By Rudolf Wittkower
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Additional info for Art and Architecture in Italy, 1600 to 1750
It phase The reason between new Orders and is the not was, for instance, in keeping wanted the walls of the that St Philip Neri out the imprint of Bernini's master-mind: co- Chiesa Nuova whitewashed,''' the same walls workers were assistants rather than which half own right. The new churches artists in confronted painters particular with a prodigious task. They had in not only to cover enormous wall-spaces with frescoes but had, above da Pietro their all, new to create a icono- a century later were covered with Cortona's exuberant Moreover, although it is decorations.
Contemporaries the non-religious contrast to genre painting, mythologies and ciently its table, will its Doria as Neptune, he conveyed metaphorically pillars Contrary to what production. may have on the and and meaning of two and still life and by focusing on the char- into his approach to mythological, genre, broso, the coifture superb or ever disarrange mere supercilious masquerade: he chose the emblems of Bacchus to express his own sybaritic mood. When Bronzino represented Andrea purely formal analysis.
A for NU Tilt swagger Much ofthe coloured marble was taken from ancient buildings. This was an KARIY BAROQLL massive and rich that small-scale dwarfs the relatively it sculptural decoration Com- (3]. pared with their models in the Chapel of Sixtus counter-reforma- V, these tombs show a further accretion of programme of systematically transforming pagan into Christian Rome. Moreover, by placing this sumptuous spectacle before the decorative detail, to the detriment ofthe effec- important part of Sixtus \ 's tory eyes of the faithful, Sixtus medieval demand, voiced by that the ought fulfilled the men like Church, the image of heaven on earth, to be decorated with the most precious treasures in existence.