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‘Concurrently, the Baroque versus Classicism controversy took on a new lease of life, with Gaulli heading the Baroque party in opposition to Sacchi's pupil Carlo Maratti. By the last decades of the century* the whole controversy had shifted bodily in the direction of the Baroque, & Maratti's Baroque Classicism appears almost to be a compromise between Pietro da Cortona & Sacchi. Maratti's style, however, was to provide one of the most important sources for the grand style of the manner of the 18th century[ce].

**

*64M~1680|A~1696|J~1704[ce]

**– ibid [Encyclopaedia Britannica 25: 354]

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‘The most conspicuous aspect of the lofty phase of the High Baroque in Italy is provided by the series of great fresco cycles, which were executed in Rome during the last decades of the 17th century [ce]. Pietro da Cortona's decoration of Sta. Maria in Vallicella (1647-55[ce])* is the link with the earlier phase of the Baroque, and his decoration of the gallery of the Palazzo Pamphili in Rome (1651-54[ce])** points the way to the decorations of Giovanni Coli & Filippo Gherardi in the Palazzo Colonna (1675-78[ce])*** and to those of the vault of the gallery of the Palazzo Medici-Riccardi in Florence by Luca Giordano (1682[ce]).****

Bernini's dynamic & theatrical scheme of decoration reached their climax in the nave vault of the Gesù, Rome, painted in 1674-79[ce]# by Giovanni Battista Gaulli (Baciccia) under the direct tutelage of Bernini. The fresco bursts out of its frame with painted figures flooding over the gilt stucco architectural decoration of the ceiling into the space of the church, and its creates an overwhelming dramatic effect (see Plate 13)#*....

#**

*64G~1648[ce]

**64R~1656|C1664[ce]

***64M~1680

****64M~1680

#64r~M~1680

#*(& frontispiece of E[ncyclopaedia of] V[isual] A[rt])[?]

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#**– ibid [Encyclopaedia Britannica 25:] 353-354

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#***‘After this, the “Allegory of the Missionary work of the Jesuits”, painted by Andrea Pozzo on the nave vault of S. Ignazo, Rome (1691-94[ce]), seems almost an anticlimax, despite its gigantic size and hypertrophic illusionism.

– ibid [Encyclopaedia Britannica 25: 354]

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{The Baroque Period [continued (13)]}[7th May 1991]

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[continued]

Naturally, if I had known how much of this* was to be extracted, I should have used the photo-copier.

What is so fascinating about this extract is that out of one small period come links back to Mannerism (and even High Renaissance) and forward to Rococo and Romanticism; and above all the parallel (and conflicting)** development of ‘Baroque’ and ‘Classical,*** which the period-designation 'Baroque' does not at all imply.

****

*[Presumably, [Redbook9:286][19910507:0915]{The Baroque Period}[7th May 1991]ff]

**[Words in brackets ( ) here inserted by marginal note]

***{ref [[Redbook9:289][19910507:0915i]{The Baroque Period [continued (10)]}[7th May 1991],] 289}

****cf [[Redbook9:240][19910501:0800tt]{The Renaissance (again) [continued (6)]}{– Multiplication of Options}[1^st May 1991],] 240

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{The Baroque Period [continued (12)]}[7th May 1991]

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‘Giovanni Benedetto Castiglione also began his career in Genoa and, after a period in Rome, became court painter in Mantua from 1648[ce], where his brilliant free etchings & brush drawings anticipated the Rococo.’

*

*– ibid [Encyclopaedia Britannica 25:] 353

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{The Baroque Period [continued (11)]}[7th May 1991]

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‘The crypto-romantic movement, centered on Pier Francesco da Mola, Pietro Testa, & Salvator Rosa, was more important and, together with the landscapes of Gaspard Dughet, was to have considerable repercussion* in the 18th century [ce].

Claude Lorrain also adopted an independent stand despite the highly developed classicism evinced by his poetic landscapes which, in contrast to the Stoic themes of Poussin's landscapes, are imbued with the spirit of Virgil's Georgics & Eclogues (see Plate 13).’**

***

*[sic]

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***– ibid [Encyclopaedia Britannica 25:] 353

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‘The lyrical landscapes of the French painter Claude Lorrain, redolent of the poetry of Ovid & Virgil, are among the final expressions of High Baroque Classicism; & they exerted a continual influence throughout the 18th century [ce], particularly in England (see Plate 17).

However, even in Rome itself a number of painters of importance succeeded in remaining more or less independent of the two main camps. Sassoferrato (1609-85[ce]), for example, painted in such an anachronistic style that he has been mistaken for a follower of Raphael.

*

*– ibid [Encyclopaedia Britannica 25:] 353

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{The Baroque Period [continued (9)]}[7th May 1991]

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“Despite the continued triumph of High Baroque illusionism & theatricality in the hands of Bernini* and Pietro da Cortona from the 1630s,** the forces of classicism, now headed by the painter Andrea Sacchi and the Flemish-born sculptor François Duquesnoy, came into the ascendant in the 1640s[ce]*** after the death of Pope Urban VIII; and for the remainder of the century the Baroque versus **** Classicism controversy raged in the Academy in Rome.

Sacchi and the classicists, including the Frenchman Nicolas Poussin, held that a scene must be depicted with a bare minimum of figures, each with its own clearly defined role, and compared the composition to that of a tragedy# in literature.

But Pietro da Cortona & the Baroque camp held that the right parallel was the epic poem# in which subsidiary episodes were added to give richness & variety to the whole & hence the decorative richness & profusion of their great fresco cycles.

#*

*64A~1632[ce]

**64J~{u~}1640|G~{m}1648[ce]

64R~{s~}1656|C1664[ce]

64M~1680|A~1696

****{NB

(Splitting)

(See [[Redbook9:290][19910507:0915#]{The Baroque Period [continued (#)]}[7th May 1991],] 290 [foot of ms page]}

[& see eg [Redbook9:240][19910501:0800tt]{The Renaissance (again) [continued (6)]}{– Multiplication of Options}[1^st May 1991]]

#{NB}

There is a direct conflict here with my perception of C[ircles] A[nalysis] and S[ynthesis] fit:

– but the fact is that I don’t yet have a clear idea of the placing of literary genres on the C[ircles] A[nalysis] and S[ynthesis] pattern.

(ref VIII: [[Redbook8:229-234][19910206:1545b]{The History of Western Literature}[6th February 1991]ff,] 229ff,

[[Redbook8:239][19910208:1520]{Greek Literature [– Epic Narrative]}[8th February 1991]ff,] 239ff.

{(See later?

eg X [], XI []?}

#* – ibid [Encyclopaedia Britannica 25:] 353

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