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The Baroque

The Baroque is the term commonly used to indicate the literary culture, philosophy, art and music characteristic of the period from the end of the sixteenth century to the middle of the eighteenth century. By extension, then it indicates the name "baroque" style linked to the artistic events of this period.
The term derives from an ancient word Portuguese barroco (barueco in English), used to define a Baroque pearls or a pearl is not cultivated, non-symmetrical. Precisely because of the peculiarities of his style of baroque art approaches the Baroque pearls.
The Council of Trent, which ended in 1563, had marked a milestone in Catholic culture, dictating the rules accurate even for the arts. The aim of painting and sculpture in the churches had to be to also explain to the illiterate episodes of the Bible and the Christian tradition. This drift towards a populist conception of art in religious buildings is regarded by historians as one of the major elements of the innovations of Caravaggio and the Carracci brothers, who worked in Rome in 1600, playing the various work orders.
The charm of the baroque style was derived in a way fully aware of the agility and intellectual qualities of the sixteenth century Mannerist art, extended up to a visceral appeal that pointed to the involvement of the senses. Iconography was used as much as possible direct, simple, obvious, but still play. Baroque art began to emerge on certain trends and the essential heroism of Annibale Carracci and his circle, finding more inspiration in other artists like Correggio and Caravaggio and Federico Barocci, who is referred to as proto-baroque. The embryonic ideas of the Baroque can also be found in Michelangelo Buonarroti. A sort of parallel is possible with the music business, so as to make meaningful and useful the term "baroque music": There are conflicting phrases in length and harmony, counterpoint is taking root replacing polyphony, tone and orchestral amalgam makes its appearance with increasing insistence. Are still many more parallels General advised by some experts in philosophy, literature and poetry, much more difficult to pinpoint.
Although the Baroque, in many centers, is replaced by the Rococo, which takes its moves in France at the end of 1720, particularly as regards the interior, paintings and decorative arts, Baroque architecture is a style present and fully in use until the advent of Neoclassicism in the late eighteenth century. See, for example, the Royal Palace, the Baroque palace (though the exterior is somewhat sober) that is not started if not in 1752. Critics, in fact, no longer speak of a "baroque."
In painting, the forms of the Baroque are broader than Mannerist: less ambiguous, less arcane and mysterious, closer to that work, one of the main forms of Baroque art. The installation depends on the baroque opposed ("opposition"), with the tension that the characters move with the shoulders and hips which are plans that move in opposite directions. See Bernini's David.
scenes drier, less dramatic and less coloring, generally more temperate architecture of the eighteenth century are often framed as separate events late baroque (see Claude Perrault). The phenomenon known as neo-Palladian, played by William Kent is a parallel development that takes place in England and the British colonies. The baroque is
Wolfflin defined by Heinrich (1888) as the period in which the oval gives way to the circle in the center of the compositions, such centralization replaces the balance and from that moment the most vivid and pictorial effects begin to become more apparent.
Some historians, mostly Protestant, have emphasized that the Baroque style occurred in a period when the Roman Catholic Church had to react to the many revolutionary cultural movements that produced new science and new forms of religion, Protestantism. It has been said that the baroque, so monumental, it is the style that could give the papacy, as an absolute monarchy, a way of imposing and formal expression to restore its prestige, to the point of becoming somehow a symbol of the Counter Reformation.
no coincidence that the greatest development occurs in that of Rome, where the Baroque architecture widely renewed the central area of \u200b\u200burban planning with a review which is probably one of the most important.

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Historical Overview 600 'The Scientific Revolution

