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These pictures were meant for the living room and thus could not exceed a certain size; the decorative and monumental were avoided in favour of the agreeable and the graceful. This change very well suited another nimble-fingered painter from the school of the Carraccis, Francesco Albani, who, under all sorts of mythological names – gods and goddesses, nymphs and cupids – painted a large number of naked figures in wonderful landscapes. With this he began a direction in painting that was later taken up and further developed by the painters of the Netherlands.

Oil on canvas, 369 x 245 cm. Musée du Louvre, Paris. 33. Michelangelo Merisi da Caravaggio, Madonna of the Rosary, 1606-1607. Oil on canvas, 364 x 249 cm. Kunsthistorisches Museum, Vienna. 34. Cristofano Allori, Judith with the Head of Holofernes, c. 1613. 3 cm. Palazzo Pitti, Florence. qxp 2. 1/14/2009 3:51 PM Page 51 Baroque in France A fter the Renaissance, the arts, in France, had led a relatively untroubled existence up to the death of Henry IV. They attempted to mirror the growing might of the Kingdom in a mostly festive increase in magnificence whose means consisted of following a similar path to the Italian art of the Baroque.

This direction of landscape painting found a renewal only in the nineteenth century. After this, the aesthetic definition of value, the “heroic,” “historical” or “stylized” landscape was formulated, where, besides the stylizing, the main emphasis was on the figures in the landscape. The painters of the seventeenth century had no intention of distorting nature. In their enthusiasm, they saw nature as even more beautiful than it was. The most inspired of these heralds of beauty was the painter and etcher Claude Lorrain, born as Claude Gellée, who earned his nickname from his Lothringen home but lived in Rome from 1627.

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Absolute Scales of Photographic and Photovisual Magnitude(en)(7s) by Seares F. H.

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