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I. INTRODUCTORY
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II. THE
FARNESE PALACE
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III. THE
FARNESE GALLERY
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IV. THE
YOUNG CARAVAGGIO IN ROME, SECULAR SUBJECTS
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V. CARAVAGGIO
AT THE CONTARELLI CHAPEL
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VI. THE
CERASI CHAPEL, CARAVAGGIO MEETS ANNIBALE
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VII. CARAVAGGIO,
SACRED THEMES
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VIII.
CARAVAGGISTI:
ITALY, FRANCE, AND SPAIN
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IX. BERNINI
AT THE VILLA BORGHESE
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X. ST
PETER'S COMPLETED: FACADE AND CROSSING
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XI. ST
PETER'S DECORATED: ALTARPIECES 1
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XII. ST
PETER'S DECORATED: ALTARPIECES 2
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XIII.
ARISTOCRATIC
ROMANS AT HOME: BUILDINGS AND DECORATIONS FOR PAPAL FAMILIES
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XIV. NICOLAS
POUSSIN, EASEL PAINTER FOR HIRE
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XV. VELAZQUEZ
AT THE COURT OF SPAIN
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XVI. POUSSIN,
CLAUDE, AND LANDSCAPE
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XVII.
THE
CORNARO CHAPEL, Rome, Santa Maria della Vittoria, 1645-52
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XVIII.
THE
PATRONAGE OF INNOCENT X PAMPHILI
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XIX. SMALL
URBAN CHURCH FOR THE SPANISH DISCALCED TRINITARIANS
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XX. TO
MAKE A JESUIT: Sant'Andrea al Quirinale, 1658-70. Commissioned
by Cardinal Camillo Pamphili, nephew of Pope Innocent X.
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XXI. "MY
CARRIAGE CAN NOW TURN:" ALEXANDER VII REBUILDS SANTA MARIA DELLA
PACE
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XXII.
ST
PETER'S: PRELUDE AND CODA
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XXIII.
VELAZQUEZ
DEPICTS THE SPANISH ROYAL FAMILY
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XXIV.
THE
ARTIST PAINTS HIMSELF/HERSELF
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XXV. LOUIS
XIV'S NEW LOUVRE
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XXVI.
BERNINI'S
TRIP TO FRANCE
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XXVII.
LOUIS
XIV'S STAGES ABSOLUTISM; first additions by Louis Le Vau and later
ones by Jules Hardouin Mansart, begun 1669. |
