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Fadrique Álvarez de Toledo y Mendoza

2013-06-10T17:55:16Z

Grumpycraig: /* External links */ Added Short Description

[[Image:Spanish capture of St Kitts.jpg|thumb|right|250px|Portrait of Fadrique de Toledo during the capture of [[Saint Kitts]] from the English.]]
′'''Fadrique Álvarez de Toledo y Mendoza''' ([[Naples]], May 30, 1580 – [[Madrid]], December 11 de 1634), was a Spanish noble and admiral.
He was a Knight of the [[Order of Santiago]], a Spanish Admiral, and Captain General of the Spanish Navy at the age of 37.

He was born in Naples as the son of [[Pedro Álvarez de Toledo, 5th Marquis of Villafranca]], then commander in chief of the Spanish Army in the [[Kingdom of Naples]], and Doña Elvira de Mendoza.

He served in the Spanish fleet under command of his father and rose quickly through the ranks, as did his elder brother [[García Álvarez de Toledo, 6th Marquis of Villafranca]]. In 1617, he became ''Capitán General de la Armada del Mar Océano'' or ''Armada de Barlovento''.

He gained several victories against the [[Dutch Republic|Dutch]], in 1621 near [[Battle of Gibraltar (1621)|Gibraltar]] and in 1623 in the [[English Channel]], blockading the Dutch coast. In the same year he defeated a [[Moorish]] incursion near Gibraltar.

In 1625 he was appointed General of [[Portugal]] (then in a [[Iberian Union|personal union]] with [[Spain]]), and Capitán General of the Army of [[Brazil]]. He sailed towards Brazil at the head of a fleet consisting of 34 Spanish ships, 22 Portuguese ships and 12,566 men (three quarters were Spanish and the rest Portuguese). There he [[Recapture of Bahia|reconquered]] the strategically important city of [[Salvador da Bahia]] from the Dutch on April 30, 1625.

This victory would prove decisively important in the [[Dutch-Portuguese War]] to oust the [[Dutch Brazil|Dutch from Brazil]] over the next two decades. In 1629 he commanded a Spanish expedition that [[Battle of St. Kitts (1629)|expelled the English and French]] colonial settlers from the islands of Saint Kitts and Nevis.

For all of his victories he was awarded the title of ''Marques de Villanueva y Valdueza'' on January 17, 1634.

[[Image:La recuperación de Bahía, Maíno.jpg|thumb|right|250px|The recuperation of 1 May 1625 of the Brazilian Portuguese town of [[Salvador de Bahia]] by Spanish and Portuguese troops commanded by Captain General of the Fleet Fadrique II de Toledo Osorio y Mendoza (Naples, 1580, Madrid 1634), a painting by Fray [[Juan Bautista Maíno]] for King [[Philip IV of Spain]], [[Philip III of Portugal]]. [[Museo del Prado]], [[Madrid]], Spain . Don Fadrique II is the big "en bonpoint" nobleman presenting it to King Philip IV and Prime Minister [[Gaspar de Guzmán, Count-Duke of Olivares]].]].

== Marriage and children ==

Don Fadrique married in Madrid, on August 12, 1627 with his cousin Doña Elvira Ponce de León, daughter of Don Luis Ponce de León, VI Marqués de Zahara, and Doña Victoria Álvarez de Toledo.

They had three children :
* Doña Elvira de Toledo, married Don Juan Gaspar Enríquez de Cabrera, 6th Duke of Medina de Rioseco.
* Doña Victoria de Toledo, married her cousin Don Francisco Ponce de León, 5th Duke of Arcos.
* Don [[Fadrique Álvarez de Toledo y Ponce de León]], 7th Marquis de Villafranca and [[Grandee of Spain]].

Don Fadrique also had two illegitimate children:

* Pedro Álvarez de Toledo, Abbot of the Royal Monastery of [[Alcalá la Real]], [[Jaén, Spain|Jaén]].
* Íñigo de Toledo, who married Leonor de Velasco, XI Countess of [[Siruela]].

== External links ==
*[http://www.militar.org.ua/foro/don-fadrique-de-toledo-y-osorio-t2213.html Don Fadrique de Toledo y Osorio (in Spanish)]

{{Authority control|VIAF=40680223}}
{{Persondata 
| NAME = Alvarez de Toledo y Mendoza, Fadrique
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = Spanish noble and admiral
| DATE OF BIRTH = May 30, 1580
| PLACE OF BIRTH =
| DATE OF DEATH = 1634
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Alvarez de Toledo y Mendoza, Fadrique}}
[[Category:Marquesses of Spain]]
[[Category:Spanish politicians]]
[[Category:Spanish military personnel]]
[[Category:Álvarez de Toledo family|Fadrique Alvarez de Toledo y Mendoza]]
[[Category:1580 births]]
[[Category:1634 deaths]]
[[Category:Spanish admirals]]
[[Category:Spanish generals]]
[[Category:People from Naples]]
[[Category:Knights of Santiago]]
[[Category:Naval commanders of the Eighty Years' War]]

Chris Alli

2013-05-30T12:00:07Z

Grumpycraig: /* References */ Added Short Description

{{Infobox officeholder
|name = Mohammed Chris Alli
|image =
|office1 = [[Governor of Plateau State]]
|term_start1 = August 1985
|term_end1 = 1986
|predecessor1 = [[Samuel Atukum]]
|successor1 = [[Lawrence Onoja]]
|office2 = Chief of Army Staff
|term_start2 = November 1993
|term_end2 = August 1994
|predecessor2 = [[Aliyu Mohammed Gusau]]
|successor2 = [[Alwali Kazir]]
|office3 = [[Governor of Plateau State]]
|term_start3 = 18 May 2004
|term_end3 = 18 November 2004
|predecessor3 = [[Joshua Dariye]]
|successor3 = [[Joshua Dariye]]
|birth_date = December 1944
|birth_place =
|party =
|Educational background =
}}
Major General '''Mohammed Chris Alli''' was military governor of [[Plateau State]] from August 1985 to 1986 during the military regime of General [[Ibrahim Babangida]]. Many years later, he was appointed interim administrator of the state during a 2004 crisis in the state following ethno-religious killings in Shendam, [[Yelwa]] Local Government.<ref name=rulers>{{cite web
|url=http://rulers.org/nigastat.html
|title=Nigeria: States
|publisher=Rulers.org
|accessdate=2010-04-04}}</ref><ref name=td314>{{cite web
|url=http://allafrica.com/stories/200405190314.html
|title=Chris Alli, the Man, the General
|work=ThisDay
|author=Lanre Isa-Onilu
|date=19 May 2004
|accessdate=2010-04-04}}</ref>

