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Preface | |
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Acknowledgments | |
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Baroque & Rococo: Idea & Image | |
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Defining Periods in Art History | |
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Style, Rhetoric, Genres | |
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Style | |
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Rhetoric | |
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Genre | |
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Topics | |
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Baroque | |
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Concettismo | |
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Meraviglia | |
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Spectacle | |
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Quadratura, Quadro Riportato, & Di Sotto in Su | |
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Box: The Wolfflin Principles | |
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Rococo | |
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Good Taste | |
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The Place of Love: the Grove & the Bower | |
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The Pastoral/Arcadian | |
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The Place of Excitement (locus uberrimus) | |
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Tranquillity (otium) | |
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Conclusion | |
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Setting the Stage: Social, Cultural, & Artistic Institutions | |
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Europe in the Sixteenth & Seventeenth Centuries | |
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Italy: the Papacy & the Church | |
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Pre-Baroque Italy | |
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Box: Trial before the Holy Tribunal, July 18, 1573 | |
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The Council of Trent | |
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Rome | |
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Patronage | |
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Italian Academies | |
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Spain, France, & England: Monarchy | |
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Spain | |
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The Image of Philip IV | |
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France | |
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The Image of the King | |
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The French Royal Academy | |
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England | |
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The Royal Academy of London | |
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The Northern Netherlands: Capitalism | |
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The Dutch Art World | |
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Conclusion | |
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The Baroque Church: Setting for Mystery, Propaganda, & Worship | |
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Box: Charles Borromeo's Instructions for Building & Decorating Churches, 1577 | |
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Rome | |
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The Jesuit Church: Il Gesu | |
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The Rebuilding of St. Peter's | |
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Baroque Spaces | |
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The Church as Theater: Sant'Andrea al Quirinale | |
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The Church as Concetto: Sant'Ivo della Sapienza | |
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Ecclesiastical Architecture as Baroque Disegno: Santa Maria della Pace | |
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Northern Italy & Venice | |
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Baroque Architecture of the Marvelous: Chapel of the Holy Shroud, Turin | |
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The Church as Votive Offering: Santa Maria della Salute | |
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France | |
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The Church as Commemoration: Val-de-Grace | |
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The Reassertion of Roman Baroque: Church of the Invalides, Paris | |
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England | |
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The Rebuilding of London: St. Paul's Cathedral | |
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Austria and Germany | |
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Imperial Style: The Karlskirche, Vienna | |
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The Church as Pilgrimage Center: Die Wies, Bavaria | |
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Spain & the New World | |
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Late Baroque: Cathedral of Granada & Santiago de Compostela | |
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Baroque & Rococo in Central & South America | |
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Conclusion | |
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Sacred Interiors: Papal Tombs, Altarpieces, & Ceiling Paintings | |
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The Papal Tomb | |
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Altars & Altarpieces | |
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Gothic & Renaissance Altarpieces | |
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Baroque & Rococo Altarpieces | |
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From Titian to Carracci | |
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Caravaggio | |
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Reni | |
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Bernini | |
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Vouet | |
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La Tour | |
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El Greco | |
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Murillo | |
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Deshays | |
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Rubens | |
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Tiepolo | |
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Villalpando | |
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Church Ceilings | |
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Sant'Andrea, Rome | |
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Sant'Ignazio, Rome | |
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Box: Jesuit Missions | |
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Santa Cecilia, Rome | |
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Church of the Invalides, Paris | |
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Birnau Pilgrimage Church, Austria | |
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Papal Palace Ceilings | |
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The Palazzo Barberini, Rome | |
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The Palazzo Altieri, Rome | |
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Conclusion | |
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Visual Rhetoric: Styles in the Baroque & Rococo | |
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Rhetorical Contrasts in Italy | |
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Mannerism | |
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Bolognese Classicism | |
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Subversive Tenebrism | |
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Box: Violence & Gender in the Baroque | |
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Baroque as Spectacle | |
