and cupids. The talent of the designer
the city stands; the palace stood upon a slope; adapted itself with admirable facility to the exi-
the ascent began on the threshold, so to speak. gencies of the situation, and turned the force and
However, monumental staircases are to be found volume of water to excellent account. open In

in all the Italian cities, from Venice to Palermo, spaces or squares, up isolated fountains,
artists set

from Turin to Naples. centrally planned, so to speak, and rising in pyra-


We have still to note two other features of midal form, save when such fountains formed the
th
the palaces of the 17
princely century: picture fafade of a building, like the Fountain of Trevi,
galleries and libraries. Architects made special or the Acqua Paola at Rome. In narrow streets,

arrangements for the bestowal of collections of on the other hand, and in courts, fountains
pictures and statues, as we know from several were always set against the wall, whereas in parks,
famous examples in Rome, in the Colonna, Spada the level open spaces allowed them to extend at
and Doria-Pamphili palaces. On the ground-floor, pleasure, and the steep inclines gave opportunities
statues and busts were ranged on pedestals and forleading the water over steps, or bringing it
brackets; on the upper storeys, the walls were down in miniature cascades. The various forms
hung with were often made to fit
pictures, which of the fountains were determined by the quantity
a given space and adapted to the measurements of water at the disposal of the artist the Foun- ;

imposed by symmetry or architectural decorations; tain of Trevi has the appearance of a dam, in a
the large pictures were cut down and the small ,
river which is rushing over rocks; but when the
ones enlarged. In the intervening spaces huge water merely trickles drop by drop, he gives us
mirrors, plaques and candelabra were displayed. a nymph rising from a basin and wringing out
The walls were hung with damask or tapestry, the moisture from her hair. When the stream
the ceiling was richly decorated with stucco and rushes down tumultuously, impelled by its natural

paintings. altitude, the architect makes it escape by a hundred


The libraries, which were more extensive in vertical or curved jets; the water which rises slug-
monasteries than in palaces, consisted of large gishly is collected round a boat which seems to
halls filled with carved furniture as solemn as fune- be sinking, as in the Piazza di Spagna, at the
real monuments. But scholars were not numerous Villa d'Este at Tivoli, and the Villa Aldobrandini
in those days, and the convenience of readers at Frascati. The vigorous but slender water jet is
was but little consulted. The book-shelves, which multiplied by descending successively into several
were generally very lofty, were in two storeys, superimposed basins of increasing size, and thus
separated by a circular gallery. Large windows the same effect is won in the descent as that of an
admitted the light from above. Every thing was ascending column of abundant volume and energy.
uncomfortable it was difficult to reach the books,
;
When a city lacked springs, and had only wells

XI
with forms demanding a combination of robustness with
and cisterns, the artist constructed well-heads
The perfect fusion of these two
columns such as we see in many monasteries, and artistic feeling.
is due to Sanmicheli, Michelangelo, and
the richly decorated wen or fountain wells of Venice, qualities

the height and the curves of which are so well Alessi, who designed city-gates which united nobility
of the drawer of water, of and great solidity. The Baroque artists
line
adapted to the attitude
while the wide ledges serve as a stand for pails transformed them into veritable triumphal arches.

and bowls. They consisted generally of a lofty arch, flanked


Certain towns in the valley of the Po, Padua, by double columns surmounted by an entablature
Bologna, to say with a pediment. Sometimes the columns are
Mantua, Modena, and above all,

a very replaced by pilasters at the sides. Of course


nothing of less important centres, acquired
individual character from the construction of ar- these doorways were suggested by the ancient

cades which extend for considerable distances. Roman gates and triumphal arches.
the suburban The period of political tranquillity which had
Bologna, indeed, was connected with
of the Alemanni by an arcade a good kilo- followed upon the warlike and stormy era of the
parish
meter in length, and with the Sanctuary of the Renaissance suggested the transformation of these
Monte della Guardia, some three kilometers off, military structures into triumphal monuments.
of 666 arches built Thenceforth there were no more donjons, battle-
by an uninterrupted series
between 1674 and 1739. ments, machicolations or drawbridges. Outside the
It was to protect themselves from the heary gates lay the quiet country with its well-tilled
snow-falls common in the district that the inhabi- fields, and the villas in which the art of the
tants of the lower valley of the Po had recourse 17"' century was to find a fresh development.

to the expedient of arcaded porticoes; they were As the fortified castles of the nobles were the

very magnificently developed at Bologna in parti- most sumptuous buildings to be found among the
cular, which was more exposed than any of the mountains and fields, the force of tradition im-
other cities to the rigours of winter. All, or nearly posed them upon architects as models for the
allthe streets here are flanked by open galleries; country villas they began to create. A great
the Bolognese first began them in the
to erect many were 17 th century on the plan
built in the

13 th century. At first they had been supported of fortresses with four towers at the angles, like

merely by wooden beams, but they gradually as- the castles of Ferrara, Torchiara, and a hundred
sumed a more beautiful and more dignified form others. The Villa Ambrogiana was built at this

as art progressed and wealth increased. The origi- period near Florence on the site of an ancient
nal wooden piers were replaced by pillars of brick castle of the Ardinghelli family, and the type per-
th
or stone, with elaborate marble capitals. This sisted to the 18 century, as may be seen in the
wealth of columns and vaults and arches, some- Villa Rezzonico, at Bassano in Venetia.
times in alignment on either side of the street, It is interesting to see how the towers erected
like the aisles of a basilica, sometimes curving on each side of the building, were gradually trans-
likean avenue of trees along the banks of a canal, formed into two large wings, or, in other words,
here dark in contrast to a sunny piazza, here sun- into two lateral structures, a transformation effected
illumined in contrast to a dark winding lane, pro- to evade the annoyance of perpetually going up
duces a play of lines and light which must have and down the inhabited towers, the
stairs of the

proved very stimulating to the great perspective wings offering the advantage of floors on a level
and scenographic school which flourished at Bologna with the body of the dwelling.
for two centuries. This school, in its turn, became This development may be studied in the so-
a source of inspiration for later architects in some called Castello of Aglie in Piedmont, in the Villa
of their most effective achievements.
Rospigliosi at Lamporecchio, and to a certain ex-
tent also in the Casino of the Villa Borghese in
Rome, where it
may too be noted that the central
It was in the second half of the 16 th century body of the rises above the two front
building
that the gates of cities lost their likeness to for-
wings in the manner of a donjon, thus affording
tified towers with their
donjons and draw-bridges. a second type which may further be observed in
This had been respected
by the art of the first the Villa Piccolomini Lancillotti at Frascati, and
Renaissance, too fragile as yet to adapt itself to at the Este Palace at Belriguardo in Ferrara.

