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Journal articles on the topic 'Late Baroque'
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1
Cina, Landon. "Gesualdo's Late Madrigal Style: Renaissance or Baroque?" Musical Offerings 11, no. 2 (2020): 59–69. http://dx.doi.org/10.15385/jmo.2020.11.2.2.
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Barbieri, P. "Harpsichords and spinets in late Baroque Rome." Early Music 40, no. 1 (February 1, 2012): 55–72. http://dx.doi.org/10.1093/em/cas023.
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Pérez Santamaría, Aurora. "Catalan altarpieces of the late baroque. Some considerations." Locus Amoenus 5 (December 1, 2000): 217. http://dx.doi.org/10.5565/rev/locus.111.
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Mangsen, Sandra, and Tim Carter. "Music in Late Renaissance & Early Baroque Italy." Notes 50, no. 4 (June 1994): 1385. http://dx.doi.org/10.2307/898309.
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Szymański, Witold, and Maurycy Kin. "The perspective transformation in illusionistic ceiling painting of late Baroque." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 15, no. 1 (January 31, 2020): 104–12. http://dx.doi.org/10.35784/teka.899.
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The following work has shown the analyses carried out in order to clarify facts necessary to understand the phenomenon of the perspective representation in the works of art in Renaissanse and late Baroque. A lot of misunderstandings have arisen on the grounds of critical work made by many theoreticians and art historians. The aim of this work was to stipulate the reasons for the conceptual and methodological fallacies.
Having evaluated the methods used by illusionistic ceiling painters of late Baroque, it was possible to conduct some geometric analyses of the paintings placed on the vault of the Leopoldine Hall at the University of Wrocław.
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Gendova, Marya Yu. "On the Reflection of the Baroque Style in the Russian Art of Ballet." ICONI, no. 3 (2021): 37–47. http://dx.doi.org/10.33779/2658-4824.2021.3.037-047.
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The article is devoted to the theme of the Baroque style on the Russian ballet scene of the end of the 19th century, and the focus of attention of this research steps over the bounds of the indicated time period, dwelling upon the reflection of Baroque subject matter on the 20th and early 21st century art of ballet. The author does not analyze the plotline basis of ballet performances and does not attempt to search for stylistic attributes of the Baroque period which would confirm the ballet’s pertaining to the Baroque era. The author determines as her main goal the aspiration to comprehend the fundamental — philosophical, value-based and spiritually significant — dominant ideas of human existence which are relevant beyond time and, hence, significant today, as well: the themes of personality, time, good and evil, stereotypes and algorithms (the theme of liberty), the theme of allusions. The author finds it important to comprehend how, conformably with the baroque worldview, they disclosed themselves in the late 19th century art of ballet (during the era of Marius Petitpas’ late productions, which was the flourishing of the Baroque style in ballet), exerting an impact on its plotline and architectonic structure. While preserving the retrospective-explorative vector of her research, the author poses the question, why do these specific concepts of the epoch’s worldview, as well as the constructive peculiarities of the baroque manner of ballet production has manifested itself in the art of 20th and 21st century ballet-masters George Balanchine and Alexei Miroshnichenko.
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Seferović, Relja. "Preachers, Sermons, and State Authorities in late Baroque Dubrovnik." Slovene 6, no. 2 (2017): 648–77. http://dx.doi.org/10.31168/2305-6754.2017.6.2.28.
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In order to keep its traditional neutrality in foreign policy and to preserve inner stability after the disastrous earthquake of 1667, the state authorities of the Republic of Dubrovnik controlled the entire public life in this city-state, which was clamped between Ottoman and Venetian possessions on the coast of the south Adriatic. They managed to impose their will on archbishops of the local Church in various aspects of religious life, including the election of public preachers in the city cathedral. Treated as simple officials in service of the government, these clerics (mostly members of various religious orders who came from Italy) played their role according to their employers’ desires, with only formal concern for their flock. However, sermons by their local counterparts, who preached mostly in smaller city churches, left a deeper mark in this highly conservative Catholic milieu. An analysis of their experiences and preserved texts of their sermons offers a new perception of the political, social, linguistic, and even theological culture of late Baroque Dubrovnik, a city whose importance remained incomparable within the Slavonic world in the Mediterranean.
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Bauer, Linda, and Nello Barbieri. "Forming a collection of paintings in Late Baroque Siena." Journal of the History of Collections 25, no. 1 (November 7, 2011): 45–57. http://dx.doi.org/10.1093/jhc/fhr027.
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Halton, Rosalind. "Aspects of the Secular Cantata in Late Baroque Italy." Musicology Australia 34, no. 1 (July 2012): 121–24. http://dx.doi.org/10.1080/08145857.2012.681758.
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Greene, Roland. "Baroque and Neobaroque: Making Thistory." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 150–55. http://dx.doi.org/10.1632/pmla.2009.124.1.150.
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Among the most historically fixed of art historical and literary concepts, the Baroque arises at the intersection of early modern classicism, imperialism, and science—that is, out of the high Renaissance—to become a kind of antiprogram of resistances: to the absolutist state, the rise of empirical science, the pressures of empire, and other sixteenth-century signs of the gathering regimentation of knowledge. With a flourish of forms and a play of perspectives, the baroque embodies the recoil from such regimentation and the gathering sense that all these systems for organizing human experience fall short in the face of disorder, contingency, and death. Seen from certain vantages, the specimens of the baroque often seem complicit with the projects of absolutism, empire, and late humanism; but regarded in all their dimensions, such works are often complex reactions, critical and compromised, to those projects.
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Vlasov, Viktor G. "ARRHYTHMIA OF COLONNADES IN ROMAN BAROQUE ARCHITECTURE." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 5. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-5.
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The article considers the special rhythmic structure inherent in the facades of Roman baroque churches of the late 16th – 17th centuries. Select examples illustrate the relations typical of such architecture between the bottom diameter of columns (embates), intercolumniation, and column height. These relations include the classical ones, which are consistent with the theory of proportions of Pythagoras and the rules of Vitruvius, but the unusual arrhythmic techniques of the composition create a special dissonant resonance with human biorhythms and mental states within the space of Baroque architecture.