Since the early seventeenth century, we realize that there are periods in the social life in which difficulties arise in the structures and the conduct of collective life that hinder your progress. E 'is known that during the seventeenth century the English monarchy clashed with financial difficulties and was facing serious economic problems that stemmed from the growth daily prices. As might be dark but we can not idealize the situation of earlier times, probably the Andalusian peasant, the weaver Segovia, workers burgalesi markets, have not found much better at other times. From the moment you see the man we call modern man, with his achievements on the nature and new ideas about society, begins to develop in him the ability to understand that the problems of the economy and other aspects of social life not go so well, and that could be better. The word "crisis" appears much earlier in the field of medicine, and the adjective 'critical' is beginning to be used in the early seventeenth century. It 's a term that, when we investigated relentlessly critical of the phenomena that is experienced, he writes copiously about them, that is the way to restore the affairs of the monarchy. Between the fifteenth and seventeenth century coincided with the period in which conditions are beginning to show the first type of pre-capitalist, arose the first type of cyclical economic crises which, at first, were seen a bit 'confused, but they were included as such, which allowed him to see that by manipulating the factors that caused the reversal of the situation, the most evident effects of the crisis disappeared. Therefore, if there is an improvement, it meant that he had managed to overcome the crisis, and that the "remedies" put in place in humans had somehow worked favorably. In the sixteenth century occur in some cases reversed with very favorable results to the end of the century, and this increases confidence in the reform of the human capacity, so that the praise, according to the old topos of dignitas hominis, will change shape , leading to the highest esteem for constructive man, able to correct and to create a new reality or economic nature.
Human intervention may help to improve a situation but may also worsen. The inadequate measures proposed by the government may also hinder the process of restoration a crisis, may indeed even provoke it. An anonymous written addressed to Philip IV around 1621 reflects this state of mind in all its aspects: "The negligence of those who govern is, without doubt, the cause of misfortune, and passage from which come all the ills and failures of a nation, and no, I think, is affected as much as ours, who live without any fear or suspicion of a ruin next, relying on a misplaced presumption. " The economic crisis does not cover all of the seventeenth century, but the social crisis and it extends beyond the limits. We speak of social crisis with regard to aspects that can be proven:
1) order of society in the seventeenth century there is alteration of the values \u200b\u200band the corresponding models.
2) whether any particular society requires the active or resigned acceptance of such values \u200b\u200band behaviors, their questioning carries with it varying degrees of alterations in the integration of individuals whom it is performed unequally.
3) in relation to the attempt to classify individuals and groups, fostering in them a feeling of oppression and anxiety, produce obvious effects of illness and more or less open opposition.
4) will produce changes in the relationships and constraints that bound individuals to each other, even more changes that seemed heavy to those who suffered.
5) appear critical background and denounce the malaise has raised, more or less frequently, some cases of deviant behavior and tensions between groups, which, if they reach a certain level of condensation, they explode in riots and sedition.
crisis occurs in all European countries, from Spain to France, from Germany to Italy, while in England until the crisis is still not prevail under the Revolution, the factors that were changing the structure of the country. Moreover, this crisis is common to all European countries during the century should not be considered as a new phenomenon resulting from the Thirty Years' War, as the crisis began much earlier, an interest bearing not involved in the war and was even more severe in countries that do not directly suffered the effects of the destruction and troops, and was not overcome by the restoration of peace.
The absolute monarchy to solve the social crisis
to restore a situation of civil peace you create a wide-ranging social forces tending to contain the dispersion that threaten to disrupt the traditional order. To this end, it has the hands of the powerful tool of absolute monarchy, probably already used to stop any movement in the Renaissance development, and that in the new circumstances of the crisis of the seventeenth century will be applied to defeat the various factors that attempt to overthrow the established order. Absolute monarchy becomes the keystone of the social system, we are in front of the absolutist regime of the Baroque, where the monarchy represents the apex of a set of interests noble restored, which is based on the supremacy of land ownership, which in turn is the basic system. None of this could simply mean a return to a feudal society dominated the aristocracy, as the nobles were in many respects equivalent to the rich landowners. Although the level of the nobility, it gave an indisputable superiority of the monarchy in hours increased by the central presence of other social strata. They had classes from which could spring the threat of destabilization, to avoid what could be just try to exercise control over them, and integrates in some way to the maintenance of large segments, involving them in his own defense, encouraging them to increase their tax effort: in short, by integrating these classes to the greatest extent possible, in a system that we have to consider like new. It is therefore the pyramid-feudal monarchy based proto-national companies which we call the Baroque.
The aristocracy in the seventeenth century
Although there are some values \u200b\u200bof the culture of chivalry, it is precisely the kind of society that promotes the Baroque culture. How monarchical absolutism can not be confused with the arbitrary system of capital feudal kingdom, so the culture of chivalry and Baroque culture can not overlap. The basic principle of a company ends up also dominate the economic activities. In France the nobility with his habits luxuries subtracts from the potential productive investments a significant proportion of revenue, worsening an economic crisis, and there will then require a reservation of seats of honor in public administration and calls for timely maintenance of the external signs - such as the dress - which distinguish individuals of different social strata. Therefore seeking to increase their territorial domains, and instead to devote to the exercise of manufacture or trade, confirms the concept prohibiting the compatibility of such activities with the privileges of nobility, if a law allows in the seventeenth century that the two are compatible, however, were few to enter the system, in some cases using an intermediary. In Spain, these facts are presented with more pronounced rigor.
Change
If all the values \u200b\u200bof the Baroque period was a time of "reaction of the nobility ', the phenomenon is accentuated in recent decades. Here is the reason and the sense of the system privilege with all sorts of benefits the notables in order to maintain order. It is believed that the decline and loss of power of the bourgeoisie during the first half of the seventeenth century are due to a strengthening of the calculated power the nobility, who, in order to find support, carrying with it's enriched so as to stop the other teams on the rise. Around 1620, "the independent merchant, who represented a prototype of the easy life, almost disappeared in Western Europe, from its ranks because few have gone out and climbed up, making the children, if they could not themselves, officials gentlemen, but the rest, who are the most, going to prisons and while taking note of their declared insolvency of their failure, have become the poor. In the seventeenth century the nobility recovers an important role, based on economic and social, in the reorganization of the absolutist monarchy. The monarchy has no doubt increased his political power, but we must keep in mind the compromise agreement with the nobility. There are several examples in which they persecute and punish the rebellious noble, but only in cases where it failed the requirement contract, which is collaboration and distribution of power between the king and the nobles, on which the regime in the seventeenth century. Not prosecuted nor in any way destroys the noble as such: on the contrary, he is always considered as the bone of the nation. Its privileges, except those purely political, remain in first place, the rights are those of elegant face to the farmers and preserves its full tax immunity. Absolutism not abolished the old hierarchical social order, modified, it is true, the relationship between the different classes and the king, but left unchanged the mutual relationship.
The Church introduces its code of morals "Christian" modes of behavior, interests celebrated aristocrats: ways that probably formed under the framework of the Christian Church of Rome throughout its history. Codest ideals in Spain Count-Duke is no different from those of the France of Richelieu: the other animated by a contempt for the bourgeoisie, which resisted all change, and a deep-seated revulsion against the populace.
's repertoire means that you need the baroque monarchy to be able to impose itself upon tension of opposing forces is very wide. From the physical repression, based on military strength, political supremacy of last resort, to the psychological mechanisms that affect consciousness and produce a repressed desire. Between these two extremes there are many different means, the use of which is surprising and perhaps only be explained with psychological and moral assumptions of the Baroque. When it occurred at Madrid some sacrilegious acts in different periods and even, in one case, two in one day and in different churches, repressive and punitive measures were taken to consist in eliminating the eight-day comedies and impose abstinence sexual.

