Barroco

GOING FOR BAROQUE
Into theBin come upon or of these once-celebrated prints sepia-toned photographs in of art history inmusty shops with "Antiques" optimistically displayed You a peeling gold above dirty plateglass window, but to find them you must put up with the scent of moldy paper and tomcat, as well as the inevitable clutter. Your goal will be a bin holding in cardboard-mounted and yellowed prints, records of a forgotten moment photographs can

still

landmarks

oak frame?the you, the photo or print will be in its original dark-stained or room. In one discarded decoration of a nineteenth-century study, stairwell, sitting image a an infant, stares out
(fig. l) noble and demure Madonna, cradling athletically proportioned taste. If luck iswith

from her elevated position on a bank of clouds, her robes gently billowing. These sacred are attended a bearded pope who, a figures by kneeling, gestures outward, and richly garbed female saint together with two impish cherubs who lean thoughtfully on a fictive ledge. In another (fig. 2) a procession of beautiful women, light of foot and hand in hand, accompanies

1.
The

corner

of a connois

seur of the old school, with vintage

of Raphael's

Sistine

Madonna now photographs

(ca. 1513-14),

in the Staatliche
Dres

Kunstsammlungen, den; his Madonna

delta

the Galler?a
Palazzo

Palatina,

Pitti, Florence;

and, behind

this picture,

Poussin's

Inspiration

the Poet

(ca. 1630-32),

the Mus?e
Paris;

in

(ca. 1513-14),

Seggiola

of in du Louvre,

a together with set of the

miniature

tragedies

of Vittorio

Alfieri (1749-1803)

3*

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2.
Raphael

Morghen

Naples,

1758- Florence,

1833), after Guido
Aurora

with