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Krähling, János, and Gergely Domonkos Nagy. "Late baroque greek-cross plan type Lutheran churches in Hungary." Periodica Polytechnica Architecture 40, no. 2 (2009): 77. http://dx.doi.org/10.3311/pp.ar.2009-2.04.
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Talbot, M. "Tim Carter, Music in late Renaissance and early Baroque Italy." Early Music XXI, no. 1 (February 1, 1993): 111–12. http://dx.doi.org/10.1093/em/xxi.1.111.
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Булычева, А. В. "The Problem of Authorship in Late Baroque Sacred Music (France — Russia)." Научный вестник Московской консерватории, no. 2(33) (June 22, 2018): 82–93. http://dx.doi.org/10.26176/mosconsv.2018.33.2.04.
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В статье сравнивается ситуация с указанием авторства ведущих духовных жанров французского и русского барокко: большого мотета и партесного концерта. Вследствие сложившейся во Франции практики издания нот, а также изготовления рукописных копий для продажи авторские сочинения стали заметно превалировать над анонимными. Появление в России той же практики в эпоху классицизма привело к тому, что соотношение авторских и анонимных духовных сочинений приблизилось к сложившемуся во Франции. До начала торговли нотами, напротив, преобладала практика устной передачи сведений об авторстве, изредка фиксируемых в рукописях для памяти (часто с помощью инициалов). Кроме того, сохранялась уже изжитая во Франции традиция считать создателем музыки автора обработки или переложения. The two predominant sacred genres of French and Russian baroque music are compared in relation to authorship/anonymity. The well-developed French publishing activity and the then existing market of musical manuscripts led to prevailing of authorial works. In Russia, the development both of publishing activity and musical manuscripts selling soon brought the authorship/anonymity proportion near to the French level. However, during the baroque era the information on the authorship usually circulated orally, together with rear indications in manuscripts, including those by initials. Moreover, the tradition to name the author of an arrangement as the only author of the work was still alive.
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Marius Mesaroș, Claudiu. "Jesuits, Transylvanian Baroque and the Middle Ages: Ignatius Batthyány and Saint Gerardus of Cenad." Ingenium. Revista Electrónica de Pensamiento Moderno y Metodología en Historia de las Ideas 14 (October 15, 2021): 17–24. http://dx.doi.org/10.5209/inge.78432.
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Although considered as the end of the Late (baroque) Scholasticism, in Central Europe the 18th century still bore the substance of philosophical thinking and education of the Jesuit baroque philosophy, especially its ideal of building study societies and classical libraries accompanied by astronomical observatories and scientific collections. The Jesuit model of Eger was brought by the Transylvanian Bishop Ignatius Batthyány at Alba Iulia where he has established a learning place consisting in a classical and theological library and founded a literary society, trained a professional librarian and aimed at offering a study place for meritory scholars. He was himself a theologian, paleographer and historian, edited and commented on the treatise Deliberatio supra hymnum trium puerorum ad Isingrimum liberalem by the 11th century Benedictine Bishop Gerardus of Cenad. Bishop Batthyány was for many reasons a baroque scholar although many times introduced as a man of Enlightenment by some historians.
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Kovalchuk, Natalia, Olga Zosim, Liudmyla Ovsiankina, Irina Lomachinska, and Oksana Rykhlitska. "Features of Sacred Music in the Context of the Ukrainian Baroque." Religions 13, no. 2 (January 18, 2022): 88. http://dx.doi.org/10.3390/rel13020088.
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The main goal of this article is the research of different genres of spiritual music in the Ukrainian baroque era. This music is decisive for an understanding of Ukrainian culture. In order to achieve this, research following methods was used: comparative-historical, sociocultural, structural, genre-stylistic. Baroque appears as an intermediate between the Renaissance and Age of Enlightenment. Features of the broader character of the Ukrainian civilization explain its cruising between different cultures, correlating between Western culture and Eastern Orthodox culture. The cultural dimension of Ukraine was crossed by different religions: Orthodox, Catholic, Greek-Catholic, and different paths of Protestantism. This fact specified a music of this age. Two basic directions feature specific of spiritual singing of the Ukrainian baroque: partsong (“High baroque”) and spiritual song (“Middle baroque”). Partsong is represented by liturgical and paraliturgical (concerts) genres. This direction was unique because it was a synthesis of Eastern-Christian and Western-Christian tradition (mostly by Catholic musical tradition as multi-chorus composition, musical rhetoric). At the same time, partsong of the orthodox tradition was formed by liturgical tradition. A large influence on the Greek-Catholic church was a catholic music tradition, in which polyphony is not performed “acapella”, but with instrumental accompaniment. Spiritual song was more linked with the catholic tradition and less with the protestant one. It did not have any canonical orthodox genres, but was borrowed by text–music forms formed in Europe in the Age of late Renaissance and early Baroque period. Greek-Catholic tradition was more linked with catholic one. Therefore, this music had a sacred character, becoming a genre of liturgical music. Palimpsest in its confessional dimension became a distinctive feature of the Ukrainian Baroque and created a unique face of the Ukrainian liturgical music.
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Hsia, R. Po-chia. "The Eagle and the Cross: Jesuits in Late Baroque Prague (review)." Catholic Historical Review 90, no. 1 (2004): 135–36. http://dx.doi.org/10.1353/cat.2004.0018.
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ZOHN, STEVEN. "THE SONATE AUF CONCERTENART AND CONCEPTIONS OF GENRE IN THE LATE BAROQUE." Eighteenth Century Music 1, no. 2 (September 2004): 205–47. http://dx.doi.org/10.1017/s1478570604000132.
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Much recent writing concerning the early eighteenth-century sonata has focused on a subgenre that appropriates stylistic elements from more fully scored works. Thus several of J. S. Bach’s solo and trio sonatas signify the concerto in certain movements by adopting ritornello form and establishing instrumental roles of ‘soloist’ and ‘orchestra’, only to undermine the integrity of these roles during the course of a movement. These Sonaten auf Concertenart, and a number of similar examples by Bach’s German contemporaries, have been viewed as responses to Vivaldi’s solo concertos and especially his so-called ‘chamber concertos’, which feature similar kinds of role playing. This study, by re-examining the phenomenon of the sonata in concerto style from a number of perspectives, shows that the genre was more widespread and its origins and meanings more complex than previously recognized. Evidence for this revised view takes the form of generic titles on manuscripts and prints; music by German, Italian and French composers spanning much of the eighteenth century, from Molter to Mondonville to Mozart; some three dozen sonatas by Telemann, who exhaustively explored the genre over several decades and was perhaps its originator in Germany; and literary amalgamations of genre indicative of a broader eighteenth-century fascination with mixed types.
