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Baroque europe fall 13, complt wbg
- 2. The Last Super, 1498, Leonardo da Vinci Feast in the House of Levi, 1573, Paolo Veronese
- 3. Pazzi Chapel, 1460, Fillipo Brunelleschi San Carlo alle Quatro Fontane, 1641 Francesco Borromini
- 4. Sala delle Propettive, Villa Farnesina, c.1510 Palazzo Colonna Gallery, Great Hall, mid 1600’s
- 6. St. Peter’s, Rome – Bramante, Michelangelo, others
- 7. Bernini – Colonnade and Piazza, St. Peter’s
- 11. Baldacchino (altar), St. Peter’s, Bernini
- 13. Bernini, St. Andrea al Quirinale
- 17. San Carlo alle Quatro Fontane, Borromini, Rome
- 22. Atrium Court, San Carlo alle Quatro Fontane, Borromini, Rome
- 24. Palazzo Altieri, Rome (for the family of Pope Clement X)
- 25. Palazzo Altieri, Rome (for the family of Pope Clement X)
- 30. Palazzo Barberini, begun by Carlo Moderno 1627, completed by Bernini in 1633
- 33. Palazzo Barberini, Central Hall, Ceiling Fresco by Pietro Cortona
- 36. Palazzo Colonna
- 37. Galleria Colonna
- 38. Hall of the Battle Column and Sala della Fontana, Palazzo Colonna, Rome
- 39. Doge’s (Ducale) Palace, Venice
- 41. Palazzo Restonio
- 42. Furniture by Andre Brustolon
- 47. Harpsichord, 1670, Michele Todini, Rome
- 56. Baroque in France Louis XIV
- 57. Galerie Francois I, 1536, Fontainebleau Palace of Versailles, Galerie des Glaces, 1690
- 59. Cardinal Mazarin, Chief Minister, 16421661 Mme. de Montespan
- 60. Louis Le Vau, Charles Le Brun, André Le Nộtre – Vaux-le-Vicomte
- 63. Interior of the Oval Salon, Vaux-le-Vicomte
- 67. Louis Le Vau, Charles Le Brun, André Le Notre: Palais de Versailles c. 1674 French national style beyond Italian Baroque
- 73. The Façade of of the Hall of Mirrors, Versailles, Jules Hardouin-Mansart
- 76. Interior of Versailles, The Room of Peace, Louis le Brun
- 78. Louis le Brun, Versailles, Salon d’Appolon, Salon de Guerre
- 81. Palace of Versailles, Galerie des Glaces (Hall of Mirrors), 1690, Jules-Hardouin Mansart and Charles Le Brun
- 90. The Bedchamber of Louis XIV, Versailles
- 92. Chapel of Versailles, 1689-1710, Jules HardouinMansart
- 93. Louis Le Vau, Hotel Lauzun Enfilade: innovative interior plan
- 97. Feteuille a la Reine or Armchair with open sides
- 98. Canapé with saltire stretcher
- 99. Table with saltire stretcher and console leg
- 101. French cabinetry – Italian influence
- 102. André-Charles Boulle, Commode (Boulle-work = marquetry of tortoise shell & brass)
- 104. Bureau Plat in the style of André-Charles Boulle
- 105. Tapestry
- 106. Savonnerie carpet
Notas del editor
- HarpsichordMichele Todini (bapt. 1616–1689)Date:ca. 1670Geography:Rome, ItalyMedium:Wood, variousmaterialsThis gilded case encloses an Italian harpsichord of typical design but unusual length. Decorated with a frieze depicting the Triumph of Galatea and supported by three Tritons, the harpsichord originally formed part of Michele Todini'sGaleriaArmonica and was described in his catalogue of 1676. The flanking figures of Polyphemus playing a bagpipe (Todini invented one like it) and Galatea, holding a lute, were displayed with the harpsichord in front of a "mountain" in which a small pipe organ was concealed. The organ simulated the bagpipe's sound and the harpsichord represented the sound of the lute. Todini designed several such lavish instruments and charged admission from the aristocrats who visited his gallery. The artistic quality of the case ranks it among the finest examples of Roman Baroque decorative art; Todini's ingenuity and search for new forms of instrumental expressivity grew out of the same musical climate that led to the invention of the piano.
- HarpsichordMichele Todini (bapt. 1616–1689)Date:ca. 1670Geography:Rome, ItalyMedium:Wood, variousmaterialsThis gilded case encloses an Italian harpsichord of typical design but unusual length. Decorated with a frieze depicting the Triumph of Galatea and supported by three Tritons, the harpsichord originally formed part of Michele Todini'sGaleriaArmonica and was described in his catalogue of 1676. The flanking figures of Polyphemus playing a bagpipe (Todini invented one like it) and Galatea, holding a lute, were displayed with the harpsichord in front of a "mountain" in which a small pipe organ was concealed. The organ simulated the bagpipe's sound and the harpsichord represented the sound of the lute. Todini designed several such lavish instruments and charged admission from the aristocrats who visited his gallery. The artistic quality of the case ranks it among the finest examples of Roman Baroque decorative art; Todini's ingenuity and search for new forms of instrumental expressivity grew out of the same musical climate that led to the invention of the piano.
- Artist Figural composition designed in 1635 by Pietro da Cortona (PietroBerrettini), Italian, 1596 - 1669. Woven at the Barberini tapestry manufactory, Rome. Workshop of Jacomodella Riviera, Flemish.Title Tapestry showing the Sea Battle between the Fleets of Constantine and LiciniusDate 1635