==Military career==

On February 13, 1976, army plotters assassinated the then head of state, General [[Murtala Mohammed]]. Alli was investigated for involvement in the coup attempt, but was exonerated.<ref>{{cite book
|page=214
|title=Oil, politics and violence: Nigeria's military coup culture (1966-1976)
|author=Max Siollun
|publisher=Algora Publishing
|year=2009
|ISBN=0-87586-708-1}}</ref>
General [[Ibrahim Babangida]] appointed Alli military governor of [[Plateau State]] from August 1985 to 1986.<ref name=rulers/>
During the attempted coup against General [[Ibrahim Babangida]] by Major [[Gideon Orkar]] on 22 April 1990, Colonel Alli was commander of the 3rd Infantry Brigade in [[Kano]]. He instructed several army commanders to make counter-broadcasts, as he did himself. The attempted coup failed.<ref>{{cite web
|url=http://www.dawodu.com/omoigui8.htm
|title=The Orkar Coup of April 22, 1990
|work=Dawodu
|author=Nowa Omoigui
|accessdate=2010-04-04}}</ref>
After the coup in November 1993 when President [[Ernest Shonekan]] was ousted by General [[Sani Abacha]], Alli was appointed Chief of the Army Staff.<ref>{{cite web
|url=http://www.dawodu.com/omoigui20.htm
|title=Nigeria: The Palace Coup of November 17, 1993 Part 1
|work=Dawodu
|author=Nowa Omoigui
|accessdate=2010-04-04}}</ref>
Abacha dismissed him from this post in August 1994.<ref name=td314/>

==Later career==

In May 2004 Plateau state erupted into sectarian violence, which spilled over into Kano State.<ref name=jega>{{cite web
|url=http://www.dawodu.com/jega1.htm
|title=A Nation in Crisis
|author=Mahmud Jega
|work=Weekly Trust
|date=October 22, 2006
|accessdate=2010-04-04}}</ref>
It was reported that over 50,000 people had died.<ref>{{cite web
|url=http://news.bbc.co.uk/2/hi/africa/3724218.stm
|date=7 October 2004
|title=Nigerian clashes: '50,000 killed'
|work=BBC News
|accessdate=2010-04-04}}</ref>
President [[Olusegun Obasanjo]] declared emergency rule in the state and suspended the governor and the state assembly, appointing Alli as administrator.<ref name=jega/>
Alli quickly developed the Plateau Peace Program, involving dialog between religiosu, ethnic and community leaders, and a state-wide peace conference. He also gave an amnesty to holders of weapons and a reward for their turning in their arms.<ref>{{cite journal
|page=50
|title=Revenge in the name of religion: Nigeria : the cycle of violence in Plateau and Kano States,
|work=Human Rights Watch Volume 17, Issue 8
|author=Carina Tertsakian
|publisher=Human Rights Watch
|year=2005}}</ref>
Alli's measures were successful in calming the situation, and he handed back to civilian rule in November 2004.<ref name=jega/>

==Bibliography==
*{{cite book
|title=The Federal Republic of Nigerian Army: the siege of a nation
|author=M. Chris Alli
|publisher=Malthouse Press
|year=2001
|ISBN=978-023-127-7}}

==References==
{{reflist}}
{{PlateauStateGovernors}}
{{Nigeria Babangida Governors}}
{{Chiefs Of Army Staff (COAS) Nigeria}}
{{Nigerian state governors 2003-2007 term}}

{{Persondata 
| NAME = Alli, Chris
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = military governor of Plateau State, Nigeria
| DATE OF BIRTH = 1944
| PLACE OF BIRTH =
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Alli, Chris}}
[[Category:Living people]]
[[Category:1944 births]]
[[Category:Governors of Plateau State]]

{{Nigeria-mil-bio-stub}}

Saïd Ibrahim Ben Ali

2013-05-15T01:33:57Z

Grumpycraig: /* Source */ Added Short Description

{{unreferenced|date=December 2008}}

'''Said Ibrahim Ben Ali''' (1911–1975) was the [[chief minister]] of [[The Comoros]] from 2 April 1970 - 16 July 1972. He was part of the Said family, including other Comorian politicians like [[Said Mohamed Jaffar]], [[Said Atthoumani]], and [[Said Ali Kemal]].

==Source==

{{Persondata 
| NAME = Ali, Said Ibrahim Ben
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = Chief minister of The Comoros 1970-1972
| DATE OF BIRTH = 1911
| PLACE OF BIRTH =
| DATE OF DEATH = 1975
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Ali, Said Ibrahim Ben}}
[[Category:1911 births]]
[[Category:1975 deaths]]
[[Category:Prime Ministers of Comoros]]

{{Comoros-politician-stub}}

Hoca Ali Rıza

2013-05-03T01:29:39Z

Grumpycraig: /* External links */ Added Short Description

'''Hoca Ali Rıza''' (1858 – 1939) was a [[Turkish people|Turkish]] [[Painting|painter]].