XII
These 17 th century villas were surrounded by and also with the Rococo Style, which transformed
immense parks of almost royal splendour, adorned its solid, vigorous and emphatic qualities into
with fountains, lakes, cascades, statues, flights of lightness and fragile grace. In France, Baroque

steps, balustrades, vases, urns, columns, seats, art coincided with the reign of Louis XIV, while
sunlit meadows contrasted with dense and sombre the Rococo Style flourished under Louis XV. In
woods, and brilliant flower-beds, alternating with Italy,with her numerous states of greater or less
wild spaces reserved for pasturage or hunting. importance, the two styles cannot be attached in
The spots which are most deserted, most ravaged the same manner to any prominent personality;
by the flight of time, are of all others the most but it
may be said that Baroque art in its essen-
poetical; and I think there can be few pilgrim- tial features persisted here longer than elsewhere,

ages which evoke a deeper emotion than a and began to decline only towards the middle
lingering walk through the leafy solitudes of a of the 18"' century. The Rococo Style gradually
17 th century villa, where leaves, birds and waters found its way from Northern Italy towards the
seem to lament in unison over the inexorable South, after making its first appearance in Pied-
decay of these sumptuous abodes of pleasure and mont and Lombardy. Rome was the last to yield
well-being. to its her great tradition was hostile
influences;
to puerile, though graceful forms, and to an ele-

gance which was factitious and mannered. Baroque


The Baroque Art is often confounded with
true Art, on the other hand, had triumphed there, be-
that of Michelangelo and the epigoni of the Re- cause its accents had harmonised with the sonorous
naissance, which furnished it with forms and ideas, voices of ancient Rome.

CORRADO RICCI.

XIII
(Phot. Anderson)

Rome. Beginning of the Colonnade of St. Peter's, by Bernini (1656 1663).


Fountain by Carlo Maderna (c. 1610)
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(Phot. Alinnri)
Rome. S'a Maria della Vittoria (1605),
by Carlo Maderna
(Phot. Alinari)

Rome. SS. Vincenzo e Anastasio (1600), by Martino Longhi the Elder.


Portion of the Facade
8

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(Phot. Moscioni)
Rome. S. Carlo al Corso (1612). Cupola by Pietro Berrettini da Cortona
11

(Phot. Alinari)

Venice. S. Maria della Salute (1631 1656), by Baldassarre Longhena


12

(Phot. Alinari)
Rome. SS. Domenico e Sisto (1623) by Vincenzo della Greca
13

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14

(Phot Alinari)
Rome. S. Carlo alle Quattro Fontane (1640),
by Francesco Borromini
15

(Phot. Alinari)

Rome. S. Andrea delle Fratte. Belfry (middle of the 17


th
century), by Francesco Borromini
16

(Phot Moscioni)
Rome. S. Agnese in the Piazza Navona (16451650), by Francesco Borromini. Belfry
17

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(Phot. Alinari)
Rome. S. Maria della Pace. Facade (16551667), by Pietro Berrettini da Cortona
19

(Phot. Alinari)

Rome. S. Ignazio. Portion of the Facade (1650) by Alessandro Algardi


20

(Phot. Alinari)
Venice. S. Moise. Facade (1668), by Alessandro Tremignan
21
22

(Phot. Gargiolli)
Rome. S. Andrea del Quirinale (1678) by Lorenzo Bernini
23

(Phot. Gargiolli)

Rome. S. Andrea del Quirinale (1678) by Lorenzo Bernini


24

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(Phot. Alinari)

Frascati, near Rome. Cathedral of St. Peter (1700). Design by Girolamo Fontana
26

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29
30

(Phot. Alinari)
Syracuse. Cathedral, formerly Temple of Athena. Fa9ade (17281757)
designed by Pompeo Picherali of Syracuse
31

(Phot. Alinari)
Rome. S. Maria Maggiore. Fa$ade (1750) by Ferdinando Fuga
32

(Phot. Moscioni)
Rome. Decoration of fagade of S. Giovanni
plinth, in Laterano (1734).
Design by Alessandro Galilei

(Phot. Moscioni)
Rome. Decoration of plinth, facade of S. Giovanni in Laterano (1734).
Design by Alessandro Galilei
33

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36

(Phot. Alinari)

Rome. S. Girolamo della Carita (1660), by Domenico Castelli


37

(Phot. Gargiolli)

Palermo. Church of the Shield (1705) in the manner of Giacomo Serpotta


Jesuits.
38

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39

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40

(Phot. Alinari)

Rome. S. Ignazio (1626) by Orazio Grassi, from designs by Domenico Zampieri,


called Domenichino
41

(Phot. Alinari)

Rome. St. Peter's. Portico (16061626) by Carlo Maderna


42

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44

(Phot, dell' Emilia)


Bologna. S. Maria della Vita (1688)
by G. B. Bergonzoni
45

(Phot. Alinari)

Montecassino (Prov. Caserta). Church, by Cosmo Fanzaga (1658).


View towards the south Transept
46

(Phot. Garffiolli)
Monreale (Palermo). Cathedral.
Cappella del Crocifisso (1692),
by Frate Giovanni da Monreale
47

(Phot. Alinari)
Rome. SS. Apostoli (1702), rebuilt by Carlo Fontana
48

(Phot. Alinari)

Bologna. Madonna di San Luca (1723). Design by Carlo Francesco Dotti


49

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50

(Phot. Alinari)
Rome. St. Peter's. Loggia di Longino (1629 1639) by Lorenzo Bernini
51

(Phot. Alinari)

Rome. S. Maria dell' Orto (middle of 17 th century) by Martino Longhi the Younger.
Picture by Andrea Procaccini
52

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54

(Phot. Moscioni)

Rome. St. Peter's.

Coat of Arms of Urban VIII (1632)

(Phot. Rocco Lentini)


Palermo. Oratorio del Rosario in S. Domenico (1720).
Stucco decoration by Giacomo Serpotta
55

(Phot. Rocco Lentini)


Palermo. Oratorio di Santa Cita.
Stucco decoration by Giacomo
Serpotta and his pupils (1717 1718)
56

(Phot. Istituto d'Arti Grafiche)

Pescocostanzo. S. Maria. Ceiling (1606) of the Nave


57

(Phot. Istituto d'Arti Grafiche)

the Aisles
Pescocostanzo. S. Maria. Ceiling of one of
(l
l
half of the 17 th century)
58

(Phot. Istituto d'Arli Grafiche)

Andria (Prov. Bari). S. Maria dei Miracoli. Ceiling of 1633


59

(Phot. Alinari)

Rome. S. Maria in Trastevere.