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Ziskin, Rochelle. "Architectural Diplomacy: Rome and Paris in the Late Baroque Gil R. Smith." Journal of the Society of Architectural Historians 53, no. 3 (September 1994): 367–69. http://dx.doi.org/10.2307/990954.
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Klassen, John. "Book Review: The Eagle and the Cross: Jesuits in Late-Baroque Prague." Theological Studies 65, no. 2 (May 2004): 397–99. http://dx.doi.org/10.1177/004056390406500218.
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Port, Ulrich. "Marienbild und Militanz in Friedrich Schillers Die Jungfrau von Orleans. Longue durée, Nachleben und Aktualisierung barockkatholischer Schlagbilder im Zeitalter der Revolutionskriege." Zeitschrift für Kunstgeschichte 81, no. 2 (October 15, 2018): 213–30. http://dx.doi.org/10.1515/zkg-2018-0015.
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Abstract This essay demonstrates how Baroque Catholic motifs of an aggressive and militant Virgin Mary are envisioned in Friedrich Schiller’s tragedy Die Jungfrau von Orleans – motifs which seem to be anachronistic with regard to the late medieval setting of the Joan of Arc story as well as with regard to the date of origin of Schiller’s play (1800 –1801). But precisely this anachronism can be read as a symptom of the times around 1800: namely as a return of repressed stocks of images from the age of confessionalization which gained explosive force for different reasons in the first decade after the French Revolution. In the eighteenth century these visual and verbal images of the Virgin Mary had only been cultivated by late Baroque church art and within a popular religious longue durée, which had been criticized and neutralized by enlightened Catholicism and which had been attacked by revolutionary iconoclasm. At the turn of the century, they started a peculiar Nachleben and were – in the sense of Aby Warburg’s Revenants – remembered again, being reactivated and refreshed as Schlagbilder.
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Egginton, William. "The Baroque as a Problem of Thought." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 143–49. http://dx.doi.org/10.1632/pmla.2009.124.1.143.
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We're an empire now, and when we act, we create our own reality. And while you're studying that reality—judiciously, if you will—we'll act again, creating other new realities, which you can study too, and that's how things will sort out. We're history's actors… and you, all of you, will be left to just study what we do.—Aide to George W. Bush, quoted by Ronald SuskindWhy the Baroque? Why now? As many have argued, the general aesthetic trend of the late twentieth to early twenty-first centuries, often called postmodern, can perhaps more usefully be labeled neobaroque. Is the neobaroque turn of the twentieth century something akin to the neoclassicism of the sixteenth century, or the neo-Gothicism of the nineteenth? Or, on an even more condensed scale, is it similar to the rapid returns of previously dismissed fashion decades, as evidenced by the proliferation in the early years of this century of those beads and bellbottoms associated with flower children and the age of Aquarius?
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Irwin, Joyce. "German Pietists and Church Music in the Baroque Age." Church History 54, no. 1 (March 1985): 29–40. http://dx.doi.org/10.2307/3165748.
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Scholars of Pietism, the religious reform movement of the late seventeenth and early eighteenth centuries, have attempted in recent years to increase understanding and respect for the movement among American scholars. F. Ernest Stoeffler's The Rise of Evangelical Pietism (1971), Dale Brown's Understanding Pietism (1978), and Peter Erb's Pietists: Selected Writings (1983) all begin with a plea for open-minded recognition of Pietism's positive contributions. Our negative interpretation of the movement, they note, has been shaped largely by those opponents who first gave the Pietists their label.
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Szczukowski, Ireneusz. "„Należy od nowa przywitać się ze śmiercią”. Baka Eugeniusza Tkaczyszyna‑ Dyckiego." Studia Slavica XXV, no. 2 (February 2022): 37–47. http://dx.doi.org/10.15452/studiaslavica.2021.25.0017.
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This article focuses mainly on three texts by the polish poetry Eugeniusz Tkaczyszyn‑Dycki that refer to baroque poet Józef Baka: Baka uwodzi Stefanię Dycką (Baka Seduces Stefania Dycka) Baka winny istnieniu Stefanii Dyckiej (Baka Guilty of Stefania Dycka’s Existence) Stefania Dycka poruszona widokiem Baki (Stefania Dycka Moved by Seeing Baka). We should remember that Dycki’s speech is centered around loss, so it is an attempt to invent a language that could bear the heterogeneity of death. To avoid slipping into silence, the author updates the old Polish tradition of funeral poetry, particularly the “black carnival” of late‑Baroque writer Józef Baka, which provides a specific ma‑ trix of meaning, of the way to communicate with oneself and with the reader. The subject of the analysis are therefore references to the threads of Baka’s poetry, which have been transformed in Dycki’s poetic discourse.
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Kozlova, Galina, and Lyudmila Kozlova. "Compositional study of the lost temples in instructional design." проект байкал, no. 69 (November 13, 2021): 150–57. http://dx.doi.org/10.51461/projectbaikal.69.1867.
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The article presents the design and research work of the authors and first-year architecture students of Irkutsk National Research Technical University concerning compositional study of lost temples of Irkutsk with the reconstruction of their architectural appearance. The illustrative material was prepared using the students’ works. The complex of Siberian Baroque temples in Irkutsk in the mid-18th – late 19th centuries and various types of church buildings were studied. The work uses modeling as a tool for predicting the architectural appearance of the temple. Sketch drawings and models of the Miracle-Working, Tikhvinsky and Annunciation temples were completed, and the model of the evolution of Siberian Baroque temples was recreated. The main stages of the term project, from building functional, planning and volumetric models to designing image and structural characteristics of the object on the sample board, were presented.