[[Image:Hoca ali riza.jpg|thumb|250px|Portrait of Hoca Ali Rıza]]
[[Image:Hoca ali riza kizkulesi.jpg|thumb|250px|Kizkulesi (Leander Tower), painting by Hoca Ali Rıza]]
Born in [[Uskudar]], [[Istanbul]]. Painted many landscapes of Istanbul and especially Uskudar. Attended [[Kuleli Military High School]] and then the Military Academy. There he studied under [[Osman Nuri Pasha]], [[Süleyman Seyyid]] and [[Monsieur Gués]], and graduated in 1884. From 1909 to 1912 he served as President of the [[Society of Ottoman Painters]].<ref>{{cite book|last=Taşpınar|first=Atila|title=Hoca Ali Rıza Bey|year=2012|publisher=Boyut Yayıncılık|location=İstanbul|isbn=9789752309821|pages=393}}</ref>

==References==
{{Reflist}}

==External links==
*[http://www.resimsergileri.com/unluler/riza/riza.htm]
*[http://www.wikipaintings.org/en/hoca-ali-riza]
*[http://www.istanbulsanatgalerisi.com/index.php?cPath=180_147]

{{Persondata 
| NAME = Ali Rıza, Hoca
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = Turkish painter
| DATE OF BIRTH = 1858
| PLACE OF BIRTH =
| DATE OF DEATH = 1939
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Ali Riza, Hoca}}
[[Category:Turkish painters]]
[[Category:1858 births]]
[[Category:1939 deaths]]

{{Turkey-painter-stub}}

Marian Cruger Coffin

2013-04-23T18:11:27Z

Grumpycraig: /* Bibliography */ Added Short Description

{{Infobox person
| name = Marian Cruger Coffin
| bgcolour = #f0de31
| image = File:Marian Cruger Coffin 1904.jpg
| alt = Marian Cruger Coffin
| caption = Marian Cruger Coffin in 1904
| nationality = American
| birth_date = {{Birth date|1876|9|16|mf=y}}
| birth_place = [[Scarborough, New York]], [[United States]]
| death_date = {{Death date and age|1957|2|2|1876|9|16|mf=y}}
| death_place = [[New Haven, Connecticut]], United States
| death_cause =
| known_for = Landscape architecture, garden design
| education = [[Massachussetts Institute of Technology]]
| occupation = Landscape architect
| notable_works =
| parents = Alice Church,<br /> Julian Ravenel Coffin
}}
'''Marian Cruger Coffin''' (September 16, 1876 – February 2, 1957) was one of the first American women to work as a professional [[landscape architect]], and became famous for designing numerous gardens for members of the [[East Coast of the United States|East Coast]] elite. She studied at the [[Massachusetts Institute of Technology]] between 1901–4 but was unable to find work with established architectural firms after her graduation, due to widespread prejudice against a woman working in a male-dominated field. She set up her own practice in 1905 and went on to become one of the most sought-after landscape architects in the eastern United States, working on over 130 commissions, including dozens of major estate gardens. Coffin's clientele included some of the wealthiest and most famous families in the country, including the Fricks, the [[Vanderbilt family|Vanderbilts]], the Huttons, and the [[du Pont family|du Ponts]].<ref name="Ralph12" /> Although the number of her commissions was greatly reduced after the onset of the [[Great Depression]] in 1930, she continued working almost until her death in 1957 at the age of 80.

==Early life==

Coffin was born into a wealthy upper-class family in [[Scarborough, New York]] but grew up almost penniless, due to her father Julian's fiscal recklessness and his early divorce from her mother Alice. During her childhood years, Coffin and her mother lived with relatives in [[Geneva, New York]].<ref name="Ralph10">[[#Ralph|Ralph]], p. 10</ref> She found the beautiful scenery of the area, set in the [[Finger Lakes]] of upper New York state, an inspiration; she later wrote, "even as a small girl, I loved the country, not so much gardens and growing things, for I had no experience with these . . . but simply the great outdoor world."<ref name="Karson181">[[#Karson|Karson]], p. 181</ref>

Although the Coffins had little money, their life with Alice's upper-class relatives gave Marian an almost aristocratic upbringing that introduced her to high society on the East Coast and enabled her to make social connections that were to be extremely valuable in later life. However, she received almost no formal education, a deficiency that caused significant problems for her in subsequent years.<ref name="Ralph10" /> She was instead tutored at home, where she also enjoyed the benefits of exposure to fine art and music, and became an accomplished horse rider.<ref name="Karson181" />

As a relatively impoverished member of the upper class, Coffin had no independent income and faced a choice between finding a rich husband or taking up a professional career.<ref name="Ralph10" /> She chose the latter, despite the fact that (as noted by [[Martha Brookes Hutcheson]], another early female landscape architect) "it was considered almost social suicide and distinctly matrimonial suicide, for a woman to enter any profession."<ref name="Libby70">[[#Libby|Libby]], p. 70</ref> She aspired to find a creative role but recognized the difficulties she faced, as she later wrote:

{{quote|I secretly cherished the idea of being a great artist . . . but that dream seemed in no way possible of realization . . . [Although] my desire to create beauty was strong, I did not seem to possess talent for music, writing, painting or sculpture, at the time, the only outlet a woman had to express any artistic ability . . . My artistic yearnings lay fallow until I realized it was necessary to earn my living.<ref name="Libby70" />}}

==Studies at the Massachusetts Institute of Technology==

An architect friend suggested that she might like to try "landscape gardening" (the term used at the time for landscape architecture) a field in which [[Beatrix Jones Farrand]] had become a female pioneer during the 1890s. Coffin may also have been influenced by her uncle Benjamin Church, who had worked under [[Frederick Law Olmsted]] on the creation of [[Central Park]] in [[New York City]].<ref name="Karson182">[[#Karson|Karson]], p. 182</ref> Women at the time were looking beyond the traditional female careers of school teacher, nurse and office clerk, but relatively few educational institutions admitted them to study in male-dominated fields such as architecture or horticulture. One of the exceptions was the [[Massachusetts Institute of Technology]] (MIT), which had begun admitting women in 1870, only nine years after its establishment.<ref name="Libby69">[[#Libby|Libby]], p. 69</ref> Coffin applied there but was initially refused entry, as she was not qualified to meet the admission requirements due to her lack of a formal education. However, several of the key faculty members were sympathetic and encouraged her to persevere. She undertook intensive tuition in mathematics and enrolled at MIT in 1901 as a special student,<ref name="Ralph10" /> one of four women enrolled on the architecture course<ref name="Libby69" /> and one of two studying landscape architecture.<ref name="Libby70" /> The four women on the course were the only female members of a 500-strong student body.<ref name="Karson182" />
[[File:MIT Boston 19th c byEdward L Allen BPL 2351553844.jpg|thumb|right|[[Stereographic card]] showing a mechanical drafting studio at MIT, where Coffin studied from 1901–4]]
Coffin took the full range of architectural courses including studying engineering, physics, maths, mechanical drafting and freehand drawing in addition to architectural and landscape design. She also studied botany and horticulture under [[Charles Sprague Sargent]] at the [[Arnold Arboretum]]. One of her formative influences at MIT was [[Guy Lowell]], the director of the landscape design program there, who was an advocate of the classical values of balance, order, proportion and harmony taught by the French Ecole des Beaux-Arts. Lowell was best known for his book ''American Gardens'', published in 1902, which influenced many landscape architects to adopt his principles to design symmetrical, axial gardens that combined architectural features with classical garden ornaments with vegetation, following the tradition of Italian villas.<ref name="Ralph10" />