Ceiling (1617) from a design by Domenichino,


who also painted the Assumption of the Virgin
60

(Phot. Alinari)
Rome. St. Peter's.Vault of the Portico (16061626).
Stucco decoration from a design by G. B. Ricci of Novara
61

(Phot. Gariolli)

Rome. Quirinal.Cappella Paolina (1617). Centre of the ceiling.


Stucco decoration by Martino Ferabosco
62

(Phot. Gargiolli)
Rome. Quirinal. Cappella Paolina (1617). Portion of the Ceiling.
Stucco decoration by Martino Ferabosco.
63
64

(Phot. Moscioni)
Rome. S. Giovanni in Laterano. Cappella Lancellotti.
Vault with stucco decoration by Filippo Carcani, called
Filippone
th
(beginning of the 18 century)
65

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66

(Phot. Alinari)
Rome. Gesii. Stucco decoration (16681683) by Antonio Raggi
67

(Phot. Alinari)

Rome. S.Maria Maggiore. Cappella Borghese (1611) by Flamlnio Ponzio. Arches and pendentives
of the Cupola, with frescoes by Guido Reni, and stucco decorations by Cristoforo and Francesco
Stati and Pompeo Ferrucci
68

(Phot. Istituto d'Arti Grafiche)


Pisa. S. Matteo. Frescoed Vault (c. 1720). Architectural painting by Francesco Melani,
Figures by his brother Giuseppe
69

(Phot. Anderson)

Rome. S. Ignazio. Vault decorated by P. Andrea Pozzi (c. 1680)


70

(Phot. Noack)

Genoa. SS. Annunziata del Vastato (1587). Cupola decorated (1635 1638) by Andrea Ansaldo
71

(Phot. Anderson)

Castel Gandolfo, near Rome. S. Tommaso di Villanova (1661), by Lorenzo Bernini. Cupola
72
73

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74

(Phot. Gargiolli)

Rome. S. Carlo a' Catinari. Cappella di S. Cecilia (c. 1685) by Antonio Gherardi
75

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76

(Phot. Gargiolli)

S. Martino delle Scale (Prov. Palermo). Choir-stalls (1597), Neapolitan work


77

(Phot. Istituto d'Arti Grafiche)

Campo di Giove (Prov. Aquila). S. Eustachio.Choir-stalls (end of 16 th century),


ascribed to Pecorari di Rivisondoli or Paolo Balcone
78

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79
80

(Phot. Alinari)
Arezzo. Badia. Choir -stalls (end of 17 th century) by Romano da S. Sepolcro
81

(Phot. Gargiolli)

Rome. S. Agostino. High Altar (1627) by Lorenzo Bernini


82

(Plmt, Anderson)

Rome. S. Peter's. Tabernacle (16271632). Design by Lorenzo Bernini


83

(Phot. Gargiolli)

Rome. S. Maria della Vittoria. Altar and St. Theresa (1646) by Lorenzo Bernini
84

(Phot. Gargiolli)

Rome. S. Maria del Popolo. High Altar (1658) by Lorenzo Bernini


85

Ercole Ferrata Antonio Mari

Antonio Mari Oreste Raggi

(Phot. Gargiolli)

of the Transepts.
Rome. S. Maria del Popolo. Angels on the four altars
Design by Lorenzo Bernini (c. 1658)
86

(Phot. Alinari)
Rome. S. Ignazio. Altar of the Annunciation Relief by Filippo Valle,
1730).
(c.

Angels by Pietro Bracci


87

(Phot. Garstiolli)

Castel Gandolfo, near Rome. S. Tommaso di Villanova (1661). Altar.

Design by Lorenzo Bernini


88
89

(Phot. Istituto d'Arti Grafichc)

Terni (Prov. Perugia). High Altar (1762) by Antonio Minelli.


Cathedral.

Design of the Tabernacle by Carlo Murena


90

(Phot. Gar?iolli)
Rome. S. Spirito in Sassia. Ciborium by Lorenzo Tedesco (17"' century)
91

(Phot. Alinari)

Rome. S.Maria Maggiore. Cappella Borghese. Tabernacle of the Madonna (1611),


Sculpture by Pompeo Targioni from a design_by Girolamo Rainaldi
92

Wood carving, 17 th century

(Phot Istituto d'Arti Grafiche)

Bevagna (Prov. Perugia). S. Maria del Monte. Vestment Cupboard, 17 th century

(Phot. Istituto d'Arti Grafiche)


Terni (Prov. Perugia). S. Valentino. Vestment Cupboard of gilded metal (17 th century)
93

(Phot. Alinari)

Pulpit (1677) by Bartolo Cavalieri


and C. Negri
Chioggia (Prov. Venice).
94

(Phot. Istituto d'Arti Grafiche)


Asso (Prov. Como). Pulpit (1685) by Fedele Pirovano
95

SOLEMNl RITV DbDfCAVl


I

(Phot. Anderson)
Rome. S. Peter's. Holy water basin (17231725) by Pietro Lironi,
with cherubs by Francesco Moderati

(Phot. Moscioni)

Rome. S. Maria del Popolo. Organ loft with the coat of arms of Alexander VII (c. 1658).
Stucco decoration by Antonio Raggi
96

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98

(Phot. Alinari)
lh
Lucca. Barbantine Monastery. Iron Door-grating (end of 16 century)

(Phot. Alinari)

Ascoli-Piceno (Prov. Marche). Palace in the Piazza Arringo. Iron Door-grating (17 th century)
99

(Phot. Ricci)

Ravenna. Window-grating, formerly in


the Via Cerchio (18"' century)

(Pilot. Alinari)

Sarzana (Prov. Liguria). Palazzo Picedi. Iron window-grating (17 th century)


100

(Phot. Alinari)
Vercelli (Prov. Piemont). S. Andrea. Confessional (18 th century)
101

(Phot. Alinari)

Osimo (Prov. Marche). Baptistery. Font (c. 1610).


