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465:, which Agucchi identifies particularly in ancient sculpture." The work shows signs of having been influenced by discussions with Domenichino, reflecting a division of national and regional schools of painting that the latter claimed as his own in a letter, and is essentially that used until the 20th century, distinguishing in Italy the Roman, Venetian, Lombard, and Tuscan (Florentine and Sienese) schools. It has been suggested that the
1043:
1055:
411:
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531:, was a close friend who had also worked for the Aldobrandini, in his case Pope Clement VIII, and owned at least a copy of the York portrait. Angeloni raised his nephew Gian Pietro Bellori (1613–1696), introducing him to Agucchi and the Bolognese artists in Rome. Bellori was to follow many of Agucchi's ideas in his own very influential writings on art.
445:
was published posthumously in Rome in 1646, using the pseudonym
Gratiadio Machati, which Agucchi had used in his lifetime (a convention for a cleric writing on secular matters). It was included in the preface by G. A. Mosini, the pseudonym of Giovanni Antonio Massani, to a collection of prints after
312:
Cardinals
Odoardo Farnese and Pietro Aldobrandini were politically opposed, although less so after a marriage between the two families in 1600, but were the two leading supporters of Bolognese painting in Rome, who between them succeeded in effectively giving the Bolognese "almost a monopoly" of
369:
suggested that this change was mainly in response to the urgings of
Agucchi; like most commentators Mahon thought that the change was on the whole not an improvement. Eva-Bettina Krems suggests that Agucchi is a likely candidate for the connection that introduced the Lombard sculptor
390:(illustrated) had always been attributed to Domenichino until an article in 1994 proposed that it was instead by Annibale Carracci, from around 1603; it was owned by Agucchi until his death. When the York gallery was closed for rebuilding in 2014–15 it was loaned to the
520:
may have provoked
Agucchi into beginning his own work. Despite its delayed and obscure publication, Agucchi's ideas represent the earliest exposition of "the classical-idealist theory" that was to be dominant in most of the Roman art world in the 17th century.
296:
joined
Carracci in his work on the Palazzo Farnese, and Agucchi and his brother introduced him to Cardinal Pietro Aldobrandini and the future Gregory XV. Domenichino lived in Agucchi's household for a period from 1603/4 to 1608, and according to
151:
in 1605 meant the loss of papal favour for both men, and
Agucchi was able to spend most of his time on his personal interests until 1615, when Aldobrandini returned to favour and office. He was also a protege of the art-loving Cardinal
264:, but became a friend of Agucchi in Rome, and is held up as a model in his writings, which also contain important biographical information on the Carracci. Agucchi may have advised Carracci on the complicated and learned mythological
341:
in Rome, which are still in place. This was in 1604, completed 1605, at the time
Domenichino was living with Agucchi. The church also contains Domenichino's portrait of the Agucchis' uncle, Cardinal Sega, on his memorial.
544:"), written around 1603 but not published until 1678, shows rather different attitudes to painting, appreciating the rapidity of Carracci's style and his ability to paint without first drawing – neither qualities the
476:
thought, in which "nature is the imperfect reflection of the divine, and the artist must improve upon it to achieve beauty", a view already conventional in the previous century. He held up classical sculpture,
321:(the Cavaliere d'Arpino) and others, and his support of the Bolognese must be largely attributed to Agucchi's advocacy. The cardinal commissioned Domenichino to paint eight frescos with the story of
512:(1607), and have been called "the swan song of the subjective mysticism of Mannerist theory". The lectures themselves were abandoned when the first were received with hostility by the Bolognese and
202:, (r. 1625–29) whose election Agucchi had striven for, but whose reign was something of a disaster. Agucchi left Venice in 1630 to avoid the plague, and died the following year in the
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From
Annibale Carracci Cardinal Aldobrandini commissioned a set of decorative frescos with religious subjects in landscapes for his palace in Rome, now containing the
198:. Venetian politics were at this period highly polarized between pro- and anti-papal factions, and Agucchi's period largely coincided with the unstable reign of Doge
469:
may have been in effect a collaboration, with the polished prose of
Agucchi writing up Domenichino's thoughts, although this is mostly thought not to be the case.
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approves of. She suggests that reaction to the style of
Caravaggio accounts for the change, which may also be referred to in a letter by Agucchi of 1603.
57:
in particular. As an art theorist he was rediscovered in the 20th century as having first expressed many of the views better known from the writings of
1080:
25:
278:, the dazzling scheme that was Carracci's first commission in Rome, and remains a landmark work for the Roman Baroque. He administered his last
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Krems, Eva-Bettina, "Die 'magnifica modestia' der Ludovisi auf dem Monte Pincio in Rom. Von der Hermathena zu Berninis Marmorbüste Gregors XV"
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244:. He was "an assiduous correspondent on his own and others behalf", and many unpublished letters survive, as well as those quoted by
46:. He was the nephew and brother of cardinals, and might have been one himself if he had lived longer. He served as secretary to the
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He was an important figure in Roman art circles when he was in the city, promoting fellow-Bolognese artists, and was close to
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461:"is a lively document on official Roman art circles during the years 1607–15 and concentrates specifically on exalting the
116:(ambassador) to France, then returning with him to Rome in 1594, and continuing in his service until Sega's death in 1596.