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Jernyei Kiss, János. "Painted scene and feigned architecture in the ceiling paintings of the late-Baroque." Periodica Polytechnica Architecture 45, no. 1 (2014): 1–8. http://dx.doi.org/10.3311/ppar.7471.
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Bałus, Wojciech. "Stained Glass and the Discovery of the Baroque in the Late Nineteenth Century." Zeitschrift für Kunstgeschichte 83, no. 4 (December 16, 2020): 554–71. http://dx.doi.org/10.1515/zkg-2020-4005.
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Panasiuk, Joanna. "Late Baroque Manuscript "Supplicant of the Sinner to the Lord Jesus". Eschatological Reflections." Colloquia Humanistica, no. 7 (December 18, 2018): 197–204. http://dx.doi.org/10.11649/ch.2018.012.
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Late Baroque Manuscript Supplicant of the Sinner to the Lord Jesus. Eschatological ReflectionsThe scope of observations in this article will be concerned by Supplicant’s Song of the Lord Jesus(inc. "Jesus, my merciful ..."), belonging to the so-called the popular area. This text was found in a handwritten collection dated to 1744, belonging to the Discalced Carmelite Nuns in Krakow. In this song, we can identify - as a result of eschatological reflections - the idea of contemptus mundi (contempt of the world), originating from the middle ages. Późnobarokowy rękopis Supliki grzesznika do Pana Jezusa. Eschatologiczne refleksjeZakres obserwacji wyznaczy tu należąca do nurtu tzw. popularnego pieśń Suplika grzesznika do Pana Jezusa (inc. „Jezu mój litościwy…”). Tekst odnaleziono w rękopiśmiennym zbiorze datowanym na 1744 rok, należącym do biblioteki karmelitanek bosych w Krakowie. W pieśni – na skutek eschatologicznych refleksji - uobecnia się idea contemptus mundi (pogardy świata), wywodząca się z wieków średnich.
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Cameron, Jasmin. "Aspects of the Secular Cantata in Late Baroque Italy - Edited by Michael Talbot." Journal for Eighteenth-Century Studies 35, no. 3 (August 5, 2012): 438–39. http://dx.doi.org/10.1111/j.1754-0208.2011.00385.x.
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Cantrell, David, Peter Swart, and Royal Hagerty. "Genesis and characterization of dolomite, Arab-D Reservoir, Ghawar field, Saudi Arabia." GeoArabia 9, no. 2 (April 1, 2004): 11–36. http://dx.doi.org/10.2113/geoarabia090211.
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ABSTRACT This study reports the results of an investigation into the nature, origin and significance of linear dolomite trends across the Arab-D reservoir in Ghawar field. In the course of this study, three distinct types of dolomite were identified based on petrographic and geochemical criteria: fabric-preserving (FP), non-fabric-preserving (NFP) and baroque dolomite. Fabric-preserving (FP) dolomite is very finely crystalline dolomite in which details of the original limestone fabric are usually well preserved. Beds of FP dolomite typically occur as thin, sheet-like or stratigraphic layers that are always intimately associated with the overlying anhydrite. This dolomite is interpreted to have formed very early in the diagenetic history of the sediment, by dense, highly evaporated magnesium-rich brines associated with the overlying anhydrite. In contrast, NFP dolomite is a medium crystalline, non-baroque dolomite in which all traces of the original limestone fabric have been obliterated. This dolomite also typically occurs as stratigraphic beds, although it is not restricted to the uppermost part of the Arab-D but occurs throughout the reservoir. The NFP dolomite is the most common type present in the reservoir, and is interpreted on the basis of its general geochemical similarity to the FP dolomites to have mostly formed from hypersaline fluids, although some NFP dolomite is thought to represent a transitional form with the third dolomite type, baroque dolomite. Strontium isotopic ratios suggest that both the FP and most of the NFP dolomite formed very early, at or shortly after deposition of the original sediment. The third type of dolomite, baroque, is a coarsely crystalline dolomite with “saddle-shaped” crystals displaying undulose extinction in thin section. It is rare in the reservoir and appears to be limited to wells that contain abnormally thick sections of dolomite; in extreme cases, baroque dolomite is vertically pervasive. Geochemically, baroque dolomite is distinctive with high iron and very low oxygen isotopic compositions, and is interpreted to have formed from high temperature fluids during burial diagenesis. These fluids are suggested to have ascended up into the reservoir from depth along a fault/facture system, relatively late in the diagenetic history of the rock.
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Buržinskas, Žygimantas. "Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecture." Art History & Criticism 17, no. 1 (November 15, 2021): 43–58. http://dx.doi.org/10.2478/mik-2021-0004.
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Summary The architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18th century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18th century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19th century.
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Gh. Vlăsceanu, Mihaela. "FORMULĂRI STILISTICE ÎN ARHITECTURA TIMIȘOAREI ȘI VÂRȘEȚULUI (SEC. XVIII-XX). STUDIU DE CAZ: PALATELE PRELAȚILOR ORTODOCȘI SÂRBI." ИСХОДИШТА 1, no. 7 (July 8, 2021): 85–94. http://dx.doi.org/10.46630/ish.7.2021.6.
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Being monuments endowed with ideological dimension, the Orthodox Bishopric Serbijan palaces from Vârșeț and Timișoara present interesting stylistical evolutions, from 18th century’s late Baroque to 20th Century Viennese Secession. Symbolizing the power of Orthodox Church rulers, these constructions adopted the Catholic Baroque style, crossed through the Romantic period with the rebirth of neoclassical values and ended in what was configured at the beginning of the 20th century as the closure with the academic dimension and the introduction of the Secession style. The hypothesis of the paper states the importance of European artistic values in defining identity, as the case of these two palaces with their evolution, an evolution that culminated in synthesis. Art patronage from this perspective has implications for the evolution, as such, the two monuments illustrate Serbian religious authority and its reaction to the modern art. In this case the palaces stand as hallmarks for the ecclesiastical architecture of the Banat, a focal point in the general phenomenon.
