By Rudolf Wittkower
this can be the second one publication within the 3 quantity survey.
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Extra info for Art and Architecture in Italy, 1600 to 1750
Were patrons, Their single-minded become of ever partisanship was to It of this coterie, greater Agucchi himself tried hand his among at a theoretical other ideas, he formulated which, anew the central principle of the classical doctrine, that nature is imperfect and that the artist has to improve upon her by selecting only her most This empirical, Aristotelian beautiful parts. theory was harnessed for an attack on two fronts: belief in it painters as this point justified stricture of the much mamera as of the Caravaggisti.
Towards poetical, and a also Brescia and steeped in the tra- ditions of Venetian painting, wholly for the mamera then really he who introduced Venetian colour and settings. into in he never vogue. Rome a taste for rich a It fell was sense for landscape This was taken up and developed by Flemings, mainly Paul Brill (1554- 1626), whose 'picturesque' northern vedute were admitted even in churches and on the walls of the Vatican Palace in the reign of Paul V. '^ A good deal of nit PERIOD OF TRANSITION AND THE EARLY BAROQUE 28 Muziano's chromatic approach assimilated Rome.
Achilleo,^*^ SS. Nereo and Cardinal Pietro Aldobrandini's of , (S. Maria size. in Vallicella)  Nuova was begun for St S. Niccolo in Carcere, and Cardinal Sfondrate's of S. Cecilia in the days of Clement VIII as well Philip Neri's Oratorians by Matteo di Citta di as those of S. Francesca Castello and continued by the elder Martino S. ^'' The building was consecrated in 1 599, but Fausto Rughesi's traditional fa9ade was not yet finished in 1605. S. Andrea stone's throw from the Chiesa signed by Giacomo della Valle, a Nuova, was de- della Porta (not by Pietro Sebastiano fuori nati, and S.
Art and Architecture in Italy, 1600 to 1750 by Rudolf Wittkower
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