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This is the first study to characterize the architectural patronage of Cardinal Pietro Ottoboni (1667-1740), and to identify twelve architects during his half century of patronage in his Ecclesiastical court of the Cancelleria. Most eminent among them were Filippo Juvarra and Domenico Gregorini. Commercial and private theaters in the palace are located from archival data, room measurements, drawings, diary accounts, Correspondence of the French Academy, and palimpsests of architectural details. The size, shape, appearance, capacity, and location of Filippo Juvarra's theater are discussed. Archival documents are cited to reveal why, how, and when it vanished. Detailed analysis is devoted to Juvarra's stage construction with its elaborate sets and moving apparatus. In his official function as Vice-Chancellor of the Church, it is well known that Ottoboni was positioned as a major patron of music, theater, and painting in late Baroque Rome. He was a librettist for oratorios performed by his resident composer, Arcangelo Corelli, and by Alessandro Scarlatti in venues in the palace, and in his basilica of San Lorenzo in Damaso, located in the palace grounds. His resident painters included Francesco Trevisani and Sebastiano Conca. He completed the construction of Bernini's Confessione in the nave of his basilica. As the sponsor of the Arcadian Academy, Ottoboni dictated taste in Roman cultural circles. His involvement in the competition for the façade of St. John Lateran is amplified. A grand overview is provided for the cardinal's commission of devotional machine constructed to rival the Lenten carnivals. As ephemeral constructions, and normally ignored liturgical phenomena, these are explored in detail for the first time.Edward J. Olszewski, Case Western Reserve University, Cleveland, Ohio, U.S.A.

Late Baroque architecture, architectural patronage, Roman palace architecture

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"Six articles in Changing scenes represent the ongoing reassessment of fin de siècle literature in Finnish research. The period was seen in earlier research as something of a national renaissance or golden age and interpreted in the light of its national symbols and meanings. Only recently has more attention been paid to its international dimensions and its role in the modernisation of Finnish culture. In particular the spotlight has been trained on the reflection in Finnish literature of manifestations of the degeneration thinking so common in Europe at that time. Research has also picked out works and writers that featured less in earlier studies. One modernist Finnish poet, Neustadt Prize-winning Paavo Haavikko, is also examined in an article representing the latest Finnish research in this field. "

modernist poetry --- finnish modernism --- paavo haavikko --- l. onerva --- literary modernism --- winter palace