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addition to the Baroque, the great event featuring the civilization from the seventeenth century represented a profound movement of renewal in the field of scientific culture that runs through the whole of Europe. Such a radical transformation of the method was so great and the discoveries that result from this experience was described as "scientific revolution", judging rightly one of the milestones in human history. In fact, if we consider together the rhythms of the historical evolution, we see how science and technology for millennia have remained essentially property: from antiquity to the Renaissance, except for some important but isolated discoveries or inventions (gunpowder, the compass, printing), life had continued to unfold in the same way, with the same energy sources, the same means of transport, the same production techniques. The parable of this great cultural revolution extends for about a century and a half, from 1543, the year of publication of Copernicus' De revolutionibus orbium coelestium in 1687, what is given to print the book by Isaac Newton (1642-1727) Philosophiae naturalis Principia Mathematica. The decisive moment of this process occurs around twenty years 1620-1640: to date, in fact, even in Italy the conditions are a direct participation in the most advanced European culture, as well as beyond that period started a being clear exclusion from the intellectual context. The interest generated by Galileo Galilei around the study of natural phenomena, a concern which he led through its discoveries and its intellectual affair (the controversy, the processes, the final abjuration), affecting all fields of knowledge: in this context has altered the role and function of the scientist that the same "image of science." Although the new science is linked to, previous experience (first, humanism and naturalism of the Four-sixteenth century), the basis of this revolution is a completely original factor that constituted the essential driving force: the experimental method . In fact, while in the ancient world and throughout the Middle Ages the mechanisms of knowledge were based on the "principle of authority", which placed the interpretation given by the great thinkers of the world (primarily from Aristotle) \u200b\u200band Sacred Scripture as unquestionable truth, in the seventeenth century began to assert a new way to analyze reality, in which observation and experience replace the uncritical acceptance of authority "means the natural philosopher no longer passively accept what is suggested by his predecessors, but he wants to prove the validity of their results, and, if necessary, modify, correct or alternative hypotheses and therefore does not recognize any relationship other than that of experimental verification. This produced some new logic consequences: first, to question, subjecting them to try the experiment, the truths expressed by the two largest sources of authority: political power and religious power, the second of the freedom of science and scientists from all forms of external influences. Both these positions were immediately perceived as extremely dangerous for power, and then persecuted with great decision by the repressive structures that had come through the consolidation of absolutism and the Counter. The struggle for the conquest of scientific freedom becomes the freedom struggle in toto, so that its characters cross the boundaries of the history of science and to fit among the builders of modern civilization understood as a whole. The phenomenon of the scientific revolution was the international dimension and leading figures from across Europe: the Polish Nicolaus Copernicus (1473-1543) - cosmologist that the heliocentric theory was the precursor of the new era - the Danish astronomer Tycho Brahe (1546-1601) and the German Johannes Kepler (1571-1630) - who developed the insights - English Isaac Newton (1642-1727) - with which physics, astronomy and cosmology are merged into a general system for many aspects still valid today. In the field of mathematical studies, contributions must be of exceptional importance to the French Renò Descartes (Descartes, 1596-1650) and Blaise Pascal (1623-1662), and Germany's Gottfried Wilhelm von Leibniz (1646-1716). A decisive enrichment of knowledge derived from physiological and anatomical studies of Andreas Vesalius Flemish (1514-1564) and Italian Marcello Malpighi (1627-1694). But as far as Italy is concerned, there is no doubt that the most important figure is that of Galileo Galilei (1564-1642), astronomer, physicist, mathematician, philosopher and prose writer for the great elegance of style and mastery of language.

