### FUGUE
A compositional form that summarizes the principal criteria of musical thought development and the main procedures of counterpoint known as imitative counterpoint, i.e., based on the reproduction, in various voices, of a given thematic element.
The fugue is constructed in that ternary form which is widely applied even in symphonic art in its three phases: presentation, development, and recapitulation; the two lateral pillars support and condition the central one. In the first section of the fugue (exposition), the fundamental theme (subject) is presented successively by the different voices, and interwoven with it is the secondary theme (countersubject). The latter is combined with the former according to the rules of reversible counterpoint, so that the two simultaneous themes can stand one above and equally below the other.
The complete presentation of the subject and countersubject in all voices is followed by the so-called divertimenti, episodes in which the thematic elements are developed and which are inserted between the repetitions of the subject in other tonalities.
The final part is the most interesting: the most renowned for its close interlacings (stretti), canons (prolonged imitations), possible episodes of triple counterpoint, augmentations (when the rhythmic values of a theme are proportionally increased), and other possible contrapuntal procedures, more or less ingenious and abstruse, culminating in stretto writing and the final pedal point, which is a prolonged note in the bass, upon which new thematic combinations are superimposed.
This general scheme governs the composition of a fugue with greater or lesser rigor depending on whether it is a fugue of the school, a fugato as part of a symphonic movement, or a personal construction inspired by the fugue. The fugato is of two main types: 1) exposition followed by stretti; 2) the section following the exposition is composed with broad freedom of procedure, i.e., without adhering to the precise rules that instead apply to the academic fugue. As a marvelous model of a fugue, inspired by highly artistic criteria and with personal significance, one may recall that which closes op. 12 by Beethoven (there are in fact two fugatos, the second on the inverted theme of the first; and such inversion has value in the particular and general meaning of this famous sonata).
As for historical origins, they are linked, on the one hand, to the Franco-Flemish polyphony of the second half of the
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### FUGA, FERDINANDO
Architect, b. Florence 1699, d. Rome 1781. In his homeland he was a pupil of Foggini; at a young age he came to Rome, then went to Sicily where in Palermo he worked on the Duomo; from there he returned in 1730 to Rome, where he succeeded Antonio Valeri, a pupil of Bernini, as superintendent of the Quirinal buildings. His return to Rome is to be connected with the accession to the throne of the Tuscan Clement XII.
The first work of F. in Rome seems to be the church of the Bambin Gesù begun in 1731. In 1732 he began work on the church of the Morte and in the same year started to build the Palazzo della Consulta; in 1736 he began work on the Palazzo Corsini; in 1741 he began work on the façade of S. Cecilia; between 1742 and 1743 he built the façade of S. Maria Maggiore. After 1750 he went to Naples, where he built the Albergo dei Poveri, the Reale Manifattura di porcellana, the Granili and the façade of the church of S. Filippo Neri or dei Gerolamini.
His most successful work is the façade of S. Maria Maggiore, consisting of a portico and a loggia, which allows glimpses of the mosaics of the ancient medieval prospect. The church of the Morte, on the other hand, is more in keeping with the Roman coloration and its façade strongly recalls the so-called "canneto" of S. Vincenzo Anastasio at Trevi. The interior has a very clear plan, in keeping with those churches of this period which prefer it when they must rise on a restricted site. The façade of S. Filippo Neri in Naples is somewhat mannered in its elegance but is also interesting for the presence of two bell towers, a not very common arrangement among us, which recalls S. Agnese in Piazza Nazionale and other Roman churches even earlier, such as the Trinità dei Monti, S. Atanasio dei Greci, S. Anastasia.
In civil architecture, the masterpiece of F. is the Palazzo della Consulta, harmonious in its elegant façade, framed by pilasters enclosing large windows, with a predominance of void over mass, thus removing any heaviness from the construction without, however, making it lose solidity and majesty. The decoration, while remaining sober, has grace and lively plasticity, especially in the garlands, brackets, shells and Baroque-broken pediments.
The long façade of the Palazzo Corsini, on the other hand, appears somewhat cold, though noteworthy for the majestic scenography of the atrium and staircase.
Still in Rome one should also recall the Palazzo Cenci Bolognetti and the church of S. Apollinare.
Vincenzo Golzio
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### FLIGHT INTO EGYPT
But Jesus escaped, for an angel appeared in a dream to Joseph, ordering him to take the Child and Mary and flee into Egypt.
Around this simple fact, legend created a whole wealth of episodes, drawn from the apocryphal Gospels and which served as subject matter for Christian art.
I. ARCHAEOLOGY
The first time that the Flight into Egypt appears in Christian art, it is observed that the artist was inspired by the narration of the apocryphal Gospel "De nativitate Mariae et infantia Salvatoris" known as the Pseudo-Matthew (ch. 24), as seen in the triumphal arch of S. Maria Maggiore. The Christ Child, with a nimbus surmounted by a cross, is escorted by two winged and nimbed angels, while Aphrodisius prepares to venerate Him, having seen that at His appearance all the simulacra of the idols were shattered (J. P. Richter, Di un raro soggetto rappresentato nel mosaico della Basilica Liberiana, in Nuovo Bull. di arch. crist., 5 [1899], p. 137 ff.).The same apocryphal source was later drawn upon by artists who depicted the scene in some Cappadocian churches, such as at Belkiliase, Mensheykiliase, Elmalykiliase and Tokaly-kiliase. Susam Bayr, near Urgub, where the falling to the ground of the simulacra of the idols is represented, according to the narration of the apocryphal text.
In the early years of the 11th century the Flight is painted in S. Urbano alla Caffarella: the Madonna with the Child is on the donkey, followed by St. Joseph.
In the 12th century the dream of the Flight into Egypt is depicted in the museums of the Palatine Chapel in Palermo. On the left St. Joseph is awakened by the angel; on the right he supports the Child on his left shoulder while with his right hand he guides the donkey on which the Madonna is seated; a servant follows. The scene of the Flight into Egypt is also found in the pair of S. Biagio, near Brindisi, which an inscription dates to the year 1197. C. At the same date Benedetto Antelami sculpted the Flight in the baptistery of Parma. On the façade of S. Zeno in Verona the relief scene was sculpted by a master Guglielmo: St. Joseph precedes with a staff on his shoulder, to which the small luggage is tied; with his right hand he holds the rope to which the donkey is secured, on which the Madonna with the Child is seated (mid-12th century).