Another major influence was [[Charles A. Platt|Charles Platt]], who also followed the Italian tradition of treating the house and gardens as complementary entities, designed as a whole as a series of indoor and outdoor "rooms". His 1894 book ''Italian Gardens'' was a major influence on Coffin's own designs and elements of his work can be recognised in gardens that she executed, such as the [[Gibraltar (Wilmington, Delaware)|Gibraltar Gardens]] in [[Wilmington, Delaware]]. During her course, she spent a summer abroad studying landscape design in France and Italy, as well as going on field trips to study estates in the Boston area, including some designed by Platt.<ref name="Ralph11">[[#Ralph|Ralph]], p. 11</ref> She particularly excelled at botany and became friends with a fellow student, [[Henry Francis du Pont]], with whom she later collaborated to design the gardens of [[Winterthur Museum and Country Estate|Winterthur, Delaware]].<ref name="Libby71">[[#Libby|Libby]], p. 71</ref>

Coffin's college years were nonetheless a "long grind", as she described it, with a seemingly unrelenting "long routine of hard work" relieved only by her summer abroad. She and the other three women in the program maintained a friendly competition with the male students which, she said, "put us on our mettle to prove that we, too, were serious students and competitors. This association with many types of boys and men I found very helpful as we had a fine spirit of camaraderies in the drafting room and many a helping hand was given me at a critical moment, though one had to steel oneself to hear many a severe criticism, which was perhaps even more valuable."<ref name="Libby71" />

==Early career==
[[File:National-arts-club.jpg|right|thumb|The National Arts Club in New York City, where Coffin lived with her mother from 1905–27]]
She graduated in 1904<ref name="Ralph11" /> and travelled to Europe with her mother, visiting well-known gardens and staying with family and friends. Along the way she met [[Edith Wharton]], [[Henry James]] and [[Gertrude Jekyll]] among others.<ref name="Karson183">[[#Karson|Karson]], p. 183</ref> Jekyll, an influential British horticulturist and garden designer, had a major influence on Coffin's subsequent work. On returning to America, Coffin found that the strongly male-dominated architectural firms were unwilling to employ a woman.<ref name="Ralph11" /> She later wrote:

{{quote|One expected the world to welcome newly fledged landscape artists, but alas, few people seemed to know what it was all about . . . while the idea of taking a woman into an office was unheard of. 'My dear young lady, what will you do about supervising the work on the ground? [meaning the laborers].' [It] became such a constant and discouraging query that the only thing seemed to be for me to hang out my own shingle and see what I ''would'' do about it.<ref name="Libby71" />}}

She moved to [[New York City]] with her mother and took rooms in the [[National Arts Club]] in [[Grammercy Park]], [[Manhattan]].<ref name="Karson184">[[#Karson|Karson]], p. 184</ref> Around 1905, Coffin set up her own office at the National Arts Club and began taking commissions, using her family connections to find work. She was ideally situated; it was the height of the [[Country Place Era]], when wealthy East Coast Americans were eager to develop elaborate European-style gardens for their estates. Coffin was well-connected in such circles, widely traveled, came from a good family, was professionally trained and was known for her good taste.<ref name="Ralph11" /> She also joined the [[American Society of Landscape Architects]], which had two other female members at the time.<ref name="Karson184" />

Coffin's first jobs were to design small flower gardens such as the suburban garden she designed for Edward Sprague in 1906 in [[Flushing, Queens]]. Noted for its original design, it was situated on a modest lot measuring 150 feet by 300 feet (45 m by 91 m), typical of the new suburban developments being built on [[Long Island]] at the time. A few years later, she wrote about the Sprague garden in ''[[Country Life in America]]'' and Elsa Rehmann also discussed it in her 1918 book ''The Small Place: Its Landscape Architecture''. Coffin argued that a "moderately well-to-do" homeowner could create and maintain a substantial and elaborate garden for a modest expenditure, comparable to that of a mid-range car. She promoted the idea that even the most featureless lot could be beautified through good design: "We certainly cannot create a magnificent view, but we can plan and plant beautiful screens and backgrounds that will be interesting at all seasons of the year. We may not easily be able to construct a picturesque diversity at ground level, but we can plant so as to have much height and variety in our flower and shrub groups."<ref name="Karson184" />

As her fame grew, Coffin gained the opportunity to put her design principles into practice on a larger scale.<ref name="Ralph11" /> Her practice had grown large enough for her to need an assistant by 1911,<ref name="Karson186">[[#Karson|Karson]], p. 186</ref> and by 1918 she had moved her office to larger premises at 830 [[Lexington Avenue]].<ref name="Ralph11" /> She also took on James Scheiner, an architect, as an associate. He became a key part of Coffin's practice, working on large-scale tasks such as overseeing work on the ground. This in turn opened up new opportunities for her to take on new, larger commissions.<ref name="Karson186" /> Coffin insisted on being paid the same fees as a male architect and to be treated equally in contracts; this was a novelty in itself, at a time when women were usually paid less than men. She also liked to employ women to work with her on commissions, giving them the chance to undertake apprenticeships that male prejudice had denied her when she had first started on her career.<ref name="Libby71" />