Model by Paolo Lombardo, executed by Pier Paolo and Tarquinio Jacometti
102

(Phot. Alinari)

Certosa di Pavia. Cupboards in Sacristy (1615) by Virgilio de' Conti and G. Favorino
103

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,ET

(Phot. Moscioni)
Rome. S. Maria Anima. Monument to Adrian Vryburch (1628)
dell'

by Frangois du Quesnoy, called Fiammingo


108

(Phot. Anderson)
Rome. St. Peter's. Monument to Urban VIII (16421647) by Lorenzo Bernini
109

(Phot. Moscioiii)

Rome. S. Maria sopra Minerva. Monument (1644) to Ottaviano Ubaldini della Gherardesca.
The mosaic portrait by G. B. Calandra of Vercelli
110

(Phot. Anderson)
Rome. bt. Peters. Monument to Alexander VII (16721678) by Lorenzo Bernini.
The Caritas by Giuseppe Mazzuoli; the Veritas
by Giulio Cartari
Ill

(Phot. Moscionl)
Rome. Gesii e Maria. Monument to Ercole and Luigi Bolognetti
d half of 17 th century)
by Francesco Cavallini (2
112

(Phot. Moscioni)
Rome. St. Peter's. Monument to Maria Clementina Sobiesky Stuart (f 1735).
Design by Filippo Barigioni, Sculptures by Pietro Brace i
113

(Phot. Alinari)

Rome. S. Andrea della Valle. Monument to Count Gaspare Thiene (1678) by Domenico Guidi
114

(Phot. Gargiolli)

Rome. S. Maria del Popolo. Portion of the Monument to G. B. Gisleni (f 1670),


erected by himself
115

(Phot. dell'Emilia)

Bologna. S. Michele in Bosco (16021603). Octagonal Cloister by Pietro Fiorini


and Guglielmo Conti
116

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117

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118

(Phot. Alinari)
Genoa. Palazzo Doria-Tursi, now the Municipio
(Town-hall) 1590. By Rocco Lurago
119

(Phot. Alinari)

Pisa. Palazzo Upezzinghi, formerly Lanf reduce! (c. 1600) ascribed to Cosimo Pagliani
120

(Phot. Istituto d'Arti Grafiche)

Macerata. Palazzo Compagnoni-Marefoschi (1609 1632). Restored and enlarged by


Luigi Vanvitelli (1771)
121

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127

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128

(Phot. Gargiolli)

Caltanissetta. Palazzo del Tribunale, formerly Moncada (1635 1638)


129

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132

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134

(Phot. Moscioni)
th
Rome. Palazzo Borghese. Loggetta by Carlo Rainaldi (about the middle of 17 century)
135

(Phot. Alinari)

Palazzo Davia-Bargellini (middle of 17"' century), by Bartolomeo Provaglia


Bologna.
136

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137

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138

(Phot. deU'Emilia)
Cremona. Palazzo Stanga (17 lh century), restored in 1858
139

(Phot. Alinari)
Marucelli
century), ascribed to Paolo
th
Rome. Palazzo di S. Calisto (17
140

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143

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144

(Phot. Moscioni)
Rome. Palazzo Toni, called the Palazzo dei th
Pupazzi (18 century)
145

(Phot. Alinari)
Florence. Casino di Livia (1775) by Bernardo Fallani
146

(Phot. Alinari)

Genoa. Palazzo Pallavicino, formerly Pessagno (1570 1580); perhaps by G. B. Castello, called
il
Bergamasco. Painting by Andrea Semini, stuccoes by Andrea da Carona
147

(Phot. Alinari)

Genoa. Palazzo Pallavicino, formerly Pessagno (1570 1580); perhaps by G. B. Castello, called
il
Bergamasco. Painting by Andrea Semini, stuccoes by Andrea da Carona
148

(Phot. Alinari)
Genoa. Palazzo Imperial! (1580) by G. B. Castello, called il
Bergamasco.
Stuccoes by Marcello Sparzo
149
150

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151

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152

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153

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154

(Phot. Moscioni)
Rome. Palazzo Ruspoli (1586) by Bartolomeo Ammannati. Balcony
155

(Phot. Moscioni)

Rome. The Lateran Palace, by Domenico Fontana (1587). Doorway


156

(Phot. Moscioni)
Rome. House of the Zuccari (1590). Doorway by Federico Zuccari
157

(Phot. Moscioni)

Rome. House of the Zuccari (1590). Window by Federico Zuccari


158

(Phot. Istituto d'Arti Grafiche)


Bitonto (Prov. Bari). Palazzo Sylos-Sersale.
Doorway (IS*" century)
159

(Phot. Istituto d'Arti Grafiche)

th
Milan. Palazzo Trivulzio (17 century). Doorway
160

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164

(Phot. Istituto d'Arti Grafiche)

Bitonto (Bari). Palazzo Cernitto (17 th century). Balcony

(Phot. Moscioni)

Rome. Entablature of Doorway (17


th
century) from the Casa Barigioni Pereira (now destroyed)
165

(Phot. Alinari)
th
Rome. Palazzo del Grille (18 century). Doorway
166

(Phot. Istituto d'Arti Grafiche)

Bitonto. Arch and Window (17 th


century)
167

(Phot. Alinari)

Perugia. Palazzo Sertori in the Via Vecchia. Window (17


th
century)
168

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173

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174

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177

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178

(Phot. Brogi)
Rome. Palazzo Spada. Colonnade (1632) by Francesco Borromini
179

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186

(Phot. Anderson)
Rome. Vatican. Scala Regia (16631666) by Lorenzo Bernini
187

(Phot. Alinari)
Turin. Palazzo Madama. Staircase by Filippo Juvara (1718)
188

(Phot. Gargiolli)

Palermo. Palazzo Bonagia (18 th century). Staircase


189

(Phot, dell' Emilia)

Palazzo Montanari, formerly Aldrovandi.Staircase (1748) by Alfonso Torrigiani


Bologna.
and Francesco Maria Angelini
190

(Phot. Garyiolli)
Velletri, near Rome. Palazzo Ginnetti.
Loggia by Martino Lor.ghi the Younger.
Stucco decoration by Paolo Naldini
(1650?)
191

(Phot. Gargiolli)

Velletri, near Rome. Palazzo Ginnetti. Loggia by Martino Longhi the Younger.
Stucco decoration by Paolo Naldini (1650?)
192
193

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194
195

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196
197
198

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199
200

Giuseppe Bibiena (1696 1756). Design for a Stage Scene (from an engraving)
201

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203

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204

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205

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206

(Phot. Alinari)

Rome. Porta del Popolo. Inner side, by Bernini (1656); enlarged in 1877 1879

(Phot. Alinari)
Siena. Porta Camellia, by Alessandro Casolani (1604)
207

(Phot. Alinari)

Genoa. Porta Pila (1633), ascribed to Barlolomeo Bianco


208

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210

(Phot. Alinari)

Varese (Prov. Como). Sacro Monte. Arch (1608), designed by Giuseppe Bernasconi
e
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213
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218

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220

(Phot. Istituto d'Arti Gra(iche)

Lamporecchio (Prov. Florence). Villa Rospigliosi (1668). Design by Lorenzo Bernini

(Phot. Alinari)
Bassano (Prov. Treviso). Ca' Rezzonico (17241734)
221

(Phot. Istituto d'Arti Grafiche)

Porto Maggiore. Palace of the Este family in Bereguardo, now the Palace
of the Duca Massari (18 11 '
century)

(Phot. Alinari)

Frascati, near Rome. Villa Piccolomini-Lancillotti (1764) by Ferdinando Fuga (?)