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Niebelska-Rajca, Barbara. "Convention as the Source of the Avant-Garde. Remarks on the Inventiveness of Poetics of the Past." Roczniki Humanistyczne 66, no. 1 SELECTED PAPERS IN ENGLISH (October 23, 2019): 19–31. http://dx.doi.org/10.18290/rh.2018.66.1-2e.
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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1.
Modern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional and what is innovative in the most original theoretical texts of late Renaissance and Baroque. Examples of two avant-garde modern poetics—Francesco Patrizi’s theory of wonder formed at the end of the 16th century and the 17th century Emanuele Tesauro’s conceptistic theory—show that tradition and convention are necessary elements of inventive theories. The avant-garde of poetics of the past, contrary to the avant-garde of the 20th century, is not born from the defiance of the earlier theories but is formed by way of modernizing and transforming them. Old inventive theories—despite all the departures from tradition—are still part of the classical paradigm. Hence, the avant-garde character of late-Renaissance and Baroque theoretical reflection consists in a peculiar synergy of convention and novelty.
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Shvidkovsky, Dmitry. "The Architecture of the Enlightenment and the Birth of Modernity: from the High Baroque to Late Classicism." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (September 10, 2020): 21–46. http://dx.doi.org/10.36340/2071-6818-2020-16-3-47-60.
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The article is devoted to the architecture of the Enlightenment in a broad sense. The author is convinced that this period is the time of the beginning of Modernity, the birth of the Early Modern Times architecture. He thinks that the cycle of the development of humanity, which architecture has been expressing most clearly of all other arts since the 17th century - the epoch of the English Revolution, has not ended yet. The ideas developed at that time continue to exist in our minds. They are still actual for contemporary architecture, developing it and solving the problems established at our civilization’s birth. The most contemporary ideas: of the sustainable architecture, natural, biologically orientated, friendly to the environment, which create the world of the perfect natural man preserving the ideals of the Ancients and the Moderns, creativity, and technologies – they are all directly linked to the ideas which were on the agenda of the architectural theory of England, France, Russia, Italy, Germany of the Age of Enlightenment. They were put into practice in the implemented designs of those times. The panorama of the European art of building, including Russian as one of the central laboratories of the Enlightenment during which the vast country’s territory underwent reforms, is truly gigantic. The author cites the main theories of the period in question. He shows one of the main qualities of the art of architecture from the High Baroque style to the Late Classicism, and further – up to postmodernism and even sustainable architecture: the attempt to create the environment, in which architecture would emphasize different aspects of meaning, would become architecture parlante as Claude Ledoux said. The interaction of several stylistic trends took place during the implementation of the stated process. In this process, the author underlines the importance of the Baroque’s universal character and the ideology of the Enlightenment, which gave birth to the “clever choice” of architectural forms.
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Edwards, Michael. "Digressing with Aristotle: Hieronymus Dandinus' De corpore animato (1610) and the Expansion of Late Aristotelian Philosophy." Early Science and Medicine 13, no. 2 (2008): 127–70. http://dx.doi.org/10.1163/157338208x263444.
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AbstractEarly modern scholastic and Aristotelian philosophy is now a growing area of study. However, little attention has been paid to the structure and form of late Aristotelian texts, partly because they have often been seen as baroque and excessively intricate in construction. This article examines the role of structural and stylistic issues in the De anima commentary of the Jesuit author Hieronymus Dandinus (1554-1634), focusing particularly on the techniques he used to integrate knowledge from other disciplines and expand the familiar commentary format. It argues that taking these issues seriously has important implications for our understanding of the dynamics of reading Aristotle in the early modern period.
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Neuman, Robert. "Robert de Cotte and the Baroque Ecclesiastical Façade in France." Journal of the Society of Architectural Historians 44, no. 3 (October 1, 1985): 250–65. http://dx.doi.org/10.2307/990075.
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The façade of St. Roch, Paris (erected 1736-1738), the last major work by Robert de Cotte, is often viewed as anomalous in an oeuvre devoted almost exclusively to the design of secular buildings. However, the recent discovery in Paris of certain drawings and related documents from de Cotte's studio (Bibliothèque Nationale; Archives Nationales; Bibliothèque de l'Institut) makes it clear that he confronted the problem of the Italianate ecclesiastical façade throughout his career, although only a few of the commissions were actually carried out. The various solutions, while rooted in French tradition, betray a strong interest in Italian church portals of the Late Renaissance and Baroque. The notes and drawings made by the architect during his Italian sojourn of 1689-1690 confirm this interest. A chronological review of the projects reveals that the design for the St. Roch portal was closely related to de Cotte's earlier experiments for church façades in Paris, Dijon, and Orléans; the Premier Architecte relied particularly on precedents set by Jules Hardouin Mansart, as well as on his own unexecuted project for St. Louis de Versailles (1724).
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Gyetvainé Balogh, Ágnes. "Construction History and Research of the Holy Trinity Parish Church in Szigetmonostor." Periodica Polytechnica Architecture 52, no. 1 (May 3, 2021): 1–20. http://dx.doi.org/10.3311/ppar.16946.
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The church of Szigetmonostor, together with the parish building in front, and the late chanter house next to it, is the characteristic complex of its environment. Its plan with the middle tower façade solution is a classic example of Baroque church architecture of the eighteenth century. The most valuable part of the building is the late Baroque pulpit renovated while keeping its original appearance.Szigetmonostor – earlier Monostor – a municipality in Pest County on the Szentendre Island came into the possession of the Zichy family after the Turkish rule. In the 1730s, Ferenc Zichy put the tenure in pawn to Gábor Horányi, a servant judge in Pest County, who started greater developments here by building a castle (today the parish) and a church in the 1740s. The tower was built in front of the main façade a few years after the completion of the nave. The Vienna Court Chamber acquired the manor from the Zichy family in 1766 after a long lawsuit, also redeeming Monostor from the Horányi family. In 1774, the master masons Mihály János Hamon and Jakab Gföller were commissioned to survey the buildings of the manor, which came into the possession of the Crown from the Zichys. Their survey plans illustrate the church with the small teaching house and church garden next to it. During the 19th and 20th centuries, the church underwent several renewals and renovations and minor alterations that could be tracked with the help of records and Canonica Visitatios.