489:. Annibale Caracci in particular had rescued art from their artificiality, returning to depicting improved nature. The
127:(r. 1592–1605). Agucchi accompanied Aldobrandini on his embassies to Florence and France, the latter to negotiate the
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from the Mahon collection. By 1603 he owned six works by Carracci, including two of the above. The Bolognese artist
677:– the monk to the right of the cross seems the most like Domenichino's portrait in York, from some five years later
394:, and displayed there . Domenichino and Agucchi collaborated on the monument for Girolamo Agucchi in the church of
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Agucchi was a cultivated intellectual, and the friend of many artists, playing a significant role in introducing
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in his works. He frequently crops up in discussion of Roman commissions of the period, for example suggesting
50:, then the Pope himself, on whose death Agucchi was made a titular bishop and appointed as nuncio to Venice.
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only spent the years of Gregory XV's papacy in Rome, where his style changed in the direction of classicism.
333:. Agucchi's elder brother, Cardinal Girolamo, commissioned Domenichino to paint three frescos on the life of
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as models, who had observed from "nature" but selected and idealized what they depicted, and deprecated the
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42:(20 November 1570 – 1 January 1632) was an Italian churchman, Papal diplomat and writer on
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454:(1947), who did much to stimulate interest in Agucchi as a theorist who had been previously overlooked.
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in 1611–13, including passing on the data from his own astronomical observations, and lectured on the
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The period was generally lacking in writing on art theory, apart from the series of lectures for the
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large commissions for palaces in the 1610s. Cardinal Aldobrandini's personal taste was for the Late
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Fletcher, J.M., "Francesco Angeloni and Annibale Carracci's 'Silenus Gathering Grapes'",
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167:, also from Bologna, the same year. Gregory died in 1623 and the same year his successor
123:, Papal Secretary of State, whose secretary was Girolamo. Aldobrandini was the nephew of
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Zapperi, Roberto, "AGUCCHI (Agocchi, Agucchia, Dalle Agocchie), Giovanni Battista" in
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had his own recommendation to Cardinal Odoardo Farnese from the cardinal's brother
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Agucchi's main published writing is a very incomplete but nonetheless significant
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Land, Norman, "The Anecdotes of G. B. Agucchi and the Limitations of Language,"
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Galilei, Galileo (1989). Translated and prefaced by Albert Van Helden (ed.).
112:, an important diplomat for the Papacy, accompanying him when Sega was papal
96:(1555–1605), later briefly a cardinal from 1604 to 1605, who was governor of
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in 1611; Galileo had made the first recorded observations of these in 1609.
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a generation later. He was also an amateur astronomer who corresponded with
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973:, Oxford Art Online, Oxford University Press, accessed 22 February 2013,
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Fletcher, 666 and note 19; also Ginzburg, 10–11, complicating matters
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He then followed his brother Girolamo into the service of Cardinal
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Ginzburg, Sylvia, "The Portrait of Agucchi at York Reconsidered",
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Silvia Ginzburg has pointed out that an earlier piece by Agucchi,
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92:. He began his career in 1580–82 assisting his much older brother
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450:("Eighty different figures"). There is an English translation by
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to Annibale before his premature death in 1609, and composed his
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869:. Chicago & London: University of Chicago Press. pp.
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Ginsburg, throughout, p. 10 on it passing to his niece as heir
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139:, where Aldobrandini had been made archbishop, with a trip to
773:(London, 1947); on Mahon, see Finaldi and Kitson, 15–16, and
906:
Discovering the Italian Baroque: the Denis Mahon Collection
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Wittkower, 39 (quoted, "swan song" quote is by R. Lee), 266
104:, then studied at Bologna and Rome. He was made a canon of
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Young, Peter Boutourline, "Agucchi, Giovanni Battista" in
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in Bologna, for which there are drawings in the British
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Aldobrandini died in 1621 and Agucchi became secretary (
908:, 1997, National Gallery Publications, London/Yale UP,
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Descrizione della Venere dormiente di Annibale Carrazzi
309:, Cappella dei SS Fondatori) is a portrait of Agucchi.
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1019:
989:
Historical Dictionary of Baroque Art and Architecture
924:, Vol. 116, No. 860 (Nov. 1974), pp. 664–666,
959:, Penguin/Yale History of Art, 3rd edition, 1973,
936:, Vol. 136, No. 1090 (Jan. 1994), pp. 4–14,
698:Wittkower, 38–39, 80 on Apollo frescos; 39 quoted
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776:. There is a long extract, with an introduction
716:Finaldi and Kitson, 15–16, 21 n.37, summarizing
229:, the Cyclops Polyphemus in his frescos for the
508:, its first president. These were published as
108:, then from 1591 worked for his uncle Cardinal
769:translation and edition by Denis Mahon in his
559:of Bologna. He had a long correspondence with
1016:22, 1 (January–March 2006), pp. 77 – 82.