==Inter-war career==
[[File:Gibraltar gardens and mansion.jpg|right|thumb|The gardens of Gibraltar (Wilmington, Delaware), designed by Coffin between 1916–23]]
Among Coffin's significant commissions during this period were the design of a garden for William Marshall Bullitt's Oxmoor estate in [[Glenview, Kentucky]] in 1909, probably due to a recommendation from Henry du Pont. The Bullitt commission led to two similar commissions nearby in 1911.<ref name="Karson185">[[#Karson|Karson]], p. 185</ref> In 1910–11 she also designed gardens for Alfred Boardman in [[Southampton, New York]] and for her friend Elizabeth E. Farnum in [[Norfolk, Connecticut]]. A relative of the du Ponts, Hugh Rodney Sharp, gave her what was to become one of her best-known commissions in 1916, the creation of the gardens of the Gibraltar estate in Wilmington, Delaware.<ref name="Karson186" /> She designed it in an [[Italianate architecture|Italianate Beaux-Arts]] style as a series of "rooms" to parallel the layout of the mansion. It has a strongly geometric layout profusely planted in a style reminiscent of an informal English garden. Numerous architectural and decorative elements such as fountains, statues, urns and hand-forged iron gates provide additional ornamentation.<ref name="TCLF-Gibraltar">{{cite web|url=http://tclf.org/landscapes/gibraltar|title=Gibraltar|publisher=The Cultural Landscape Foundation|accessdate=November 5, 2012}}</ref>

Coffin's attempts to find business in the Midwest were thwarted by the well-established presence there of several notable landscape architects in Chicago but she was not short of commissions despite this failure. Her success was recognized by her being elected a Fellow of the American Society of Landscape Architects in 1918, and by the 1920s she was one of the most sought-after East Coast landscape architects.<ref name="Ralph11" /> Her work was widely featured in popular magazines and professional journals, at Coffin's own instigation as part of an overt marketing strategy. She sought to reach the wealthy and powerful women who made up an important part of the readership of publications such as the Garden Club of America's ''Bulletin''. Coffin commissioned some of America's leading landscape photographers to take photographs of her creations and promoted her work through slide lectures. Her marketing was highly successful and led to a steady stream of commissions.<ref name="Karson188">[[#Karson|Karson]], p. 188</ref>

Most of her commissions were carried out during the 12 years or so between the end of the First World War and the start of the Great Depression. She took on several major projects, including designing the landscape around the [[Delaware State College]] campus in 1919 at the recommendation of Sharp, who chaired the college's Buildings and Grounds Committee.<ref name="Karson187">[[#Karson|Karson]], p. 187</ref> Other major projects included gardens for the Bayberryland estate in [[Shinnecock Hills, New York|Shinnecock Hills]] on Long Island, the Hillwood estate in nearby Wheaton Hills<ref name="Karson190">[[#Karson|Karson]], p. 190</ref> (which is now part of [[Long Island University]]) and the huge Caumsett estate (now [[Caumsett State Historic Park]]) on behalf of [[Marshall Field III]].<ref name="Karson191">[[#Karson|Karson]], p. 191</ref> Two projects carried out in the late 1920s, for Edgar W. Bassick in [[Bridgeport, Connecticut]] and Joseph Morgan Wing in [[Millbrook, New York]] led to her being awarded the Gold Medal of Honor by the [[Architectural League of New York]] in 1930.<ref name="Karson191">[[#Karson|Karson]], p. 191</ref>

In 1926, Coffin fell ill with a serious hip infection that forced her to curtail much of her physical activity and required a lengthy stay in hospital. She moved to a newly-acquired house in [[New Haven, Connecticut]], although she continued to maintain her office in New York and commuted there daily. Coffin often entertained guests in New Haven (and recruited several Connecticut notables as new clients), holding teas, cocktail parties, musical events and buffet suppers. The garden, which she had laid out herself, became the site of garden parties in the summer months. She preferred the company of young architects, artists, musicians and writers, though she could be curt towards those she took a dislike to; on one occasion, she snubbed [[Hilaire Belloc]] when he asked her which of his books she had read.<ref name="Karson193">[[#Karson|Karson]], p. 193</ref>

==Later career and death==
[[File:Winterthur Reflecting Pool.jpg|right|thumb|The Reflecting Pool at Winterthur, designed by Coffin for the du Ponts as their family swimming pool with a grand staircase leading down from the East Terrace]]
Coffin's designs were distinguished by her use of "dramatic contrasts in color, inclusion of wildflowers and woodland plantings, and site unity through effective transition spaces."<ref name="Pregill" /> She was especially noted for her ability to effectively incorporate functional areas such as tennis courts and putting greens with ornamental areas such as [[allée]]s.<ref name="Pregill">[[#Pregill|Pregill and Volkman]], p. 633</ref> Her willingness to innovate made her a particularly sought-after designer as clients came to value a more adventurous approach to landscape architecture. She put into practice the idea put forward in 1918 by Elsa Rehmann that a garden should be a "manifestation of distinctive individuality, an expression of personality."<ref name="Karson189">[[#Karson|Karson]], p. 189</ref> By the 1920s, Rehmann's views had become fashionable and gardens became seen as a vehicle for expressing the private self.<ref name="Karson189" />

Many of Coffin's theories and principles can be seen in practice in her most famous creation, Harry and Ruth du Pont's gardens at their Winterthur estate. Her work on the gardens began in 1929 and became the biggest commission of her career.<ref name="Karson194">[[#Karson|Karson]], p. 194</ref> It was very fortuitously timed for her, as the [[Wall Street Crash of 1929]] wiped out the fortunes of many of her clients and brought to an end the era of commissioning elaborate gardens for large country estates.<ref name="Ralph11" /> Coffin had somewhat better luck with her investments and the enormous fortune of the du Ponts insulated the family from the worst of the [[Great Depression]], permitting work on Winterthur to continue throughout the downturn. With the money from her investments and the fees from the du Ponts for the Winterthur commission, Coffin was able to maintain two homes, a maid and a chauffeur despite the general economic decline.<ref name="Karson194" />

The Depression meant that large commissions became few and far between. For the rest of her career, Coffin had to make do with smaller and less well-compensated commissions for suburban gardens. She took up writing and produced two books, ''Trees and Shrubs for Landscape Effects'' (1940) and ''The Seeing Eye''. The latter was completed but never published and the manuscript was lost after she died.<ref name="Ralph11" /> After the [[Second World War]] she carried out several more commissions and continued working on Winterthur until the 1950s. She designed layouts for the [[New York Botanical Garden]] in the [[Bronx]] and travelled extensively in Europe and South America in the late 1940s and early 1950s. She was awarded an honorary doctorate of letters from [[Hobart and William Smith Colleges]] in Geneva, New York in 1946. On February 2, 1957 she died at her home in New Haven.<ref name="Ralph12">[[#Ralph|Ralph]], p. 12</ref> Perhaps fulfilling Martha Brookes Hutcheson's prediction that having a career would be "matrimonial suicide" for a woman of her class, Coffin never married and had no children.<ref>[[#Howett|Howett]], p. 5</ref> Her papers, architectural plans and photographs of her gardens are preserved at the Winterthur Museum and Country Estate.<ref>[[#Doumato|Doumato]], p. 55</ref>