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Barbieri, Gaia, Marco Valente, Luigi Biolzi, Carlo Togliani, Luigi Fregonese, and Gregorio Stanga. "An insight in the late Baroque architecture: An integrated approach for a unique Bibiena church." Journal of Cultural Heritage 23 (January 2017): 58–67. http://dx.doi.org/10.1016/j.culher.2016.07.006.
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Zayarna, Iryna. "DMITRO CHIZHEVSKY AS A RESEARCHER OF THE STUDY OF FUTURISM IN RUSSIAN LITERATURE: A DIACHRONIC VECTOR." Polish Studies of Kyiv, no. 35 (2019): 127–34. http://dx.doi.org/10.17721/psk.2019.35.127-134.
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The article deals with the fundamental development directions of futurism studying in Russian poetry in the D. Chizhevsky’s scientific heritage. The author determined the methodological significance of the futurism analysis initiated by the Ukrainian scientist just as organic and valuable artistic phenomenon in the history of Russian literature. His research «On the poetry of Russian futurism» (New York, 1963) was published on the contrary to the total silencing of the avant-garde in the USSR and its almost complete erasure from the historical map of the development of literature. The scientist connects there a number of distinguishing tenden- cies of the futuristic poetics with the preceding stage (the literature of symbolism), and predicts the appearance of studies of this aspect of literary continuity. Author of this article analyses works of similar subjects that have replenished science at the late twentieth – early twenty- first centuries (Bobrinskaya, Kling). D. Chizhevsky pays the most attention to the peculiarities and innovations of the poetic language of the futurists, defines various ways of word creation in their poetic practice – morphological word forms, innovations, morphemic and phonetic «zaum», violations of grammatical norms. As a specialist in comparative literary studies, he drew attention to the connection between the Russian avant-garde and both the Polish (the Scamander group) and the Czech avant-garde in the works of individual authors (V.Nesval). While studying Russian futurism and in a number of works on baroque literature, D. Chizhevsky traces the diachronic connection of Russian futurism with the baroque tradition, reveals the typological affinity of many events in time distant literatures. The baroque dimension of futuristic poetics clearly observed in the conceptual position of Chizhevsky when it comes about «complexity», the opacity of the poetic language of such artists as Mayakovsky, Pasternak, about lan- guage game, the experiment of an abstruse language, intentional stylistic opacity, and the «incomprehensibility» of futurist texts. The profound idea of outlining diachronic typological processes in various literatures turned out to be quite productive and had further literary development, just as a scheme of the «wave» movement of styles proposed by Chizhevsky in the es- say «Cultural and historical eras». In support of this thesis, in this article it was analyzed a number of philological works of the late twentieth – early twenty-first century, where the analogies between the baroque and avant-garde artistic paradigms were traced. To a large extent, the works of the Ukrainian philologist and culturologist have contributed to the formation of broad historical and literary views on typological processes in various literatures, on the study of the genesis of individual literary phenomena and historical typology in the diachronic aspect.
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Peña, Gabriel, and Carmela Cucuzzella. "Ecomannerism." Sustainability 13, no. 3 (January 27, 2021): 1307. http://dx.doi.org/10.3390/su13031307.
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Mannerism was the bridge between late Renaissance and the Baroque between 1520 and the 1600s. This movement was characterized by the destabilization of compositional elements through repetition and expressiveness, regardless of their function. This phase in history echoes a trend in contemporary architecture based on the repetition of functionless elements that constitute a ‘green aesthetic’ in detriment of sustainable systems. Ecomannerism is a conceptual vehicle to identify and evaluate iconic contemporary projects that are positioned between ecologies of practice and ecologies of symbols, which are directly related to the sustainable performance of the built environment.
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WEBSTER, JAMES. "THE EIGHTEENTH CENTURY AS A MUSIC-HISTORICAL PERIOD?" Eighteenth Century Music 1, no. 1 (March 2004): 47–60. http://dx.doi.org/10.1017/s147857060400003x.
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Period concepts and periodizations are constructions, or readings, and hence always subject to reinterpretation. Many recent scholars have privileged institutional and reception history over style and compositional history, and periodized European music according to the ‘centuries’; but these constructions are no less partial or tendentious than older ones. Recent historiographical writings addressing these issues are evaluated.If we wish to construe the eighteenth century as a music-historical period, we must abandon the traditional notion that it was bifurcated in the middle. Not only did the musical Baroque not last beyond 1720 in most areas, but the years c1720–c1780 constituted a period in their own right, dominated by the international ‘system’ of Italian opera, Enlightenment ideals, neoclassicism, the galant and (after c1760) the cult of sensibility. We may call this the ‘central’ eighteenth century. Furthermore, this period can be clearly distinguished from preceding and following ones. The late Baroque (c1670–c1720) was marked by the rationalization of Italian opera, tragédie lyrique, the standardization of instrumental genres and the rise of ‘strong’ tonality. The period c1780–c1830 witnessed the rise of the ‘regulative work-concept’ (Goehr) and ‘pre-Romanticism’ (Dahlhaus), and the Europe-wide triumph of ‘Viennese modernism’, including the first autonomous instrumental music and a central role in the rise of the modern (post-revolutionary) world, symbolized by Haydn’s sublime in The Creation.A tripartite reading of a ‘long’ eighteenth-century in music history along these lines seems more nearly adequate than either baroque/classical or 1700–1800 as a single, undifferentiated period.
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RODYHIN, Kostiantyn, and Mykhailo RODYHIN. "THE TRADITION OF ALCHEMICAL AND ASTROLOGICAL KNOWLEDGE WITHIN AND AROUND THEOPHAN PROKOPOVYCH’S LIBRARY." Skhid, no. 2(3) (December 27, 2021): 51–58. http://dx.doi.org/10.21847/1728-9343.2021.2(3).248162.