222

I
223

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224

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225
226

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227

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228

(Phot. Alinari)
Frascati, near Rome. Villa Mondragone. Gate with Eagle and Dragon,
the heraldic animals of the Borghese (about 1620)
229

(Phot. Istituto d'Arti Grafichc)

Piazzola (Prov. Padua). Villa Camerini. Portico, formerly the Promenade (1650 1660)
of the Villa Contarini
230
231

o
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232

(Phot. Alinari)
Bassano (Prov. Treviso). Ca' Rezzonico (1724 1734). Vestibule
233

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235

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236

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238

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239

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240

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241

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242

(Phot. Alinari)

Florence. Giardino di Boboli. Grotto by Bernardo Buontalenti (c. 1570)


243

I
244

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245
246

aau
(Phot. Frig-erio)
Cernobbio (Prov. Como). Villa d'Este. Flight of steps in Garden (18 th century)

(Phot. Montabone-Fumag-alli)

Lainate (Prov. Milan). Villa Weill -Weiss. Chief Pavilion in the Garden (17*1- century)
247

(Phot. Noack)

d half of 17> century)


Genoa. Palazzo Raggio-Podesta. Grotto by Filippo Parodi (2"
248

Tivoli, near Rome. Villa d'Este. Fountain with twisted columns (1573)
249

(Phot. Alinari)

Tivoli, near Rome. Villa d'Este. Fountains in the Garden (1573), by Claudio Venardi
250

(Phot. Moscioni)
Bagnaia, near Rome. Villa Lante. Fountain (1564 1588)
251

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"5

O
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252

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253

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254

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255
256

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257

(Phot. Anderson)
Rome. '

Fontana del Tritone by Lorenzo Bernini (1640)

(Phot. Istituto d'Arti Grafiche)

Pescocostanzo (Prov. Aquila). Fountain (17451746)


258

(Phot. Moscioni)

Rome. Fountain of S. Maria in Cosmedin (c. 1710), from a design by Carlo Bizzaccheri
259

(Phot. Alinari)

Rome. Fontana Trevi (1735). The central part by Niccolo Salvi,


di

the Neptune with the Sea-horses by Pietro Bracci


260

(Phot. Moscioni)

Rome. Fountain in the Court of the Palazzo Santacroce (16251630), by Francesco Peparelli
261

(Phot. Moscioni)

Rome. Fountain (17 th century) in the Court of the Palazzo del Vicariato
with the dragon of the Boncompagni
262

(Phot. Alinari)
Rome. Fountain in the Court of the Palazzo del Grille (18 th century)
263

(Phot. Alinari)
'

Fountain front of the Cathedral (18 by Antonio Calegari


1 1
Brescia. in century),
264

c
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bo
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265
266

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267

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268

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269

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270

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O
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271

U
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272

= cs

I*
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5 Q

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c
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|
3
273

(Phot. Gargiolli)

Rignano Flaminio (Prov. Rome). Wooden chest (17 th century)

(Phot. Gargiolli)

Rignano Flaminio (Prov. Rome). Wooden chest (17 th century)

(Phot. Istituto d'Arti Grofichc)


th
Lucignano (Prov. Siena). Wooden Reliquary (17 century)
274

c
o
-o

c
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o
o
Q

c
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U

03
275

INDEX OF ILLUSTRATIONS

Aglie (Prov. Turin) Page


Brescia
Castle 218 Casa Cocchetti Terzi. Garden Gate 179
Altavilla (Prov. Vicenza) Cathedral
9
Villa Morosini. Stables and Manger .... 233 Fountain in front of the Cathedral 263
Andria (Prov. Bari) Caltanissetta
S. Francesco. Palazzo del Tribunale,
Choir-stalls 78 formerly Moncada 128
S. Maria dei Miracoli. 58 Giove
Ceiling- Campo di (Prov. Aquila)
Arezzo S. Eustachio. Choir-stalls 77
Badia. Choir-stalls 80
Caprarola, near Rome
Ariccia, near Rome Palazzo Farnese. Stairway 236
S. Maria dell' Assunta - - Scala dei Delfini
21 237
- -
Cupola 72 Castel Gandolfo, near Rome
Ascoli-Piceno (Prov. Marche) S.
-
Tommaso di
-
Villanova. Cupola .... 71
Palace in the Piazza Arringo. Iron Door-grating- 98 Altar 87
Asso (Prov. Como) Cernobbio (Prov. Como)
Pulpit 94 Villa d'Este. Grotto. Detail 244
~ Terrace in Garden
Bagheria (Prov. Palermo) 245
Villa Valg-uarnera 219
- -
Flight of Steps in Garden .... 246

Bagnaia, near Rome Certosa di Pavia


Villa Lante. Fountain Cupboards in 102
214, 250 Sacristy

Bassano (Prov. Treviso) Chioggia (Prov. Venice)