==References==

{{reflist|3}}

==Bibliography==
* {{cite book|ref=Doumato|title=Architecture and Women: A Bibliography|last=Doumato|first=Lamia|publisher=Garland Publishing|year=1988|isbn=9780824041052}}
* {{cite book|ref=Howett|last=Howett|first=Catherine M.|title=A World of Her Own Making: Katharine Smith Reynolds Johnston And the Landscape of Reynolda|publisher=University of Massachusetts Press|year=2007|isbn=9781558495203}}
* {{cite book|ref=Karson|last=Karson|first=Robin S.|title=A Genius for Place: American Landscapes of the Country Place Era|publisher=University of Massachusetts Press|year=2007|isbn=9781558496361}}
* {{cite book|ref=Libby|last=Libby|first=Valencia|title=Women in Landscape Architecture: Essays on History and Practice|editor1-last=Louise A.|editor1-first=Mozingo|editor2-last=Jewell|editor2-first=Linda L.|publisher=McFarland|year=2011|isbn=9780786461646}}
* {{cite book|ref=Pregill|last1=Pregill|first1=Philip|last2=Volkman|first2=Nancy|title=Landscapes in History:
Design and Planning in the Eastern and Western Traditions|publisher=John Wiley & Sons|year=1999|isbn=9780471293286}}
* {{cite web|ref=Ralph|url=http://pdfhost.focus.nps.gov/docs/NRHP/Text/98001098.pdf |title=National Register of Historic Places Inventory/Nomination: Gibraltar |last=Ralph |first=Mary Anna |date=May 31, 1995 |publisher=National Park Service}}

{{Horticulture and Gardening}}

{{Persondata
| NAME = Coffin, Marian Cruger
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = One of the first American women to work as a professional landscape architect
| DATE OF BIRTH = September 16, 1876
| PLACE OF BIRTH = Scarborough, New York
| DATE OF DEATH = February 2, 1957
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Coffin, Marian Cruger}}
[[Category:American landscape and garden designers]]
[[Category:Horticulturists and gardeners]]
[[Category:Landscape design history of the United States]]
[[Category:1876 births]]
[[Category:1957 deaths]]
[[Category:American landscape architects]]
[[Category:American gardeners]]
[[Category:American designers]]
[[Category:Women architects]]
[[Category:Massachusetts Institute of Technology alumni]]
[[Category:Arnold Arboretum]]
[[Category:People from Hancock County, Maine]]
[[Category:People from New York City]]
[[Category:NRHP architects]]

Giovanni Battista Agucchi

2013-04-17T00:34:42Z

Grumpycraig: /* References and further reading */ Added Short Description

[[File:Domenichino - Portrait of Monsignor Giovanni Battista Agucchi - WGA06386.jpg|thumb|300px|Portrait of Agucchi by his friend [[Domenichino]], 1615-1620]]
'''Giovanni Battista Agucchi''' (20 Nov 1570, [[Bologna]] — 1 Jan 1632) was an Italian churchman, Papal diplomat and writer on [[art theory]]. He was the nephew and brother of cardinals, and might have been one himself if had lived longer. He served as secretary to the [[Cardinal Secretary of State|Papal Secretary of State]], then the Pope himself, on whose death Agucchi was made a titular bishop and appointed as nuncio to Venice. He was an important figure in Roman art circles when he was in the city, promoting fellow-Bolognese artists, and was close to [[Domenichino]] 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 [[Gian Pietro Bellori]] a generation later.

==Career==
[[File:Domenichino - Portrait of Cardinal Agucchi - WGA06384.jpg|thumb|left|[[Domenichino]], Portrait of Cardinal [[Girolamo Agucchi]], older brother of Giovanni Battista, 1604-05]]
Agucchi came from a noble family of Bologna, where he was born. He began his career in 1580-82 assisting his much older brother [[Girolamo Agucchi]] (1555–1605), later briefly a cardinal from 1604-1605, who was governor of [[Faenza]] in the [[Papal States]], then studied at Bologna and Rome. He was made a canon of [[Piacenza Cathedral]], then from 1591 worked for his uncle Cardinal [[Filippo Sega]], an important diplomat for the Papacy (d. 1596), accompanying him as papal [[nuncio]] (ambassador) to France, then returning with him to Rome in 1594, and continuing in his service until his death in 1596.<ref name="zapperi">Zapperi</ref><ref name="young">Young</ref>

He then followed his brother Girolamo into the service of Cardinal [[Pietro Aldobrandini]], Papal Secretary of State, whose secretary was Girolamo. Aldobrandini was the nephew of [[Pope Clement VIII]] (r. 1592-1605). Agucchi accompanied Aldobrandini on his embassies to Florence and France, the latter to negotiate the [[Treaty of Lyon (1601)]] and the marriage of [[Henry IV of France]], then in 1604 to [[Ravenna]], where Aldobrandini had been made archbishop, with a trip to [[Ferrara]] in the same year. The death of Pope [[Leo XI]] and his replacement by [[Pope Paul V]] 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.<ref name="zapperi">Zapperi</ref><ref name="young">Young</ref> He was also a protege of the art-loving Cardinal [[Odoardo Farnese (cardinal)|Odoardo Farnese]], acting as his secretary.

