Abstract: Art historians have often minimized the variety and complexity of seventeenth-century Spanish painting by concentrating on individual artists and their works and by stressing discovery of new information rather than interpretation. As a consequence, the painter emerges in isolation from the forces that shaped his work. Jonathan Brown offers another approach to the subject by relating important Spanish Baroque paintings and painters to their cultural milieu. A critical survey of the historiography of seventeenth-century Spanish painting introduces this two-part collection of essays. Part One provides the most detailed study to date of the artistic-literary academy of Francisco Pacheco, and Part Two contains original studies of four major painters and their works: Las Meninas of Velazquez, Zurbaran's decoration of the sacristy at Guadalupe, and the work by Murillo and Valdes Leal for the Brotherhood of Charity, Seville. The essays are unified by the author's intention to show how the artists interacted with and responded to the prevailing social, theological, and historical currents of the time. While this contextual approach is not uncommon in the study of European art, it is newly applied here to restore some of the diversity and substance that Spanish Baroque painting originally possessed.

Abstract: (1979). The Origins of the Roman ‘Colossal Baroque’. Proceedings of the Royal Musical Association: Vol. 106, No. 1, pp. 115-128.

Abstract: Sur: Cervantes dramaturge. Un theâtre a naitre (Paris, PUF, 1977), qui etudie: la relation entre les materiaux historiques, litteraires, biographiques, folkloriques| une dramaturgie destinee a etre non seulement lue mais jouee| les significations principales du message dramatique de C. dans le cadre du Baroque et du theâtre de l'epoque.

Abstract: the New World, survive at ?vora (Biblioteca P?blica, Ces. CLIri ? ^?Ld ) and at Coimbra (Biblioteca G?rai da Universidade). The 1~1 last of these is the most important in terms of sheer size. Like most of the manuscript music in the library, it belonged to the Convento de Santa Cruz at Coimbra, mother house of the Augustinian order and one of the most important centres of Portuguese music during the sixteenth and seventeenth centuries. There is still no complete cata logue available of this music, although one has been in preparation for some years.

Abstract: Le manierisme oppose au classicisme et au baroque est la source d'etudes ici mentionnees (Friedlanler, et Aguiar da Silva). Les distinctions entre ces trois courants tiennent ici compte des realites linguistiques et culturelles portugaises. Evolution de la p. l. du 16 au 18s.

Abstract: L'Apologie de Raymond Sebond, par la structure antithetique de sa micro-contexture et l'application imprecise des "partes artis" range M. parmi les ecrivains baroques, et par la coherence de sa macro-contexture, parmi les catholiques humanistes.

Abstract: According to Pedro Salinas in Reality and the Poet in Spanish Poetry, Garcilaso de la Vega-as his nation's supreme example of Renaissance poetic practice-converts impure reality into beautiful poetry, substance into concept, nature into the idea of nature.1 Jorge Guillen, in Language and Poetry, notes in the clearly Baroque Luis de G6ngora an enthusiasm for the material world to the extent that "his whole soul is concentrated in his five senses, in a propensity toward all that sets up a resistance to be joyously conquered."2 Searching for obscurity of expression, G6ngora relies on the very elements of the material world by describing one object in terms of another or others, thus transforming what might be called natural substance into poetic substance, or material reality into esthetic or poetic reality.3 Francisco de Rioja, whose works are Baroque in form and to some extent classical in inspiration, conceives nature as neither delicately beautiful nor superreal. Rather, he contrasts the beauty of nature with its destructive aspect. Natural imagery represents not so much nature as human emotion, and while the obscurity which marks the works of G6ngora is present in the poetry of Rioja, it is not as blatantly obscurity for its own sake as for poetic effect, as part of a literary trend and an individual poetic structure. Rioja's particular use of natural imagery within a Baroque framework leads to what Angel Valbuena Prat designates as "la forma ... del estilo barroco personalisima del poeta."4 An examination of the use of natural imagery in the love