329:outside Rome in 1616–18; they are now in the
301:, one of the figures in Domenichino's fresco
84:, older brother of Giovanni Battista, 1604–05
1096:Apostolic nuncios to the Republic of Venice
510:L'idea de' Pittori, Scultori, ed Architetti
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788:Zirpolo, 47–48; Finaldi and Kitson, 15–16
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957:Art and Architecture in Italy, 1600–1750
944:Marburger Jahrbuch für Kunstwissenschaft
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303:Meeting of St Nilus and Emperor Otto III
252:to the authorities for an altarpiece in
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88:Agucchi was born into a noble family in
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646:Wittkower, 57, 63 (63–68 on the scheme)
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555:and mathematics, and a member of the
538:("Description of Annibale Carracci's
497:and his followers was also deplored.
981:Dizionario Biografico degli Italiani
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143:in the same year. The death of Pope
448:Diverse figure al numero di ottanta
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1007:Studies in Seicento Art and Theory
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771:Studies in Seicento Art and Theory
386:The fine and intimate portrait in
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758:Portrait of Monsignor Agucchi
664:Young; Finaldi and Kitson, 60
419:St. Cecilia Distributing Alms
349:and still in the family, the
16:Italian churchman (1570–1632)
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760:, 1603-4, Annibale Carracci
619:Ginzburg, 5; Young; Zapperi
405:
402:(Royal Library, MS. 1742).
156:, acting as his secretary.
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359:Metropolitan Museum of Art
256:, though without success.
986:Zirpolo, Lilian H., ed.,
949:(2002), pp. 105–163.
446:Annibale Carracci called
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40:Giovanni Battista Agucchi
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392:National Gallery, London
355:Coronation of the Virgin
331:National Gallery, London
190:), and appointed him as
48:Papal Secretary of State
933:The Burlington Magazine
921:The Burlington Magazine
147:and his replacement by
80:, Portrait of Cardinal
1126:Diplomats from Bologna
752:5 October 2013 at the
707:Finaldi and Kitson, 60
689:Finaldi and Kitson, 38
439:Vita Hieronymi Agucchi
431:Trattato della pittura
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423:San Luigi dei Francesi
347:Doria Pamphilj Gallery
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204:Castello San Salvatore
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806:Zirpolo, 47–48; Young
565:satellites of Jupiter
502:Accademia di San Luca
435:University of Bologna
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271:The Loves of the Gods
246:Carlo Cesare Malvasia
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176:in partibus infidelis
129:Treaty of Lyon (1601)
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1121:Writers from Bologna
628:Ginzburg, 6, 8 n. 30
557:Accademia dei Gelati
396:San Giacomo Maggiore
210:, after a period in
161:Segretario dei Brevi
131:and the marriage of
1111:Italian art critics
1091:Clergy from Bologna
675:Image of the fresco
463:idea della bellezza
421:, fresco, 1612–15,
307:Grottaferrata Abbey
274:for the cardinal's
254:Saint Peter's, Rome
121:Pietro Aldobrandini
59:Gian Pietro Bellori
26:Portrait of Agucchi
851:Young; Zirpolo, 47
833:Young; Zirpolo, 48
529:Francesco Angeloni
472:Agucchi drew from
427:
351:Domine, quo vadis?
337:in the portico of
327:Villa Aldobrandini
268:in his frescos of
240:to patrons in the
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200:Giovanni I Cornaro
196:Republic of Venice
135:, then in 1604 to
133:Henry IV of France
106:Piacenza Cathedral
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953:Wittkower, Rudolf
898:Finaldi, Gabriele
880:978-0-226-27903-9
655:Ginzburg, 8 n. 29
376:Ludovico Ludovisi
258:Annibale Carracci
250:Ludovico Carracci
227:Annibale Carracci
125:Pope Clement VIII
30:Annibale Carracci
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218:In the art world
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516:alike. The
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415:Domenichino
367:Denis Mahon
294:Domenichino
266:iconography
242:Roman Curia
149:Pope Paul V
78:Domenichino
55:Domenichino
1070:Categories
892:References
495:Caravaggio
491:naturalism
487:Mannerists
169:Urban VIII
44:art theory
1036:Biography
553:astronomy
526:antiquary
317:style of
315:Mannerist
750:Archived
546:Trattato
467:Trattato
459:Trattato
443:Trattato
406:Writings
363:Guercino
325:for the
288:Pantheon
286:for the
208:Susegana
182:, since
1022:Portals
673:Young;
590:Zapperi
479:Raphael
299:Bellori
284:epitaph
194:to the
141:Ferrara
137:Ravenna
100:in the
90:Bologna
63:Galileo
963:
912:
877:
425:, Rome
323:Apollo
212:Oderzo
188:Turkey
184:Amasea
145:Leo XI
114:nuncio
98:Faenza
69:Career
1060:Italy
938:JSTOR
926:JSTOR
873:–16.
728:Krems
610:Young
571:Notes
961:ISBN
910:ISBN
900:and
875:ISBN
518:Idea
481:and
457:The
504:by
493:of
206:at
178:(a
28:by
1072::
1005:,
955:,
947:29
904:,
871:14
756:,
682:^
595:^
579:^
417:,
290:.
214:.
65:.
1024::
883:.
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