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"Baroque and the terminal used by art historians to describe the dominant style in the period 1600 to 1750. Its original meaning of "irregular, twisted, grotesque and bizarre," has now been extensively revised. The Baroque style was founded in the late sixteenth century, but was born in Rome around the third decade of the seventeenth century. "

Baroque Painting

Extremely varied and complex appears to us the painting of the Baroque period, the Counter-Reformation church became the main buyer for the paintings. Focusing on the persuasive power of beauty The church found in the art the right way to bring the world to the Christian faith as it was able to influence the emotions.
In this period, therefore, intensify the representations of sacred scenes are painted especially those persons who had challenged the thought reform, for example the cult of Mary.
The Palaces and especially the churches were decorated with huge and magnificent frescoes that were close to reality thanks to the absolutely natural representation of the characters. This gives the sacred scenes represent a character that brings credibility to the faithful.
Great importance was given to the decoration of the ceilings, the Baroque painters, thanks to the mastery of perspective could broaden the opportunities for creating architectural spaces unreal uniting heaven and earth, for example the ceiling of the church of St. Ignatius to Rome painted by Andrea Pozzo in which real figures sway suspended in the air between heaven and earth, creating an effective trompe l'oeil.
There were two art movements that were developing in the seventeenth century: the naturalistic with the classic one proposed by Caravaggio and the Carracci school.
Caravaggio introduced in his paintings the reality of every day, even when he painted religious subjects, he sought the truth, representing the figures of Christ, the Virgin Mary, the apostles, using as a model for ordinary people, such as those that could meet at that time the streets, making them emerge from a particular light. This painting
naturalist spread rapidly in Italy in the first twenty years of the seventeenth century, the most important representatives include artists such as Orazio Gentileschi and his daughter Artemisia, Bartolomeo Manfredi and Battistello Caracciolo, as well as many foreigners who worked in Italy, including the French painter Valentin de Boulogne and English Jusepe de Ribera.
The school that developed around the Carracci instead seeks to return to the principles of clarity, monumentality, and balance typical of the Renaissance.
Of the three Carracci, Ludovico, Agostino and Annibale was the latter to be more successful. This style was adopted by classical artists such as Guido Reni and Domenichino.

Baroque architecture

Baroque architecture expressed in the monumental forms. Many cities in this period take on a different aspect: creating new roads tearing down the old medieval quarters. The palaces, the squares are constructed with a strong dramatic intent, aiming to arouse the viewer wonder and admiration.
The buildings of the nobles are divided into several sections around a garden adorned with fountains, statues, paths and waterfalls that were designed with their spectacular to celebrate itself the ruling class. As for the churches, we prefer the plant or central nave with majestic domes and roofs. The facade is covered with sculptures has a feature highly scenic.
Among the major architects of the Baroque period there was Carlo Maderno, who built the extension the nave of St. Peter's and completed the facade that had been begun by Donato Bramante. More important was
architect Borromini, among his accomplishments, a splendid example of Italian baroque, include the facade of San Carlo alle Quattro Fontane in Rome, with its concave and convex taken inside the church.
was active in Venice Baldassarre Longhena realizes that the church of Santa Maria della Salute, Guarino Guarini in Turin built the Chapel of the Holy Shroud.
in Naples between the most emblematic buildings include the cloister of the Certosa di San Martino, the spire of San Gennaro and the facade of Santa Maria della Sapienza.
The most prominent architects of Baroque art are:

