Talk:Alessandro Algardi

Untitled

Could someone please break this into paragraphs?

Restoring some strength

Editing without improving the language, clarifying points or adding new material is the equivalent of fingerpainting. Familiarity with a subject makes the standard, midstream assessments of the community more familiar. Not knowing makes us timid, as is right.

• "major rival" of Bernini: What other sculptor in Rome was being thought of when "major" was deleted? François Duquesnoy?
• "and an outstanding draughtsman" deleted. Was this deleted because an editor, having assessed Algardi's drawings, found them lacking?
• "which gave the young sculptor a chance to immerse himself in one of the great collections..." is just better than the unidiomatic "and exposed the young sculptor a chance to see his large collections" This is just what "fingerpainting" means. The importance of the Mantuan collection is beyond challenge surely, though an editor has substituted merely "large" for "great". Not enough outstanding Antiquities in Duke Ferdinando's collection, is that the issue? Or is it their showy presentation in the famous gallery that is at fault?
• "Ludovico Cardinal Ludovisi" is actually the better form. Changing it to "Cardinal Ludovico Ludovisi" amounts to fingerpainting: think of Francis Cardinal Spellman" etc etc. Some other cardinals were known from the title of their see. Familiarity with some literature always helps in these questions.
• "Gian Lorenzo Bernini, in the first flush of his fame, had the pick of the best available commissions..." Senselessly deleted, doubtless as a "POV" assertion to the untutored: read a book and gain some feel for 17th century patronage in Rome, please. This is simply history.
• Algardi's scultures: "displaying great technical skill" has been deleted by some demanding connoisseur. Isn't Algardi's finesse the point?
• "Anthology of sculpture" is the least bit inflated: I have returned to "Some major sculpture".

--Wetman 21:48, 15 December 2005 (UTC)

1) While Algardi may have been a competitor for commissions of Bernini, I sometimes find the word rival unsatisfying. In addition, there were other rivals to Bernini for portraiture (duquesnoy and Finelli) and architecture. I would be open to a modifying term. 2) I find no evidence that Algardi left us with evidence of draughtsmanship. The available drawings by his hand is minimal if any. He was almost exclusively a sculptor. 3) I took the Mantuan collection reference out. It seems to stress the notion that no artists became great without studying old masters. Finally, to say Mantua had one of the "great collections" of Roman antiquity is questionable? Was it top "5" or top "10"? Also I do not know how to compare it to some of the collections in Rome which had some relatively better preserved large pieces such as Farnese Bull or the Laccoon. Ultimately, had Algardi not seen the Mantuan collection, he would have seen even greater collections in Rome. 4) There are editors who object to your structuring of cardinals. I typically choose the terminology that directly brings up text.

I'm not sure of the other points. I would refer you to Haskell's text on baroque Roman patronage.

5) I would not use "flush of fame" as the correlate of Bernini's success. He may have been successful because of talent and/or connections. I would agree that Bernini had extensive papal patronage in the years prior to Ludovisi papacy.

CARAVAGGISTI 06:50, 8 December 2006 (UTC)

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