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

[Redbook9:289][19910507:0915i]{The Baroque Period [continued (9)]}[7th May 1991]

19910507:0915

[continued]

“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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