Abstract: Part 1: myths, monarchs and republicans imperial Rome bread and circuses catacombs and Christians infamy and anarchy saints, tyrants and anti-popes "the refuge of all the nations" Renaissance and decadence patrons and parasites the sack of Rome. Part 2: recovery and reform Bernini and the Baroque il settecento Napoleonic interlude the Risorgimento and the Roman question royal Rome Roma fascista epilogue - the eternal city. Part 3: notes on topography, buildings and works of art.

Abstract: This study consists of a critical analysis of each stage of Kneller's career, concerned primarily with style, and with Kneller's achievements in traditional and new portrait forms. This is followed by a catalogue of 900 of his paintings and of all his known drawings.

Abstract: L'evolution de l'oraison funebre au cours du XVII s. s'inscrit dans le mouvement des divers courants qui traversent l'art oratoire sacre de l'epoque. Incidences de l'apparat funebre, avec sa theâtralite, sur le " genre " de l'oraison funebre, qui tient, d'une part, du sermon strictement evangelique, d'autre part, du discours panegyrique qui exalte la figure d'un defunt digne de memoire

Abstract: The Harvard University Press has opened most auspiciously a series of studies in the history of music under the general editorial direction of two of the university's eminent musicologists with this* volume of essays by one of its most distinguished emeriti. The choices made thus far as to editors and authors' augur very well indeed for this new venture, and the exceptional level of editorial acumen and typographical accuracy achieved in this volume is matched by attractive fonts, generous margins, quality, acid-free paper, and a sturdy binding. The only obvious concession to the economic rigors currently faced by the publishers of academic materials is the gathering of the footnotes at the end of the volume, a regrettable decision from the reader's point of view. The present collection draws together twenty-two essays written between 1953 (No. 15) and 1980 (No. 12), the majority of them reflecting Pirrotta's scholarly activity during his association with the music faculty of Harvard University from 1956 to 1972. Only seven of them were initially published in English; the remainder have been translated from the original Italian for inclusion here by the author's colleagues: Vanni Bartolozzi (Nos. 4, 9, 10, and 12), Nigel Fortune (No. 15), Lewis Lockwood (No. 22), David Morgenstern (Nos. 17 and 18), and Harris Saunders (Nos. 13 and 16). It is a mark of the competence and skill with which this was done that the English prose is lively and readable throughout with no noticeable shift in style from one essay to the next. The original pieces have not simply been reprinted in English, however; the author has brought them up to date, taking cognizance of more recent additions to pertinent scholarly literature by judicious additions to the footnotes that have been bracketed or identified for easy recognition.

Abstract: P roblem L i t t l e i s known a b o u t Henry P u r c e l l ' s a p p l i c a t i o n o f p h r a s i n g and a r t i c u l a t i o n in h i s h a r p s i c h o r d w o r k s , t h e r e f o r e a n i n v e s t i g a t i o n o f t h e o r i g i n a l p e r f o r m a n c e p r a c t i c e s o f h i s h a r p s i c h o r d s u i t e s i s n e e d e d . T h is s t u d y p u r p o s e d t o e s t a b l i s h how b e s t t o p h r a s e and a r t i c u l a t e t h e h a r p s i c h o r d m u s ic o f Henry P u r c e l l , e s p e c i a l l y h i s e i g h t h a r p s i c h o r d s u i t e s . Method D e t a i l e d s t u d y o f P u r c e l l ' s h a r p s i c h o r d s u i t e s an d a r e v ie w o f t h e l i t e r a t u r e d i r e c t l y r e l a t e d t o th em and t h e m a t t e r o f f i n g e r i n g , a r t i c u l a t i o n , an d p h r a s i n g i n B a ro q u e p e r f o r m a n c e p r o v i d e d t h e b a s i s f o r c o n c l u s i o n s on how t o p h r a s e and a r t i c u l a t e P u r c e l l ' s h a r p s i c h o r d s u i t e s . A p p l i c a t i o n o f P u r c e l l ' s f i n g e r i n g p r a c t i c e s r a s w e l l a s o f r h y th m i c i n e q u a l i t y a n d a u t h e n t i c o r n a m e n t io n a t t h e k e y b o a r d w as a l s o made. R e s u l t s P u r c e l l ' s f i n g e r i n g p r a c t i c e s , e v id e n c e d by h i s f i n g e r e d p r e l u d e an d s c a l e , y i e l d e d f r e q u e n t p a i r e d a r t i c u l a t i o n and r h y th m i c i n e q u a l i t y . A n a l y s i s o f a r t i c u l a t i o n p a t t e r n s o f P u r c e l l ' s t i m e a l s o i n d i c a t e a r t i c u l a t i o n o f o r n a m e n ts an d a r t i c u l a t i o n o v e r t h e b a r l i n e an d a t m id b a r. C o n c l u s i o n s E n g l i s h B aro q u e p e r f o r m a n c e can be b e s t u n d e r s t o o d and i s a t t a i n a b l e t h r o u g h a r t i c u l a t i o n and c e r t a i n r u l e s o f f i n g e r i n g , t h e a p p a r e n t key t o t h e u s e o f r h y th m i c i n e q u a l i t y an d p r o p e r a r t i c u l a t i o n .