Ca' Rezzonico 220 Pulpit 93
- - Vestibule 232
- Classe, near Ravenna
Door-head in stucco 274
Library. Great hall 196
Bergamo Well in the Court of the Monastery .... 267
Palazzo Monzini. Doorway 160
Cremona
Palazzo Terzi. Vestibule 170
- - Palazzo Stanga 138
Saloon 194
Faenza (Prov. Ravenna)
Bevagna (Prov. Perugia)
Fountain by Dom. Castelli, called
S. Maria del Monte. Vestment-cupboard
il Fontanino 256
. . 92
Florence
Bibiena, Giuseppe
Casino di Livia 145
Designs for a Stage Scene 200, 201
Casino Mediceo. Doorway 152
Bisceglie (Pro/. Bari) Fountain at the angle of Borgo S. Jacopo and
Cathedral. Cappella d'Andria dei Monaci Bene- the Via dello Sprone 96
dettini. Choir-stalls 79 Door of the Church of S. Agata 272
Giardino di Boboli. Grotto 242
Bitonto (Prov. Bari)
Arch and Window
Palazzo Bartolommei. Window on ground floor 168
166
Palazzo ,,non finite", Via del Proconsolo. Court 174
Palazzo Cernitto. 164
Palazzo Sylos-Sersale.
Balcony
Doorway 158
SS. Annunziata. Holy-water Basin .... 96
S. Firenze 27
Bologna S. Lorenzo. The Princes' Chapel 106
Arco del Meloncello 212
Church of Corpus Domini. Doors ....
52
Foggia
Chapels on the Calvary 116
Civic Theatre. Auditorium 199
Corner of the Corpus Domini Monastery 169 . .
Frascati, near Rome
Madonna di S. Luca 29, 48 Cathedral of S. Peter 25
Palace of the Due de Montpensier. Doorway 160 Villa Aldobrandini. Garden Wall with Entrance 224
Palazzo Davia Bargellini 135 The great Cascade 238
Palazzo Malvezzi-Medici 117 - Fountain 251
Palazzo Montanari, formerly Aldrovandi. Window 168 Villa Falconieri. Gate 211
- - Staircase 189 - Casino 217
Porta Galliera 208 - - Garden Gate, inner side .... 227
- -
S. Maria della Vita 44 Steps by the Lake 243
S. Michele in Bosco. Octagonal Cloister 115 . . Villa Mondragone. Entrance 223
276

Page Page
Frascati, near Rome Monreale (Prov. Palermo)
Villa Mondrag-one. Garden Gate with coat of Cathedral. Cappella del Crocifisso .... 46
arms of Pope Paul V 226
Montecassino (Prov. Caserta)
-
Gate with eagle and dragon, the heral-
View towards the south Transept 45
Church. .

dic animals of the Borghese 228 75


Choir-stalls
Fontana della Girandola .... 234 -
Cupboards in Sacristy 103
Villa Piccolomini-Lancillotti 221 272
- Library door
Doorway 222
Villa Torlonia. Cascade 239 Osimo (Prov. Marche)
Baptistery. Font 101
Genoa
Palazzo Cambiaso. Door and Windows . . 151 Padua
Palazzo Doria-Tursi, now the Municipio (Town- Arco Valaresso 211
118 S. Antonio. Reliquary Altar 88
hall)
Palazzo Imperial!. Stuccoes 148 Palermo
Palazzo Pallavicino, formerly Pessagno. Stuc- Church of the Jesuits. Shield 37
coes 146, 147 Museum. Stucco decoration 38
- 163
Doorway Oratorio del Rosario in S. Domenico. Stucco
Palazzo Raggio-Podesta. Grotto 247 decoration 54
Porta Pila ... 207 Oratorio di Santa Cita. Stucco decoration . 55
SS. Annunziata del Vastato. Cupola ... 70 Palazzo Bonagio. Staircase 188
University. Court 173
- - Vestibule and Staircase 185 Parma
Cupboards in the Museum 270, 271
Isola Bella (Lago Maggiore) Custom House 132
'

Mosaic Grotto 231 Entrance to the Citadel 213


Villa Borromeo. Grotto 240 Teatro Farnese. Coat of Arms over the main
- - Grotto with Flight of Steps ... 241 Entrance 204
Lainate (Prov. Milan) Wooden Door in the Museum 272
Villa Weill -Weiss, formerly Visconti- Borromeo.
Perugia
Mosaic Hall 230 Palazzo Gallenga, formerly Antinori . . . . 143
- 246
Chief Pavilion in the garden . . .
Palazzo Sertori. Window 167

Lamporecchio (Prov. Florence) Pescocostanzo (Prov. Aquila)


Villa Rospigliosi .220 Casa Mansi. Doorway 161

Lecce S. Maria. Ceiling of the Nave 56

Prefecture, formerly Monastery of the Celestines 133


- - Ceiling of one of the Aisles ... 57
- - Font Gate ... 97
Loreto (Prov. Ancona) - Fountain 257
Fountain by Carlo Maderna and Giov. Fontana 254
Piazzola (Prov. Padua)
Lucca Villa Camerini. Arcade formerly known as the
Barbantine Monastery. Iron door-grating . . 98 Passeggio della Villa Contarini 229
Palazzo Controni, now Pfanner. Staircase . 184
Piranesi, G. B.
Palazzo Mansi, near S. Pellegrmo. Saloon with
Designs for a Stage Scene 202, 203
alcove 195
Pisa
Lucignano (Prov. Siena) Palazzo Upezzinghi, formerly Lanfreducci . . 119
Wooden Reliquary 273
S. Matteo. Frescoed vault 68
Macerata Porto Maggiore
Palazzo Compagnoni-Marefoschi 120 Palace of the Este family in Bereguardo, now the
S. Paolo. Cupboard 271 Palace of the Duca Massari 221

Messina Ravenna
Monte di Pieta 35, 150 Porta Nuova 205

Milan
Porta Serrata ... 205
Window-grating formerly in the Via Cerchio . 99
Collegio Elvetico, now the State Archives. Facade 126
Palazzo Annoni 127 Rignano Flaminio (Prov. Rome)
Palazzo Litta 130 Wooden Chest 273
Palazzo Marino, now the Municipio. Court . 171
Rome
Palazzo Modrone. Side looking on to the Canal 181
Casa Barigioni Pereira. Entablature of doorway 164
Palazzo Trivulzio. Doorway 159
Casanati Library. Interior 197
S. Alessandro 8
Colonnade of S. Peter's. Beginning
- -
... 1

