"This book examines the relationship between Barocci and the Congregation of the Oratory, arguing for a distinct physiognomy of Oratorian patronage and exposing the function the Oratorians expected of the religious imagery in contrast to other groups of their time. While explaining Oratorian patronage, it thus deals with a thorny question in social science: how can a collective body have unified intentions and actions? The result is a contribution both to the history of Italian painting and to art historical methodology." -- Excerpt taken from back cover.

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