Abstract: Seventeenth-century literature in the Holy Roman Empire has rarely been discussed in general cultural histories about the European Baroque. The dramatic achievements of Shakespeare, Calderon, and Corneille, the inimitable poetry of the Metaphysicals and Marino and the mischievous adventures of the Spanish picaro have long overshadowed the literary accomplishments of the German Baroque. Even today many scholars are still content to dismiss the German seventeenth century as derivative while, in the opposite camp, loyal Germanists currently defend its uniqueness. As is generally known, literary developments in the Empire were slowed by a number of unfortunate circumstances. Geographical, confessional, and linguistic disunity strongly contributed to the parochialism of German Baroque letters. Local literary societies were widely scattered throughout the Empire from Silesia to the Rhine and communication between them was greatly hampered. The lack of a main cultural center similar to the artistic hubs of Paris or London further isolated the writers from each other. In addition, confessional differences not only segregated Catholic and Protestant poets, but also resulted in the simultaneous development of a Batoque Latin and German literature.

Abstract: The facade 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 Cotte9s studio (Bibliotheque Nationale; Archives Nationales; Bibliotheque de l9Institut) makes it clear that he confronted the problem of the Italianate ecclesiastical facade 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 Cotte9s earlier experiments for church facades in Paris, Dijon, and Orleans; 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).

Abstract: En abordant le XVII siècle francais, on devouvre l'Age d'Or du classicism, la periode où les homes de lettres s'extasient devant les disciplines, les convenances et al sobriété de l'art gréco-romain prôné par Aristote; d'ou la floraison d'une éclatante littérature classique à cette époque. Mais a notre grande surprise, Corneille, l'un des plus grands dramaturges classiques de son temps, se révèle péniblement géné par les règles "sacrées" des anciens, lui qui déclare encenser aussi cet "autel"solennel de l'époque. L'embarras du dramaturge nous incline donc à croier qu'une autre tendance implacable est mysterieusement en travail, celle qui pousse Corneille à enfreindre les rèegles d'Aristote, celle plus libre des contraintes et plus fantastique en imagination, qui, exercant un pouvoir sédusant sur le monde artistique dès la fin du XVI siècle, circonvient aussi l'esprit du dramaturge – le baroque. Ainsi, grâce aux "charmes" de cet art nouveau, les oeuvres théâtrales de Corneille, tout en chantant le royaume majestueux du classicisme, entrouvent-elles discrètement un autre univers, celui de al fantaisie, de l'exuberance et de l'extraordinaire, l'univers du baroque qui échappe contrôle des règles sévères lorsqu' il déroule sur la scène du théâtre cornélien des événements prodigieus et incroyables, de "belles histoires" dramatisées au point de choquer les esprits rationalists, l'univers baroque animé par les personnages exceptionnels de Corneille, êtres du changement et de l'illusion qui nouent et dénouent des intrigues embroullêes par leur cruauté ou bonté poussées au paroxysme, enfin l'univers inoubliable marqué par l'outrance du langage en faveur dans les grands salons des précieux du XVII siècle. La recherche sur les éléments baroques dans l'oeuvre théâtrale de Corneille nous aidera donc à comprendre comment les pièces cornéliennes, jugées classiques pendant trois siècles, peuvent aussi bien se comparer aux nombreuses constructions baroques, ces merveilleux édifices qui bravent la sobriété classique avec leurs décorations luxuriantes et surchargées, avec leur "decorations luxuriantes et surcharges, avec leur "déséquilibre"et leur démesure, avec cette esthétique extravagante dont le pouvoir d'envoûtement fait du Corneille classique un artiste baroque, celui qui prélude deux siècles avant Victor Hugo à la fantaisie du romantisme.