Modena 2, 3
Palazzo Ducale. Court 175 - Fountain by Carlo Maderna ... 1
277

Page
Rome Rome
Fontana dell' Acqua Paola 252 S. Giovanni in Laterano. Decoration of Plinth 32
Fontana di Trevi 259 - - 33
Facade
Fontana del Tritone . . 257 - Coat of arms of Clement VIII. . . 42
Fountain in the Piazza Navona 255 - Vault with stucco
Cappella Lancellotti.
Fountain in the Piazza Scossacavalli .... 266 decoration 64
Fountain in the Piazza di Spagna 4 .... S. Girolamo della Carita 36
Fountain of S. Maria in Cosmedion 258 .... S. Ignazio. Portion of the Fa9ade .... 19
Gesii Church. Stucco decorations 65, 66 . . .
- 40
- Arches, Cupola, and Vault of the Apse 73 Decoration 53
Gesii e Maria. Monument to Ercole and Luigi - - Vault 69
Bolognetti Ill Altar of the Annunciation .... 86
Giardino Colonna. Arched Entrance 182 . . . S. Maria dell' Anima. Monument to Adrian
Hospital of S. Spirito in Sassia. Washing-basin 266 Vryburch 107
House of the Zuccari. Doorway 156 S. Maria in Campitelli. Capitals and Entablature 43
- - Window .... . . 157 S. Maria Maggiore. Facade 31
Lateran Palace. Doorway . . ... 155 -
Cappella Borghese, Arches and Pen-
Palazzo Barberini. Facade 122 dentives of the Cupola 67
- -
Back 123 -
Tabernacle of the Madonna 91
- 124 Monument to Otta-
Doorway of the Court S. Maria sopra Minerva.
- Back . . . viano Ubaldini della Gherardesca .... 109
Palazzo Borghese. Loggetta . . ... 134 S. Maria dei Miracoli 5
- - Court .172 S. Maria di Montesanto 5
Palazzo Chigi. Hanging lamp 104 S. Maria dell' Orto 51
Palazzo Colonna. Saloon 198 S. Maria della Pace. Facade 18
Palazzo Corsini 180 S. Maria del Popolo. High Altar 84
Palazzo Farnese. Saloon 192 Angels on the two Altars of the
Palazzo del Grillo. Doorway 165 Transepts 85
- - Fountain in the Court 262 Organ-loft with the coat of arms of
Palazzo Madama 129 Alexander VII .... 95
131 - Portion of the monument to G. B.
Palazzo di Montecitorio
- Main doorway 153 Gisleni 114
Palazzo Odescalchi. Facade 137 S. Maria in Trastevere. Ceiling 59
Palazzo Palombara. Roof-loggia 169 S. Maria della Vittoria 6
Palazzo Ruspoli. 154 - Altar and S. Theresa 83
Balcony
Palazzo di S. Callisto 139 S. Peter's. Facade
Palazzo Santacroce. Fountain in the Court . 260 - - Portico 41
Palazzo Sciarra. Doorway 152 -
Loggia di Longino 50
Palazzo Spada. Colonnade ... ... 178 - -
Coat of Arms of Urban VIII ... 54
Palazzo Toni, called the Palazzo dei Pupazzi . 144 - Vault of the Portico 60
Palazzo del Vicariato. Fountain in the Court 261 Tabernacle 82
Porta del Popolo. Inner side 206 - -
Holy-water Basin 95

Quirinal. Cappella Paolina. Centre of the Ceiling 61 - Monument to Urban VIII ... 108
- - - - Portion of the Ceiling . 62 - - Monument to Alexander VII . . . 110
- - Salone dei Corazzieri, formerly the Hall - - Monument to Maria Clementina So-

of the Swiss 193 biesky Stuart 112


S. A^nese in the Piazza Navona 16, 17 S. Prassede. Monument to Bishop Santoni . 105
81 S. Spirito in Sassia. Ciborium 90
S. Agostino. High Altar
S. Andrea delle Fratte. Belfry .... 15 SS. Trinita dei Monti . 4

S. Andrea del Quirinale 22, 23, 24 SS. Vincenzo e Anastasio. Portion of the Facade 7
49 Scala Regia 186
S. Andrea della Valle. Cappella Barberini .
Vatican. .

- Monument to Count Gaspare Thiene 113 Villa Borghese ... .216


S. Antonio dei Portoghesi. Upper part of the - - Entrance 225
34 - - Fontana dei Cavalli marini . . . 269
Facade
SS. Apostoli 47 Villa Corsini. Fountain 267
S. Carlo a' Catinari. Cappella di S. Cecilia . 74 Villa Medici, now the French School of Art.
S. Carlo al Corso. 10 at back 209
Cupola Gateway
- Stucco decoration 63 - - Facade 215
S. Carlo alle Quattro Fontane 14
S. Cecilia. Entrance 28 S. Martino delle Scale (Prov. Palermo)
12 Choir-stalls 76
SS. Domenico e Sisto
- - 13
Steps
S Francesco di Paola. Circular Window in the S. Remo
105 Palazzo Borea d'Olmo 149
Choir
278

Page Page
Sarzana (Prov. Liguria) Turin
Palazzo Picedi. Iron window-grating ... 99 Palazzo Madama. Facade 142
- Staircase 187
Siena
Palazzo Paesana. Doorway 163
Porta Camollia 206 26
Superga
Sulmona
Varese (Prov. Como)
Badia Morronese, now the Prison. Doorway . 162
Sacro Monte. Arch 210
Palazzo Tironi. Doorway 162
Velletri, near Rome
Syracuse Palazzo Ginnetti. 190, 191
Loggia
Cathedral, formerly temple of Athena. Facade 30
Venice
Terni (Prov. Perugia)
Court of the Doge's Palace. Wells . .
264, 265
Cathedral. High Altar 89
Monastery of S. Giorgio Maggiore. Staircase 183
S. Valentino. Cupboard of gilded metal . . 92
Palazzo Pesaro 140
Tivoli, near Rome Palazzo Rezzonico, now Minerbi 141
Casa Giannozzi. Court 176 S. Maria della Salute 11, 39
- - Court. Detail 177 S. Moise. Facade 20
Villa d'Este. Left wing of the winding Stairway 235
Vercelli (Prov. Piemont)
- Fountain with twisted Columns . . 248
S. Andrea. Confessional 100
- Fountains in the Garden .... 249
- - "Le Cannelle" 268 Verona
Giardino Giusti. Fountains . 253
Turin
Gran Guardia Vecchia 121
Palazzo Carignano 136
Palazzo Levaldigi. Door called Porta del Dia- Volterra
volo . 161 Gate of Cathedral .... 97
279

INDEX OF ARTISTS
Page Paje

Alberghetti, Alfonso 265 Cavalieri, Bartolo 93


Alessandri, Filippo 170 Cavallini, Francesco Ill

Alessi, Galeazzo 171 Conti, Guglielmo 115


Algardi, Alessandro 19, 53 Curtoni, Domenico 121

Ammanati, Bartolomeo 154 de' Conti, Niccolo 264


Andrea da Carona 146, 147 de' Conti, Virgilio 102

Angelini, Francesco Maria 189 del Grande, Antonio 198


Ansaldo, Andrea 70 della Greca, Vincenzo 12, 13

Avanzini, Bartolomeo 175 della Porta, Giacomo 73, 238, 251

Balcone, Paolo 77 della Scala, Gian Battista 211

Baratta, Francesco 255 de Sanctis, Francesco 4

Barbelli, Giacomo 194 di Maio, Paolo 103

Barigioni, Filippo 112 Domenichino, see Zampieri, Domenico


Basile, Antonio 35 Dotti, Carlo Francesco 29, 48, 212
Benvenuto da Brescia 75 du Quesnoy, Francois, called il
Fiammingo . . 107