• Burromini,


• Salvi


• Bernini


• Fontana


• Foggini

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Baroque Art & Literature Music News Baroque

art, poetry and music of the seventeenth century and first half of the eighteenth century are marked by the Baroque period. The most obvious characteristics of this style are the grandeur, power, drama and the search for complex effects decorative, reflecting the splendor of the rising absolute monarchies of Europe. Even the major Italian cities (particularly Rome, Florence and Venice) are able to integrate with European prestige in the artistic life: indeed, one can say that the most important center in Europe and in which the Baroque rooted it was Rome. In the seventeenth century the nobility is still the ruling class, but this time is affirmed in another class, the bourgeoisie, very powerful in economic terms, that represents the end of production (bankers, merchants, manufacturing, artisans) and which will form the 'ring connection between the misery of peasants and laborers and the boundless wealth of the nobles. The courts of the nobles are asserted forcefully as centers of musical activity. Singers, instrumentalists, composers, choirmaster and dance teachers gravitate to the luxurious residences of absolute monarchs, regardless of expense, try to give an image of magnificence and grandeur. Every important event, public or private, is solemnly celebrated for days and in these parties music is the main attraction: the musical theater, dance, ballet, instrumental music. The public is no longer made only by nobles and courtiers, but also from rich families, ambitious social prestige. The Church, meanwhile, is steadily losing its hegemony in music, as he was born a place that will dominate the musical life until the early twentieth century: theater .



Literature:



dodges baroque literature in the sixteenth century that the rules were developed through discussions poetic and rhetoric , and rejects the convention classicist that equates beauty with an idealized representation of reality in forms composed and balanced. The baroque rather aims at producing pleasure through its effect, the spectacle, wonder, obtained with the use of a language or pathetic hyperbolic . By the assessment of the public policy of pleasing appearance of the text, we tend to focus on current rather than on tradition, and so on the ephemeral, linked to strong and dramatic expressiveness. In many cases, the language tends to purge itself of its cognitive dimension as well as its potential to become the civil function where you process rhetorical devices aimed at themselves, as an intellectual game.

The "wonder" core concept of Baroque poetry, working on language is pursued along two main lines. The first is to give strength to the language of the senses and stimulate the imagination through the extensive use of metaphors , the which are theorized paths: from a common type of metaphor and of itself a little surprising, such as "pink, queen of flowers", we list the qualities and characteristics of the "pink" and "the queen" and then "transfer" (the metaphor is "transfer" of meaning from a context not just a right) data of a series in the other and vice versa. The other director, which is closely related to the first, is that the use of "concepts" to make precious and brilliant language.
The "concept", the other key element of this literature, is an artifact rhetorical means combining images from very different and very distant nell'accostare things together, but among them the poet, a sort of mental illumination, captures, with subtle intelligence, analogies hidden and never seen before, though often bizarre. The "concept" itself and with the option of producing "concepts" are referred to with terms like "genius", "sharpness," "witty," "spirit." These then connect more employed in the various European literatures: French esprit, agudeza in English, English wit, Witz in tedesco.Un 'Another of the baroque language is to blur the scope traditional word, the strictly literary, directing it to other artistic fields, in some cases, the word tends to ask, for the meticulous description, in competition with painting, in other, pivoting on the phonetic values \u200b\u200band emptying of the referential function, it becomes in music. Similarly, the Baroque literature tends to blur the boundaries - this time inside the literature - including the kinds , creating new combinations such as heroic poem . The principle, in the case of encroachment of the literature in art and the overrunning of a kind in the other, the same rule that the construction of metaphors, which combine their areas of reality never approached before. In all these trends and events underlies the idea that poetry is made a spectacular, in which the relationship with the public is primary. Life is meant to accentuate the drama and poetry, marked by ambiguity and illusion to the point that the likelihood (the character of the poem) is contiguous to the truth on the one hand and the other false. This dimension of appearance of deception can be unstable and display of virtuosity, but also a radical expression of disappointment, almost as in life it is impossible to separate the true from the false appearance consistency, life from death. No coincidence that the theme of death recurs obsessively and communicates a sense of structural insecurity.