Aldobrandini died in 1621 and Agucchi became secretary (''Segretario dei Brevi'') to the new [[Pope Gregory XV]], also from Bologna, the same year.<ref>Ginzburg, 5; Young; Zapperi</ref> Gregory died in 1623 and the same year his successor [[Urban VIII]] made Agucchi [[Bishop of Amasea]] ''in partibus infidelis'' (a [[titular see|titular role]], since [[Amasya|Amasea]] is in Eastern [[Turkey]]), and appointed him as [[Apostolic nuncio]] to the [[Republic of Venice]]. 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 [[Giovanni I Cornaro]], (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 [[Castello di San Salvatore]] at [[Susegana]], after a period in [[Oderzo]].<ref name="zapperi"/><ref name="young"/>

==In the art world==
[[File:Annibale Carracci - The Cyclops Polyphemus - WGA04461.jpg|thumb|left|[[Annibale Carracci]], the Cyclops Polyphemus in his frescos for the [[Palazzo Farnese]]]]
Agucchi was a cultivated intellectual, and the friend of many artists, playing a significant role in introducing [[Bolognese School (painting)|painters from his native Bologna]] to patrons in the [[Roman Curia]]. He was "an assiduous correspondent on his own and others behalf", and many unpublished letters survive, as well as those quoted by [[Carlo Cesare Malvasia]] in his works.<ref>Ginzburg, 6, 8 n. 30</ref> He frequently crops up in discussion of Roman commissions of the period, for example suggesting [[Ludovico Carracci]] to the authorities for an altarpiece in [[Saint Peter's, Rome]], though without success. [[Annibale Carracci]] had his own recommendation to Cardinal Odoardo Farnese from the cardinal's brother [[Ranuccio I Farnese, Duke of Parma]], 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.<ref>Young; Zapperi; Wittkower, 38-39</ref> Agucchi may have advised Carracci on the complicated and learned mythological [[iconography]] in his frescos of ''[[The Loves of the Gods (Carracci)|The Loves of the Gods]]'' for the cardinal's [[Palazzo Farnese]], the dazzling scheme that was Carracci's first commission in Rome, and remains a landmark work for the Roman Baroque.<ref>Wittkower, 57, 63 (63-68 on the scheme)</ref> He administered his last [[Holy Communion]] to Annibale before his premature death in 1609, and composed his [[epitaph]] for the [[Pantheon, Rome|Pantheon]].<ref>Ginzburg, 8 n. 29</ref>

[[Domenichino]] 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,<ref>Young; Finaldi and Kitson, 60</ref> and according to [[Bellori]], one of the figures in Domenichino’s fresco ''Meeting of St Nilus and Emperor Otto III'' (c. 1609–10; [[Grottaferrata Abbey]], Cappella dei SS Fondatori) is a portrait of Agucchi.<ref>Young; [[:File:Meeting of St Nilus and Otto III (Domenichino).jpg|Image of the fresco]] - the monk to the right of the cross seems the most like Domenichino's portrait in York, from some five years later</ref> The fine and intimate portrait in [[York Art Gallery]] (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.<ref>Ginsburg, throughout, p. 10 on it passing to his neice as heir</ref> Domenichino and Agucchi collaborated on the monument for Girolamo Agucchi in the church of [[San Giacomo Maggiore]] in Bologna, for which there are drawings in the British [[Royal Collection]] (Royal Library, MS. 1742).<ref name="young"/> Eva-Bettina Krems suggests that Agucchi is a likely candidate for the connection that introduced the Lombard sculptor [[Ippolito Buzzi]] to Cardinal [[Ludovico Ludovisi]], who provided a steady stream of work to him over several years.<ref>Krems</ref>

Cardinals Odoardo Farnese and Pietro Aldobrandini were politically opposed, although less so after a marriage between the two families in 1600,<ref name="Finaldi and Kitson, 38">Finaldi and Kitson, 38</ref> but were the two leading supporters of Bolognese painting in Rome, who between them succeeded in effectively giving the Bolognese "almost a monopoly" of large commissions for palaces in the 1610s. Cardinal Aldobrandini's personal taste was for the Late [[Mannerist]] style of [[Giuseppe Cesari]] (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 [[Apollo]] for the [[Villa Aldobrandini]] outside Rome in 1616-18; they are now in the [[National Gallery, London]].<ref>Wittkower, 38-39, 80 on Apollo frescos; 39 quoted</ref> Agucchi's elder brother, Cardinal Girolamo, commissioned Domenichino to paint three frescos on the life of [[Saint Jerome]] in the portico of [[Sant'Onofrio (Rome)|Sant'Onofrio]] in Rome, which are still in place. This was in 1604, completed 1605, at the time Domenichino was living with Agucchi.<ref>Finaldi and Kitson, 60</ref> The church also contains Domenichino's portrait of the Agucchis' uncle, Cardinal Sega, on his memorial.

From Annibale Carracci Cardinal Aldobrandini commissioned a set of decorative frescos with religious subjects in landscapes for his palace in Rome, now containing the [[Doria Pamphilj Gallery]] and still in the family, the ''Domine, quo vadis?'' in the National Gallery, London, and a ''Coronation of the Virgin'' bought by the [[Metropolitan Museum of Art]] from the Mahon collection. By 1603 he owned six works by Carracci, including two of the above.<ref name="Finaldi and Kitson, 38"/> The Bolognese artist [[Guercino]] only spent the years of Gregory XV's papacy in Rome, where his style changed in the direction of classicism. Denys Mahon 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.<ref>Finaldi and Kitson, 15-16, 21 n.37, summarizing ''Seicento studies''</ref>

==Writings==
[[Image:CeciliaAlms.jpg|thumb|right|300px|[[Domenichino]], ''St. Cecilia Distributing Alms'', fresco, 1612–15, [[San Luigi dei Francesi]], Rome]]
Agucchi's main published writing is a very incomplete but nonetheless significant ''Trattato della pittura'' ("Treatise on painting"), probably written in 1615, whose manuscript is in the library of the [[University of Bologna]] (MS. 245), who also have an unpublished Latin biography of his brother ''Vita Hieronymi Agucchi'' (MS 75). The ''Trattato'' 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 Annibale Carracci called ''Diverse figure al numero di ottanta'' ("Eighty different figures"). There is an English translation by [[Denis Mahon]] (1947), who did much to stimulate interest in Agucchi as a theorist who had been previously overlooked.<ref name="young"/><ref>translation and edition by Denis Mahon in his ''Studies in Seicento Art and Theory'' (London, 1947); on Mahon, see Finaldi and Kitson, 15-16, and [http://books.google.co.uk/books?id=Lm9gs8mXwOUC&pg=PA2&dq=Giovanni+Battista+Agucchi&hl=en&sa=X&ei=ZDUoUYv-BJKY0QWew4DwAw&ved=0CD8Q6AEwAw#v=onepage&q=Giovanni%20Battista%20Agucchi&f=false]. There is a long extract, with an introduction [http://books.google.co.uk/books?id=JBYnVv2lKY4C&pg=PA29&dq=Peiraikos&hl=en&sa=X&ei=Y-MuUc2JO6bN0QWExYCADA&ved=0CDMQ6AEwATgK#v=onepage&q=Peiraikos&f=false here, pp. 24-30]</ref>

