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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
*) 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
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
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
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
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-
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
;
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
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
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
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,
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
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
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
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.
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-
CORRADO RICCI.
XIII
(Phot. Anderson)
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(Phot. Alinnri)
Rome. S'a Maria della Vittoria (1605),
by Carlo Maderna
(Phot. Alinari)
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10
(Phot. Moscioni)
Rome. S. Carlo al Corso (1612). Cupola by Pietro Berrettini da Cortona
11
(Phot. Alinari)
(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)
(Phot Moscioni)
Rome. S. Agnese in the Piazza Navona (16451650), by Francesco Borromini. Belfry
17
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18
(Phot. Alinari)
Rome. S. Maria della Pace. Facade (16551667), by Pietro Berrettini da Cortona
19
(Phot. Alinari)
(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)
U
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35
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25
(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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(Phot. Alinari)
(Phot. Gargiolli)
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(Phot. Alinari)
(Phot. Alinari)
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44
(Phot. Alinari)
(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)
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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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53
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54
(Phot. Moscioni)
the Aisles
Pescocostanzo. S. Maria. Ceiling of one of
(l
l
half of the 17 th century)
58
(Phot. Alinari)
(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)
(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. Anderson)
(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)
ON
ON
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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)
(Plmt, Anderson)
(Phot. Gargiolli)
Rome. S. Maria della Vittoria. Altar and St. Theresa (1646) by Lorenzo Bernini
84
(Phot. Gargiolli)
(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.
(Phot. Garstiolli)
(Phot. Gar?iolli)
Rome. S. Spirito in Sassia. Ciborium by Lorenzo Tedesco (17"' century)
91
(Phot. Alinari)
(Phot. Alinari)
(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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97
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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)
(Pilot. Alinari)
(Phot. Alinari)
Vercelli (Prov. Piemont). S. Andrea. Confessional (18 th century)
101
(Phot. Alinari)
(Phot. Alinari)
Certosa di Pavia. Cupboards in Sacristy (1615) by Virgilio de' Conti and G. Favorino
103
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105
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106
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107
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(Phot. Moscioni)
Rome. S. Maria Anima. Monument to Adrian Vryburch (1628)
dell'
(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)
(Phot. dell'Emilia)
a
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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
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122
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127
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128
(Phot. Gargiolli)
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130
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134
(Phot. Moscioni)
th
Rome. Palazzo Borghese. Loggetta by Carlo Rainaldi (about the middle of 17 century)
135
(Phot. Alinari)
I
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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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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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152
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154
(Phot. Moscioni)
Rome. Palazzo Ruspoli (1586) by Bartolomeo Ammannati. Balcony
155
(Phot. Moscioni)
(Phot. Moscioni)
Rome. House of the Zuccari (1590). Doorway by Federico Zuccari
157
(Phot. Moscioni)
th
Milan. Palazzo Trivulzio (17 century). Doorway
160
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164
(Phot. Moscioni)
(Phot. Alinari)
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Rome. Palazzo del Grille (18 century). Doorway
166
(Phot. Alinari)
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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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183
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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)
(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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195
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Giuseppe Bibiena (1696 1756). Design for a Stage Scene (from an engraving)
201
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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)
8
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the heraldic animals of the Borghese (about 1620)
229
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(Phot. Montabone-Fumag-alli)
Lainate (Prov. Milan). Villa Weill -Weiss. Chief Pavilion in the Garden (17*1- century)
247
(Phot. Noack)
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
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251
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Rome. Fountain of S. Maria in Cosmedin (c. 1710), from a design by Carlo Bizzaccheri
259
(Phot. Alinari)
(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)
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275
INDEX OF ILLUSTRATIONS
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. .
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-
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. .
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
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
Bianco, Bartolomeo 173, 185, 207 Fontana, Carlo 5, 47, 153, 197
64 Grassi, Giacomo 88
Carcani, Filippo, called Filippone
Cartari, Giulio
101
Casolani, Alessandro 206 Jacometti, Pier Paolo
Page Page
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
Erratum
Plate 85, in inscription for "four" read "two".
FHIKTEH AT STL'TTGAKT
JUN1 1962