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The important role of the alchemical and astrological tradition in the formation and trans-formation of science as a social institution in the Early Modern period is researched in detail in Western historiography of science. At the same time, the Ukrainian aspect of this pan-European phenomenon needs further intensive study.The article deals with the alchemical and astrological component of Ukrainian science of the High Baroque era on an example of Theophan Prokopovych (1677 – 1736). The analysis of the ca¬talog of Prokopovych’s library confirmed that the alchemical-astrological and magical-physical knowledge belonged to the sphere of interests of the scholar. His activity, in addi-tion to cosmogonic reasoning and mathematical calculations, also had a practical compo-nent. Books from the library’s holdings included works of late alchemy, which allowed Pro-kopovych to be aware of the latest ideas, trends, and achievements in this and related fields of knowledge. This is reflected in the formation of the worldview and creative work of the scholar.A comparison of the facts of biographies, the essence and direction of creativity, and the relationship of the authors mentioned in Prokopovych’s treatise “Natural Philosophy or Physics”, testified to the existence of the united pan-European scientific and information space, within which the tradition of late alchemy was formed and transformed during the 16th-18th centuries. Theophan Prokopovych also belonged to this tradition, and his works reflected the state and essence of Ukrainian alchemical knowledge of the High Baroque era. Prokopovych’s own views on problems of alchemy and astrology are a topic of special re-search.
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Plotnikova, N. Yu. "FOUR-PART CHORAL CONCERTOS BY NIKOLAY DILETSKY: ON THE WAY TO PUBLICATION." Arts education and science 1, no. 4 (2020): 63–72. http://dx.doi.org/10.36871/hon.202004008.
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The author's discovery of 2012 four-part choral concertos by Nikolay Diletsky, an outstanding composer of the Baroque period, completed in 36, broadened the understanding of Russian Baroque music and the partes concerto genre. This was the starting point for preparing the works for publication (32 concertos are currently composed in full four-part scores). The article reveals the main stages of this path. Special attention is paid to source studies: searching in various archives in Russia and abroad for manuscripts containing Diletsky's concertos, attribution, dating and description of manuscript sources. Analyzing the paleographic features of manuscripts, their composition, the author makes assumptions and conclusions about the chronology and geography of Diletsky's concertos in Russia, about their demand in the singing repertoire of the last third of the XVIIth — late XVIIIth centuries, about the degree of popularity of certain concertos. Of particular importance is the discovery of the earliest manuscripts, which can be attributed to lifetime. The article examines various singing centers in Russia where manuscripts with Diletsky's concertos were created or preserved: Tobolsk, Novy Valaam and Yaroslavl, the largest center of the middle XVIIIth century.
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AZOVTSEVA, Sofia. "SERMON AS A RELIGIOUS COMMUNICATION (EMOTIONAL TOOLS OF PERSUASION IN THE SERMONS BY ANTONIJ RADYVYLOVS’KYI)." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 9–17. http://dx.doi.org/10.37708/ezs.swu.v18i1.1.
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Territorially and mentally, Ukraine is the borderland of different civilizations. Ukraine’s geographical location and historical conditions have drastically affected the course of social, political and cultural developments. It appears that the Baroque era became an important bridge in the convergence of Western and Eastern Europe. The rhetoric and homiletic genre held an important place in the art system of the old Ukrainian literature, and even more so in the Ukrainian Baroque literature in the time of radical national upheavals and inter-confessional wars. Since the early 1600’s the Ukrainian sermon acquired some new features, which was due mostly to the socio-historical changes. A major role in the development of church oratory prose was played by the instructors of the Kyiv-Mohyla Collegium, whose rhetoric textbooks relied on both the ancient theory of rhetoric art and the Baroque works of the literati from Central and Western Europe. The "new" type of a sermon, i.e., a topical kazannia (sermon), evolved as a part of the anti-Catholic cultural and religious movement, which was a reflection of the socio-political situation. Whereas in the 1500’s and early 1600’s theUkrainian sermon constituted an exegesis of the Biblical text (expository sermons) designed in a moral and instructive spirit, the late 1600’s saw the arrival of the sermon whose main feature became the departure from the homily principle. Instead, the Gospel passages were interpreted in compliance with the principles of a rhetorical speech, or, to be more exact, of a topical kazannia. Antonij Radyvylovs’kyj was a Kyiv-Mohyla Collegium alumnus, so his sermons were built on the premises of Rhetoric art.
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Pieczyński, Maciej. "Nowatorstwo i eksperyment w poezji późnego baroku." Śląskie Studia Polonistyczne 14, no. 2 (December 28, 2019): 67–81. http://dx.doi.org/10.31261/ssp.2019.14.04.
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Religious poetry of the Saxon times has often in the past prompted quite radical, and at the same time emotional, valuations coming from scholars. Its distinctness from the literature of the preceding periods was also frequently underscored. The present article attempts to expand upon the issue of novelty and unique features of the works by late Baroque religious poets (Stanisław Brzeżański, Franciszek Gniewisz, Karol Mikołaj Juniewicz, Hieronin Falęcki, and Józef Baka). What is assumed to have been characteristic of the said literature is the endeavour at maximal persuasive efficacy and presence of deep internal tensions between christianitas and humanitas.
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Fagyal, Zsuzsanna. "Phonetics and speaking machines." Historiographia Linguistica 28, no. 3 (December 31, 2001): 289–330. http://dx.doi.org/10.1075/hl.28.3.02fag.
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Summary This paper shows that in the 17th century various attempts were made to build fully automatic speaking devices resembling those exhibited in the late 18th-century in France and Germany. Through the analysis of writings by well-known 17th-century scientists, and a document hitherto unknown in the history of phonetics and speech synthesis, an excerpt from La Science universelle (1667[1641]) of the French writer Charles Sorel (1599–1674), it is argued that engineers and scientists of the Baroque period have to be credited with the first model of multilingual text-to-speech synthesis engines using unlimited vocabulary.
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Caroselli, Marta, Jan Válek, Jana Zapletalová, Alberto Felici, Dita Frankeová, Petr Kozlovcev, Giovanni Nicoli, and Giacinta Jean. "Study of Materials and Technique of Late Baroque Stucco Decorations: Baldassarre Fontana from Ticino to Czechia." Heritage 4, no. 3 (August 11, 2021): 1737–53. http://dx.doi.org/10.3390/heritage4030097.