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The Barocchetto: The "Little Baroque" of the Eighteenth Century | |
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The Baroque in Flanders | |
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Rubens | |
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Van Dyck | |
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Baroque Rhetoric in France: Classicism & Tenebrism | |
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The Rococo in Eighteenth-Century France | |
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Watteau | |
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Boucher | |
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Fragonard | |
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The Northern Netherlands | |
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Rembrandt: Chiaroscuro & Mystery | |
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Hals, Leyster, Vermeer, & the Art of the "Uncontrived" | |
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Conclusion | |
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The "Minor Arts": Portraits, Still Lifes, & Genre Painting | |
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Portraits | |
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Box: Intellectual & Scientific Currents of the Seventeenth Century | |
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Baroque Portraits: Images of Power | |
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De Champaigne | |
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Rubens | |
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Van Dyck | |
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Bernini | |
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Baciccio (Giovanni Battista Gaulli) | |
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Late Baroque & Rococo Portraits: The Cult of Sensibility | |
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Hals | |
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Boucher | |
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Vigee Le Brun | |
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Reynolds | |
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Gainsborough | |
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Self-Portraits | |
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Rembrandt | |
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Rubens | |
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Gentileschi | |
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Poussin | |
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Carriera | |
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Still Life | |
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Still Lifes in Southern Europe | |
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Dutch Still Lifes | |
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Still Lifes of the French Rococo | |
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Genre Painting | |
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Southern Europe: Velazquez & Ribera | |
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Box: Beyond Genre: Velazquez' Las Meninas | |
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France: Louis Le Nain | |
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The Dutch Republic: de Hooch, Steen, & Vermeer | |
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Rococo France: Chardin | |
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Conclusion | |
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Landscapes & Views: Depictions of the Natural & Manmade World | |
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Landscapes | |
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Precursors of the Baroque Landscape | |
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The Classical Landscape in Baroque Italy | |
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Poussin | |
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Claude | |
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Rosa's Italian Landscape of the Sublime | |
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Rubens: Pride of Ownership | |
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Dutch Landscape: a Democratic Topography | |
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Jan van Goyen | |
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Ruisdael | |
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The Woodland, Landed Estate, & Classical Landscape in British Painting | |
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Gainsborough | |
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Wilson | |
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Box: The Pastoral | |
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Arcadia in Eighteenth-Century France | |
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Views | |
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Italian Views (I): Rome | |
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The Grand Tour | |
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Box: The Imaginary View: Giovanni Battista Piranesi's Prisons | |
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Italian Views (II): Venice | |
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Dutch Views | |
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Conclusion | |
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Town & Country Planning: Rome, Amsterdam, & Versailles | |
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Rome | |
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Palaces | |
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The Palazzo Barberini | |
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The Corsini Palace | |
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Fountains | |
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The Moses Fountain | |
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The Fountain of the Four Rivers | |
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Amsterdam | |
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Canals, Houses & Civic Buildings | |
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Versailles: the French Royal Chateau | |
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Grounds & Facade | |
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Box: The Memoirs of the Duc de Saint-Simon | |
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The Hall of Mirrors | |
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Domestic Spaces: Interiors & Gardens | |
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Painting & Interior Design | |
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Dutch Baroque Interiors | |
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French Rococo Interiors | |
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Box: The Dissemination of Images | |
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Garden Design | |
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The Villa Borghese, Rome | |
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Vaux-le-Vicomte, near Paris | |
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Petworth Park, England | |
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Epilogue: The Baroque & Rococo in Theory | |
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Some Aspects of Baroque Theory | |
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Guercino's Change of Style: A Case Study | |
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Theoretical Disputes in the Academies | |
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Roger de Piles & Rococo Theory | |
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Conclusion | |
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Chronology of the Baroque & Rococo 1600-1760 | |
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Glossary | |
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Bibliography | |
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Picture Credits | |
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Index | |