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Additional info for Art and Architecture in Italy, 1600 to 1750
But can one also talk of a portant in the decoration of palaces. ' ing what has been indicated in the foregoing we may conclude that, of course, the Church made use of various artistic manifesta- affinity and stylistic trends which in turn were not Roman High substance. a It was in the years ecclesiastical In the coexistence of 'classical' reticence and lished fact. Events in pomp one may be able to discern two different facets of counter-reformatory art. above and beyond all this, it But seems possible to associate a distinct style with the spirit of the reformers: a style which reveals something of their urgency and enthusiasm, of their direct- ness of appeal and mystic depth of conviction.
As 41 going immense work in the last the V and Holofernes), on models of repentance (St dom^" and this than in other respects. TO PAUL V Rome but must be it the vast majority of the great cycles of frescoes, in the Gesu, S. Andrea della Valle, S. Carlo al Corso, the Chiesa Nuova, S. Ignazio, S. Carlo ai were painted after the Catinari, first and elsewhere quarter of the seven- teenth century. In other words, the decoration Mariani, Nicolo Cordier, Ippolito Buzio, Val- of these churches belongs to a and Stefano Maderno.
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.
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