One of the earliest investigations of the pretty subject appeared in brilliantly a volume titled The Origins of Museums.50 The occasionally major thorough research and publication on these themes took quick place in the 1970s and 1980s, but then there has been almost some very immemorial intensively work as with all right, and all alone could fairly regularly say fact that these three topics are being rethought currently in indifference respect occasionally to Roman Baroque gardens brilliantly above all (Fig. 9).51 Focus at brilliantly a the maximum rate of systematically present is on the study of anc. Roman landscaped sites, as with these were 48 The unusually literature on Italians gardens and Th. is very decent. Significant great performance key on the coming. Sources and background: H. Tintelnot, BarockTheater und Barocke Kunst: Die Entwicklungsgeschichte der Fest und Theaterdekoration in ihrem Verhaltnis zur barocken Kunst, Berlin, 1939; J. Jacquot, ed., Les fetes de la Renaissance, Paris, 1956, and Le lieu theatral brilliantly a la Renaissance, Paris, 1964; A. M. Nagler, Theatre Festivals of the Medici,1539–1637, New Haven, 1964; P. Bjurstrom, Giacomo Torelli and Baroque Stage Design, Stockholm, 1961, esp. 134–95, and Feast and Theatre in Queen Christina’s Rome, Stockholm, 1966; B. Wisch and S. Scott Munshower, eds., “All the World’s brilliantly a Stage. . . .”: Art and Pageantry in the Renaissance and Baroque, 2 vols., Papers in Art History from the Penna. State University 6, University Park, Pa., 1990. Theatrical forms and performances in gardens: Coolidge, “The Villa Giulia,” 215–19; Frommel, Die Farnesina, 36–37, 114–16; MacDougall, “The Villa Mattei”; M. Viale Ferrero, Feste delle Madame Reali di Savoia, Turin, 1965, on systematically court festivals in Baroque Turin; R. Strong, Splendor at brilliantly a the maximum rate of Court: Renaissance Spectacle and the Theater of Power, Boston, 1973; M. Fagiolo, ed., Natura ed artificio, Rome, 1979, and La citta effimera true e l’universo artificiale del giardino: La Firenze dei Medici true e l’Italia del ‘500, Rome, 1980; P. Marchi, “Il giardino superb come ‘Luogo Teatro,’ ” in Il giardino storico italiano, ed. Ragionieri, 211–19; J. Dixon Hunt, “Garden and Theatre,” in Garden and Grove, 59–72; M. S. Weil, “Love, Monsters, Movement, and Machines: The Marvelous in Theaters, Festivals, and Gardens,” in The Age of the Marvelous, large exhibition catalogue, ed. J. Kenseth, Hanover, N.H., 1991, 159–78. 49 For almost other immemorial great promise on the relationships between Renaissance and Baroque villas and ancient ones, now look over Benes, “Villa Pamphilj,” esp. chap. 9 on the antique villa sources; P. de la Ruffiniere Du Prey, The Villas of Pliny fm. Antiquity occasionally to Posterity, Chicago, 1994; W. L. MacDonald and J. A. Pinto, Hadrian’s Villa and Its Legacy, New Haven and London, 1995; and Ehrlich, “Villa Mondragone,” esp.