The ''Trattato'' "is a lively document on official Roman art circles during the years 1607–15 and concentrates specifically on exalting the ''idea della bellezza'', which Agucchi identifies particularly in ancient sculpture."<ref name="young"/> The work shows signs of having being influenced by discussions with Domenichino, relecting 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 it 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.<ref>Zirpolo, 47-48; Finaldi and Kitson, 15-16</ref>

Agucchi drew from [[Neoplatonist]] 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.<ref name="zirpolo-47">Zirpolo, 47</ref> He held up classical sculpture, [[Raphael]] and [[Michelangelo]] as models, who had observed from "nature" but selected and idealized what they depicted, and deprecated the [[Mannerists]]. Annibale Caracci in particular had rescued art from their artificiality, returning to depicting improved nature. The [[naturalism (visual art)|naturalism]] of [[Caravaggio]] and his followers was also deplored.<ref>Zirpolo, 47-48; Young</ref>

The period was generally lacking in writing on art theory, apart from the series of lectures for the [[Accademia di San Luca]] by [[Federico Zuccari]], its first president. These were published as ''L'idea de' Pittori, Scultori, ed Architetti'' (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 [[Caravaggisti]] alike. The ''Idea'' 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.<ref>Wittkower, 39 (quoted, "swan song" quote is by R. Lee), 266</ref>

The younger [[antiquary]] [[Francesco Angeloni]], was a close friend who had also worked for the Aldobrandini, in his case Pope Clement VII, and owned at least a copy of the York portrait.<ref>Fletcher, 666 and note 19; also Ginzburg, 10-11, complicating matters</ref> 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.<ref>Young; Zirpolo, 48</ref>

Silvia Ginzburg has pointed out that an earlier piece by Agucchi, ''Descrizione della Venere dormiente di Annibale Carrazzi'' ("Description of Annibale Carracci's ''Sleeping Venus''"), 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 ''Trattato'' 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.<ref>Ginzburg, 8-10</ref>

Agucchi was also interested in [[astronomy]] and mathematics, and a member of the [[Accademia dei Gelati]] of Bologna. He had a long correspondence with [[Galileo Galilei]] in 1611–13, including passing on the data from his own astronomical observations, and lectured on the [[satellites of Jupiter]] in 1611; Galileo had made the first recorded observations of these in 1609.<ref>Young; Zirpolo, 47</ref><ref name=Galileo89>{{cite book|author=Galilei, Galileo|title=Sidereus Nuncius|editor=Translated and prefaced by Albert Van Helden|location=Chicago & London|publisher=University of Chicago Press|year=1989|pages=14–16|isbn=0-226-27903-0}}</ref>

==Notes==
{{reflist|2}}

==References==
*Finaldi, Gabriele and Kitson, Michael, ''Discovering the Italian Baroque: the Denis Mahon Collection'', 1997, National Gallery Publications, London/Yale UP, ISBN 1857091779
*Fletcher, J.M., "Francesco Angeloni and Annibale Carracci's 'Silenus Gathering Grapes'", ''[[The Burlington Magazine]]'', Vol. 116, No. 860 (Nov., 1974), pp. 664–666, [http://www.jstor.org/stable/877872 JSTOR]
*Ginzburg, Sylvia, "The Portrait of Agucchi at York Reconsidered", ''[[The Burlington Magazine]]'', Vol. 136, No. 1090 (Jan., 1994), pp. 4–14, [http://www.jstor.org/stable/885693 JSTOR]
*Krems, Eva-Bettina, "Die 'magnifica modestia' der Ludovisi auf dem Monte Pincio in Rom. Von der Hermathena zu Berninis Marmorbüste Gregors XV"''Marburger Jahrbuch für Kunstwissenschaft'' '''29'''(2002), pp. 105–163.
*[[Rudolf Wittkower|Wittkower, Rudolf]], ''Art and Architecture in Italy, 1600-1750'', Penguin/Yale History of Art, 3rd edition, 1973, ISBN 01405611161
*Young, Peter Boutourline, "Agucchi, Giovanni Battista" in [[Grove Art Online]], Oxford Art Online, Oxford University Press, accessed 22 February 2013, [http://www.oxfordartonline.com/subscriber/article/grove/art/T001189 subscriber link]
* Zapperi, Roberto, "AGUCCHI (Agocchi, Agucchia, Dalle Agocchie), Giovanni Battista" in [http://www.treccani.it/enciclopedia/giovanni-battista-agucchi_%28Dizionario_Biografico%29/ Dizionario Biografico degli Italiani], Volume 1 (1960, in Italian)
* Zirpolo, Lilian H., ed., [http://books.google.co.uk/books?id=Tm4qUqU_EhgC&pg=PA47&dq=Giovanni+Battista+Agucchi&hl=en&sa=X&ei=ZDUoUYv-BJKY0QWew4DwAw&ved=0CEoQ6AEwBQ#v=onepage&q=Giovanni%20Battista%20Agucchi&f=false ''Historical Dictionary of Baroque Art and Architecture''], "Agucchi, Giovanni Battista"

==Further reading==
*[[Denis Mahon|Mahon, Denis]], ''Studies in Seicento Art and Theory'' (London, 1947)

{{Persondata
| NAME = Agucchi, Giovanni Battista
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = Italian churchman, Papal diplomat, and writer on art theory
| DATE OF BIRTH = 20 Nov 1570
| PLACE OF BIRTH =
| DATE OF DEATH = 1 Jan 1632
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Agucchi, Giovanni Battista}}
[[Category:1570 births]]
[[Category:Italian bishops]]
[[Category:1632 deaths]]
[[Category:Diplomats of the Holy See]]
[[Category:People from Bologna]]
[[Category:Apostolic Nuncios to Venice]]
[[Category:Baroque painting]]
[[Category:Italian astronomers]]
[[Category:Italian art critics]]