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・ Carlo Lorenzo Garcia
・ Carlo Felice Cillario
・ Carlo Felice Nicolis, conte di Robilant
・ Carlo Felice Trossi
・ Carlo Ferdinando Landolfi
・ Carlo Ferrara
・ Carlo Ferrari
・ Carlo Ferrario
・ Carlo Festuccia
・ Carlo Filangieri
・ Carlo Finco
・ Carlo Fontana
・ Carlo Forlanini
・ Carlo Forlivesi
・ Carlo Formichi
Carlo Francesco Bizzaccheri
・ Carlo Francesco Cesarini
・ Carlo Francesco Dotti
・ Carlo Francesco Gabba
・ Carlo Francesco Nuvolone
・ Carlo Francesco Pollarolo
・ Carlo Franchi
・ Carlo Franchi (composer)
・ Carlo Franzinetti
・ Carlo Fregosi
・ Carlo Frigerio
・ Carlo Fruttero
・ Carlo Fumagalli
・ Carlo Furletti
・ Carlo Furno


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Carlo Francesco Bizzaccheri : ウィキペディア英語版
Carlo Francesco Bizzaccheri
Carlo Francesco Bizzaccheri (1656-1721〔Abbate Carlo Stefano, locked manuscript in the Accademia di S. Luca〕〔Unpublished notes by F Noack kept in the Biblioteca Hertziana give his date of birth as 13 April 1655〕) was an Italian architect.〔Mallory, p27〕 He worked in an early Baroque and Rococo style.〔Mallory, p. 27〕 His works, mostly confined to ecclesiastical buildings in the vicinity of Rome, include the fountain in the Piazza dell Bocca della Verità, Rome.〔Scholar Source〕
== Biography==

Bizzaccheri trained under the architect Carlo Fontana and later became a member of the Pontificia Insigne Accademia di Belle Arti e Letteratura dei Virtuosi al Pantheon.〔Mallory〕 He is not famed for large and monumental buildings; in fact, he never built a church in its entirety, but was frequently responsible for smaller chapels within greater churches. Such chapels can be found in many large, European Roman Catholic churches. Usually dedicated to one individual saint, they were often patronised by a member of the nobility who had purchased a vault beneath as a family mausoleum. In this way, the decoration and style of each chapel often became quite different from both its neighbouring chapel and the mother church within which it was located - as each patron through their architect displayed their cultivation, piety and wealth. The Baroque style, in which Bizzaccheri often worked, with its generous use of elaborate sculpture, painting and gilding was an accommodating vehicle for those nobles wishing to display their wealth if not their piety.

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