Giambattista Marino



Giambattista Marino is the greatest exponent of Baroque poetry of the sixteenth century. Born in Naples in 1569, is alive because the beginning of 1600 and inevitably absorbs the anxieties, the uncertainties, the same ideology. He traveled to many Italian courts and, as a few of his colleagues of the time was much sought after in every city and court, as to be fought for, to procure his extraordinary poetic vein. Peculiarities of his poetry is of course the character encomiastic: many depictions and praise poetry, ensured a noble family greater consolidation of power. It was a particularly interesting because it is excessive in flattery, it uses superb presumption and the apparent superiority over his colleagues with whom he used to present and, not infrequently brought him the enmity of many intellectual circles. Its size was so huge and so popular that reputation, it is called "sea". Many poets of the time, in fact, made reference to the fees proposed in his work that led to the establishment of a true school of poetry. He wrote several works, among the most important "La Lira" and "La Sampogna" even if others compose original writings in which the issue becomes an expression of love and sensual pleasure as well as the physical cause of torment and suffering. This is obviously a classic topus, which traces the line in the lyric of Provence. The theme of love, becomes an artificial reflection, devoid of all meaning and cultural value.

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"golden waves,

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ivory ship one day fendea;

a man while the ivory reggeaper these errors and those precious ... "

baroque music

The term Baroque is used to classify the music composed during the period of spread of baroque art. The main Baroque composers who are considered today are Bach, Handel and Antonio Vivaldi. We note, in this era, an underlying unity between the Renaissance and Baroque music, but towards the end of the sixteenth century, there was a significant change of style: it can be seen by comparing some of the later works of Palestrina with the more mature Monteverdi, in which there is a strong influence of Humanism.
humanistic doctrine, for composers of the sixteenth century., Leading to the domination of the lyrics to the music while the music had hitherto prevailed. The word that best expressed as a human individuality, was of primary importance in the humanistic view, which was forbidden to choke you with the music. To meet this need, the composers the time they adopted a style consisting of a single melodic line, with a harmonic accompaniment, and to reinforce the concepts expressed in the text were used different methods.
In these centuries, composers depended on the courts or by the clergy, as in the past: it was not until the Romantic period in order to attend the termination of this dependence. So we asked the composers music suits occasions, on commission, for example, was commissioned in Monteverdi's Orfeo for the carnival of Mantua, while Bach composed sacred cantatas for the Sunday service at the Cathedral of St. Thomas. Moreover, the composition on "order" not excluding the creation of such masterpieces as the St. Matthew Passion and the Magnificat, just JS Bach. A merit of the Baroque era was the largest study of the expressive capabilities of the instruments which are no longer so easily interchangeable with each other and allowed him to achieve higher level compared to previous times. At the beginning of the seventeenth century monody (singing in unison) prevailed, and the polyphony is developed further, leading to high levels of instrumental counterpoint shown by the Bach fugues. In the process of simplification through, start the modern codification of the concept of tonality: the eight ways earlier in 1700, were completely replaced by the two modes (major and minor) known in western music.
Finally, the instrumental forms most successful period was the suite and the sonata. The suite was a selection of dances, usually presented in four parts Allemande, current, sarabande and gigue: usually these were in the same tone, in which each dance had two parts, of which the first module in a shade close, second round instead of the initial hue, all was then repeated two volte.La sonata originally was similar to the suite, then they differed, consisting simply in one, maximum two movements. Later we define two types of sonata da camera (based on dance movements) and sonata da chiesa, the content solemn.