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From the 16th to the 18th century, many artists and craftspeople coming from villages in the Italian-speaking part of Switzerland, well known for its stucco tradition, worked actively in Central Europe. Baldassarre Fontana (Chiasso 1661–1733) was one of them; after a period in Rome, he was active in Moravia and Poland. This contribution presents an analytical insight into stucco works in the Ticino canton and Czech lands in order to provide an understanding of how artistic and technical skills were transferred according to local traditions, materials, or other requirements found abroad. By comparing two works that Fontana realized in his homeland and two works that he realized in today’s Czech Republic, the historic techniques used to make stucco are characterized, with an emphasis on technological aspects and materials. The detailed analyses provide information on materials and their production and processing methods in relation to the specific sites. They also reveal certain specific technological approaches which were common in all four cases that were studied. The most significant was the layered system of high-relief pieces, where the ground layer was made of lime–gypsum mortar and the finishing layer was pure air lime mortar. The construction of the finishing layer differed between the Czech and Swiss sites, suggesting some other influential factors.
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Vaškelienė, Asta. "Literary Theory in the Eighteenth-Century Grand Duchy of Lithuania: From the Classical Tradition to Classicism." Interlitteraria 23, no. 2 (January 3, 2019): 295–311. http://dx.doi.org/10.12697/il.2018.23.2.7.
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The article is aimed at introducing the peculiarities of the literary theory in the eighteenth-century Grand Duchy of Lithuania. To show these peculiarities, it begins with an overview of the main rhetoric and poetics of the Renaissance and Baroque periods, which illustrate the theoretical thought of the late sixteenth and the seventeenth centuries. The theses set out in these works had been taken up, developed, and modified up until the middle of the eighteenth century, which signalled the beginning of the Enlightenment and changes in literary aesthetics.
The majority of the works on poetics and rhetoric of the period discussed were written by French and German Jesuits (only very few were penned by the Protestants or the Piarists) and were used in the colleges of the Grand Duchy of Lithuania as textbooks intended for the classes of poetics and rhetoric. These works indicate a lively reception of the European literary theory.
Up until the eighteenth century, the book on the Renaissance poetics Poetices libri septem (1561) by Julius Caesar Scaliger retained the status of an underlying work in this field. In it, the author summed up the literary theory absorbed from ancient authors and systematized the genres of poetry, the types of its style, and the metres. Scaliger’s works, which had an impact on the European literary theory of the Baroque and Renaissance, were directly taken up by other authors and modified to a greater or lesser extent. They were easily recognisable in eighteenth-century works on poetics and rhetoric. In the seventeenth-century Grand Duchy of Lithuania, literary theory was shaped by the works of Cyprianus Soarius, Nicolaus Caussinus, François Antoine Pomey, Charles Paiot, and Jacob Pontanus. Poetics of Mathias Casimirus Sarbievius played an important role in the development of Baroque literary theory. Although it was not published and spread only in the form of manuscript notes, it was widely known in the period’s academic environment both in the Grand Duchy of Lithuania and in Western Europe. On the one hand, it was a certain way of conveying Scaliger’s theory, yet on the other hand, thanks to an apt and accurate definition of the Baroque style, this work should be treated as one of the most significant Baroque poetics of conceit. Jacob Masen, another Baroque theorist, also markedly contributed to the theoretical development of the epigrammatic genre and ‘wit’ (argutia), which is held on a par with conceit.
The textbooks used in the Jesuit colleges of the Grand Duchy of Lithuania were not authored exclusively by the Jesuits. Mention should be made of the works on rhetoric by the Dutch Protestant author Gerardus Vossius. The rhetoric of Michał Kraus was very popular in the Piarist teaching system, and, as shown by the provenances, it was included in the syllabi of some of the Jesuit colleges.
The textbooks by Joseph de Jouvancy and Dominique de Colonia represent the genre theory of the eighteenth century. Chronologically, these are the latest theoretical works of the eighteenth century that reflect the Baroque conception of the literary theory. They were highly appreciated and even used at the schools of the Board of Education. The educational reform that was launched in the middle of the eighteenth century nurtured a new approach towards the literary taste and the expression of thought. These changes are reflected in the work O wymowie i poezji (On Rhetoric and Poetry) by the Piarist monk Filip Nereusz Golański, which was the first normative poetics of the Enlightenment written in a national language (Polish in this particular case).
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Wolański, Filip. "Preaching the communication strategy of the Catholic Church in the age of the House of Wetting in Poland. Ways of shaping social religious concepts." Open Political Science 2, no. 1 (December 31, 2019): 108–12. http://dx.doi.org/10.1515/openps-2019-0011.
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AbstractIn the first half of the 18th century, the position of the Catholic Church in the Commonwealth was strengthen and it dominated other Christian denominations. The network of the parishes was expanded, and the accessibility to churches improved. New forms of saints cult as well as other forms of piousness had developed. The preaching played an important role in this process. The preaching in the Commonwealth was not just a Sunday sermon, but above all sermons related to homiletics of the late Baroque, connected with religious ceremonies eg. funerals. The preacher was to work through emotions, the achievements of Baroque rhetoric used, although in the Commonwealth, own solutions were developed to enable effective communication with the recipient representing the Old Polish culture. The size of this impact was significant, as evidenced by numerous prints dating back to that period, but also manuscripts with recorded places of preaching, or impressions from preaching preserved in memoirs or correspondence. It should be emphasized that the sermons not only carved the system of moral values or the piety of the society, but also influenced the ideas of everyday life, the roles of individual and groups in society, as well as the relation to authority
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Luque Carrillo, Juan. "Nuevos datos para la biografía de Juan de Ochoa, maestro cantero cordobés del Quinientos." ACCADERE. Revista de Historia del Arte, no. 2 (2021): 57–74. http://dx.doi.org/10.25145/j.histarte.2021.02.04.
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"Juan de Ochoa Méndez was a prominent Cordovan architect who worked in the second half of the 16th Century. His style and particular constructive language fall within the Spanish classicist current of the late 1500s, according to the maniera italiana, which refined the Renaissance tradition and set the foundations for the future baroque style during the first years of the 17th Century. His prolific professional career at the service of the main religious and civil institutions of Córdoba at the time, has recently been reconstructed thanks to the numerous references and documentary data extracted from the main Cordovan archives and particularly the Historical-Provincial Archive."