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Updated: June 27, 2025
Then the Renaissance style had to lose itself in the baroque struggles of the final period of the madrigal drama struggles of artistic impulse against an impossible style of structure and the uncultivated taste of the auditors. Then and then only was the time for revolt and the revolt came.
As we enter the cool dark incense-scented building, we note that though cruelly maltreated by the baroque enthusiasts of the eighteenth century, the general effect of the interior is still impressive with its rows of ancient pillars and its richly decorated roof.
No matter how baroque any church was, it could express something of this sincerity, and in their way the worshippers seemed always simply at home in it.
Thus the plastic artist may well say that the Renaissance belongs to the sixteenth and seventeenth centuries, the Baroque to the seventeenth, and the Rococo and the Pigtail to the eighteenth. But for the historian of culture, on the other hand, this calculation is a little too round.
The former is always the case when the surfaces are left plain with few divisions, or, if the surfaces are divided, when the lines intersect and intermingle, as is exemplified in late Renaissance or Baroque work, where the walls are covered with lavish ornament, the enframement of windows is broken by moldings and sculpture which carry into the surrounding spaces, and where, instead of embracing one story, the "orders" comprise the entire height of the building.
The gardened terrace from which the low, one-story building, thickly crusted with baroque sculptures, looks down into a many-colored parterre, was luxuriantly French, and sentimentally French the colonnaded front opening to a perspective of artificial ruins, with broken pillars lifting a conscious fragment of architrave against the sky.
When I came upon church after church, with its facade of Spanish baroque, I lamented the want of Gothic delicacy and beauty, but I was consoled abundantly later in the churches antedating the Spanish domination. I had no reason, such as travellers give for hating places, to be dissatisfied with Naples in any way.
The clumsy baroque taste of the architecture is a German version of the impulse that was making Italy fantastic at the time; the carving is coarse, and the color harsh and unsoftened by years, though it is broken and obliterated in places.
Other pictures were two water-colours in baroque frames; one being the Amalfi monk on a pergola wall, while the second was a yard-wide display of iris blossoms, painted by Alice herself at fourteen, as a birthday gift to her mother. Alice's glance paused upon it now with no great pride, but showed more approval of an enormous photograph of the Colosseum.
It really is as though the composer had had no other object in view than to produce a baroque effect without troubling himself about musical truth or unity, or about the capabilities of human voices which are swamped by this flood of instrumental noise." "Silence, my friend!" cried Gambara.
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