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The sources show that the word and the concept of "baroque" born with intent reprobate, not to mark an epoch in the history of spirit and an art form, but a way of artistic ugliness and perversion. In my opinion, it is necessary that they Serbin or take rigorous or scientific use, this office and meaning, expanding it and giving it the best determination logic ... There is no difficulty to point out the characteristic of the Baroque, those that distinguished from the 'academic', eg., or 'sentimental' or the 'mawkish', and that is to replace the poetic truth, and the charm that it is spreading, with the effect of the unexpected and the amazing, exciting, intriguing, amazes and delights the mercy of the particular form of shaking it yields. There is no difficulty, because, as is well known, this feature was exposed programmatically by the writers of that school, and the main one of them, Marino, that was given to the poet to "end" the "wonder", warning that "those who can not be surprised "to let the poet and 'go to curries," go and do the groom. The quotations in this part, you could easily accumulate, but would return unnecessary. And there was even then people began to contrast the ideal and pure emotion that the poem requires that emotion with a stranger, accusing " modern poets "of" serious mistake "in the" pathetic materials, "in which," using sophisticated concepts and subtleties from blood loose and not passion, it is not surprising then that does not bind passionino and not the others, "as the rate that" v'incappò any time, "Marino and that there was" quite shamefully fallen into "... Given the general lines on which we have held so far, the baroque can be found in every place and time, and more or less sparsely detected . It is unfortunate aesthetic, but also a human sin, and universal and perpetual, like all human sins, if only because the danger of incurring. Similarly we could build a generic concept of romance psychological or human that is said, and, under it, in all ages and people discover, here and there, romance. It is known that the Baroque, was studied especially in the so-called artists and poets of decay, particularly in those of Roman literature (Lucan, Statius, Persius, Martial, Juvenal, etc..), Who handed him a book of a subject in Nisard , somewhat biased, in truth, that is, implied polemic against the French literature of his time. A similar comparison of heated controversy and are back in fashion for the latest literature, foreign and Italian, and particularly the art of D'Annunzio. Nor did I say Before that such alignments are unlawful or rooms, and even admit that have some use, evidenced by the fact that it is used voluntarily, but it seems to me far more useful, such as PEL PEL baroque romance, use the concept in its meaning is not simply psychological but historical, referring to what led directly to build and shape its word, and therefore understood by the perversion of Baroque art, dominated by the need of wonder, which is observed in Europe, very nearly, in the last decades of the sixteenth century to the end of seicento.Un 'further definition of the historical concept of the Baroque, a determination of its character or its characters, it is not possible, because the character or characters are the same type of Baroque works, was then produced and which have to procure direct knowledge and experience, since we already excluded above as fallacious abstraction and classification of forms made extrinsic, which also has been attempted by studying, for example., metaphors and stylistic comparisons and other proceedings of Marino. With that knowledge and direct experience of the concept of the baroque town is filled with abstract and particular, and becomes the possession of the spirit alive critico.Importa use the concepts of the Baroque and Romanticism as a historical concept, precisely to avoid falling into the generic, by the way of general, and finally in nell'insignificante false, losing the character and the character and individual works that take to consider. Even granted that in French literature or Italian or English in the seventeenth century are some romantic moments (in the generic sense that we have said), their works were nevertheless profoundly different from the romantic of the nineteenth century for what only those who were born in the seventeenth and those in the nineteenth, after two centuries of life and spiritual struggles of mankind. Similarly (as last time I had occasion to warn) all the baroque can be seen in D'Annunzio, and all of its similarities with the other six hundred and Marino, not cancel the fact that D'Annunzio could not arise until after Romanticism, Realism, the Parnassians, the Nietzschean, and other events spiritual than the previous because it certainly Marino matured during the nineteenth century ... From which country the rest of Europe could come to the fashion of the Baroque? which could give an example? which could impose it? It is obvious: the country's major culture and civilization, which Europe, as he had received manufacturing and industry and commerce and law and geographical discoveries and technical inventions, allowed the arts and sciences and literature and poetry, and forms of conversation and festivals and ceremonies . And this country, in the sixteenth century, and even well into the next century, it was Italy, with Italy and, in some manifestations of the custom and culture, Spain, which gave strength to penetrate his political strength; so that the opponents of the English Italian polemicists would operate reasonable reconciliation and join together more with them. But we do honor or wrongly, the Baroque was, essentially, Italian, and as such he was accused in the early literature that rebelled against, the French rationalist critics, and as such was implicitly recognized by all lovers and patrons of 'art, until the end of the seventeenth century, and indeed almost to the end of the eighteenth century, considered Italy as the country that gave mainly painters, sculptors and architects, poets and musicians of the Baroque corte.Se non-artistic or poetic but practical, so in his work as occur in a single, and even more, in the production joint called the school or fashion, and that in itself is already a practical fact, the historian of poetry and art can not consider it positively but negatively, ie as a denial or limitation of what is really art and poetry. It also says 'baroque' and 'baroque', but never lose consciousness that, strictly speaking, what is really art is never Baroque, Baroque and what is not art ... For other would be very partial view in baroque fashion spread from Italy only bad taste, and not that training style, that course rhetorical, that beginning the secrets of the art, that refinement of in most of Europe had then need to get out of certain practices and to start again medieval poetry, prose, modern art in all its forms: that education literature and art, then, that Italy largely administered England as to France, Spain as Germany, not only with his books of verse and prose, but with his masters of language, with his court poets, painters and architects with his masters and chapel, with its pruning and comedians. It was like an ultimate benefit to the old dark made to European culture over the centuries in which it is customary to consider, Decadent or revoked: a benefit, of which history has not been hit as it deserves, or has been put under false light and surrounded by a sort of contempt out of place. The foreigners, oblivious to the benefit, pleasure regarded as the Italians' sonneteer "adventurers, charlatans and fools, and then kept them modestly countrymen x:-ashamed, because they did not like the times call for heroes of the fatherland.

