{The Baroque Period [continued (14)]}[7th May 1991]

[Redbook9:291][19910507:0915n]{The Baroque Period [continued (14)]}[7th May 1991]

19910507:0915

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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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