Bergonzoni, G. B 44 Fallani, Bernardo 145

Bernasconi, Giuseppe 210 Fancelli, Giacomo 63

Bernini, Lorenzo .
1, 2, 3, 21, 22, 23, 24, 50, 71, Fanzaga, Cosmo 45

72, 81, 82, 83, 84, 85, 87, 105, Favorino, G 102

108, 110, 122, 131, 137, 153, Ferabosco, Martino 61, 62, 266

186, 205, 206, 220, 255, 257 Ferrata, Ercole 85

Bernini, Pietro 4, 49 Ferrucci, Pompeo 67

Berrettini, Pietro, da Cortona 10, 18 Fiorelli, Vincenzo 219

Bianchi, Romano 143 Fiorini, Pietro 115

Bianco, Bartolomeo 173, 185, 207 Fontana, Carlo 5, 47, 153, 197

Bibiena, Antonio 199 Fontana, Domenico 155

Bibiena, Francesco 212 Fontana, Giovanni 238, 252, 254

Fontana, Girolamo 25, 198


Bibiena, Giuseppe 200, 201
8 Franzese, Gennaro 103
Binago, Lorenzo
Bizzaccheri, Carlo Francesco 224, 258 Fuga, Ferdinando 28, 31, 180, 221

123 Gaidon, Antonio 274


Borromini, Francesco . . .
14, 15, 16, 17,
Alessandro 32, 33
124, 125, 178, 211, 217 Galilei,

Gaulli, G. B., called Baciccia


73
Bracci, Pietro 86, 112, 259
'4
Buontalenti, Bernardo 96, 152, 242 Gherardi, Antonio
109 Domenico 194
Calandra, G. B Ghislandi,
263 Giovanni da Monreale 46
Calegari, Antonio
35 Giovanni de' Medici 106
Campolo, Placido
170 G. B 114
Caniana, G. B Gisleni,

64 Grassi, Giacomo 88
Carcani, Filippo, called Filippone

Cardi, Lodovico, called il


Cigoli .... 129, 174 Grassi, Giovanni
88

Carracci, Agostino 192 Grassi, Orazio


192 Guarini, Guarino
136
Carracci, Annibale
213 Domenico H3
Carre, G. B., da Bissone Guidi,
110 Jacometti, the Brothers
.

Cartari, Giulio
101
Casolani, Alessandro 206 Jacometti, Pier Paolo

Cassone, G. B 219 Jacometti, Tarquinio


-26, 142, 187
Castelli, Domenico, called il Fontanino . .
.36, 256 Juvara, Filippo
*52
Castello, G. B., called il
Bergamasco 146, 147, 148, 163 Labacco, Antonio
280

Page Page

Lantana, G. B 9 Posi, Paolo 198


Lippi, Annibale 209, 215 Pozzi, Andrea 69
Lironi, Pietro 95 Procaccini, Andrea 51

Lombardo, Paolo 101 Provaglia, Bartolomeo 135, 208

Longhena, Baldassarre . .
.11, 39, 140, 141, 183 Provaglia, Bartolomeo (in the style of) .... 132

Longhi, Martino, the Elder 7, 172, 223 Raggi, Antonio 65, 66, 72, 73, 95, 255
Longhi, Martino, the Younger . .
34, 51, 190, 191 Raggi, Oreste 85
Lorenzo, Tedesco 90 Rainaldi, Carlo 5, 43, 134, 169

Lotti, Lorenzetto 104 Rainaldi, Girolamo 91

Lurago, Rocco 118 Reni, Guido 67


Maderna, Carlo . .
1,2, 6, 41, 169, 193, 252, 254 Ricchini, Francesco Maria .... 126, 127, 130

Mari, Antonio 85 Ricci, G. B 60

Marucelli, Paolo 129, 139 Romano da S. Sepolcro 80


Marziale, Giorgio 21 Ruggeri, F 27
Massari, G 141 Salvi, Niccolo 137, 259
Matteo da Castello 49 Sanz, Gian Antonio 170
Mazzuoli, Giuseppe 110 Schor, Cristoforo 34
Melani, Francesco . . 68 Semini, Andrea 146, 147
Melani, Giuseppe 68 Serpotta, Giacomo 38, 54, 55

Michelangelo 2 Serpotta, Giacomo (style of) 37


Minelli, Antonio 89 Silvani, Gherardo 168

Moderati, Francesco 95 Sparzo, Marcello 148


Monti, G. G 52 Stati, Cristoforo 49, 67

Morelli, Giulio 267 Stati, Francesco 67

Murena, Carlo 89 Storer, Cristoforo 194


Naldini, Paolo 190, 191 Susini, Antonio 96

Napoli, Tommaso 219 Targioni, Pompeo 91

Negri, C 93 Tencalla, Cristoforo 194

Nigetti, Matteo 106 Terribilia, Francesco 160


Pacetti, Vincenzo 269 Torrigiani, Alfonso 168, 189

Pagliani, Cosimo .... 119 Tremignan, Alessandro 20


Paracca, Giov. Giacomo, da Valsaldo . . . . 163 Triachini, Bartolomeo 117
Parodi, Filippo 88, 247 Unterberger, Christophorus 269
Pecorari di Rivisondoli 77 Valle, Filippo 86
Pellicciotti, Fausto 196 Van Santen, Jan, called Giov. Vasanzio . . . 216

Peparelli, Francesco 260 Vanvitelli, Luigi 120, 137

Picherali, Pompeo 30 Vasanzio, Giovanni, see van Santen, Jan


Piranesi, G. B 202, 203 Venardi, Claudio 249
Pirovano, Fedele 94 Vignola 73

Planteri, Gian Giacomo 163 Zampieri, Domenico, called Domenichino . . 40, 59

Ponzio, Flaminio 67, 193 Zanobi del Rosso 27

Porissimi, Claudio 255 Zuccari, Federico 156, 157

Erratum
Plate 85, in inscription for "four" read "two".

FHIKTEH AT STL'TTGAKT
JUN1 1962

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