
During the pontificate of Urban VIII (1623-1644), the arts in Rome enjoyed a period of unprecedented splendor. In the context of the Counterreformation, they were part of the propaganda arsenal of papal might. The architecture of Bernini and Borromini, as well as the musiche of Mazzocchi and Rossi, echoing in the private apartments of the cardinals and the accademie, where the elite of Rome congregated to enjoy music and poetry, bear witness to this trend.
The texts set in this music were often deliberately vague as to whether their content was secular or religious. The primary
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