"Despite the great success among his contemporaries, critics later (since the arcade) has devalued more and Baroque literature, accusing it of stylistic and rhetorical excesses and excessive lust and calling it decadent. L 800 and most of the 900 have continued along this path criticism, but in the second half the 900 has seen a steady recovery of the Baroque literature, the work of some important critics like John Getto, Marzio Pieri and John Wells. "

Ice Cream Or Milk During Heartburn

June 14, 2009 - 2009 STAMACCAGNO

Program

Hours 8.00 to 9.00 in Piazza Vittorio Veneto inscriptions individual
departure 9.15 pm - 2.00 Maximum hours
11.15 pm - Awards, Prizes and sweepstakes MTB Miscellaneous

Services: Red Cross, Ristori, "Broom Service," Changing rooms and showers.

There will be a market with "stands" of various kinds.

14th Stramaccagno June 14, 2009


Regulation

Subscriptions individual
This form duly completed and signed must be given to the departure with the participation fee of €. 5.00 for the withdrawal of the number and gadgets.
Pre-registration by appointment (see "Group Membership").
Free registration and no gadgets
for children born from 1998 to 2009 cat. "Teenagers". WARNING

mandatory for minors the signature of a parent.

Subscriptions groups
valid only up to class members born 1997
(excluding classes from 1998 to 2009). Quote written €. 5:00
WARNING
for minors required the signature of a parent
receipt of entries,
the distribution of race numbers and gadgets, will be made by appointment only

by group leaders with the race organizer
"Luigi" cell.
320 9517028 (tel. 17.00 to 19.00 hours 3 to 10 June '09)
Deadline for registering groups
Saturday, June 13, 2009 18:00


Trail along paths, around 8 km
The map is highlighted in red.
relevant for the classification of all categories, except
the category "young".

short path, about 5 km
The map highlights the "shortcuts"
in green indicate that the short path.
Valid only for the ranking of the "young"
The participants of the other categories that will benefit
part of this path will be excluded from the other three classifications

(Senior-Junior-Women).

the show, 'even in the rain

THANKS TO ALL CONTRIBUTORS AND SPONSORS

Categories - Press

Senior Category (male): Up to Class 1994 (blue bibs) 1
III Memorial Trophy Uncle Ugi more
Basket Gourmet Gift Basket Gourmet 2 nd Trophy
3 ° Trophy Gourmet Gift Basket For the first 25
discount meal voucher worth 15 €.

Women Category: Up to Class 1994 (pink bibs)
Cup 1 st 2 nd most
Basket Gourmet Gift Basket Gourmet
Cup more than 3 ° Cup Gourmet Gift Basket
the top 25 discount meal voucher worth 15 €.

Junior Category (unisex): 1995-96-97 classes (yellow bibs)

Cup 1 st 2 nd 3 rd Cup

For the first 75 Cup: Cap
Of all arrivals, 8 km long route.: Extraction MTB boy

young category (unisex): classes 98 to 09 (green bibs)
1,
Cup 2 nd 3 rd Cup
Cup from the 4th to the 75th cup
From 1 to 20 extra prize

the largest group: Cup, in memory of Renato Tonelli, for each of the members of the group - Discount Voucher value of € 3 on ice cream, pizza and wine
the second largest group: the third large group
Plaque: Plaque

the older woman arrived, 8 km long route: Cup
the man got older, long path 8 km: Cup

The woman resident arrived in Macclesfield, 8 km long route: Cup
arrived the man lives in Macclesfield, 8 km long route: Cup

Among those which will finish the race within the hour, 8 km long route, extraction of a MTB Cougan Lee brand, model, Nitro, lockable front shock from the handlebars, hydraulic disc brakes and the possibility of replacing the frame size. Various

surprise prizes and draw for all participants

For paying members: T-shirt and commemorative medal

THANK YOU ALL FOR PARTICIPATION ..... We are waiting .... WIN THE BEST .....