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How did the concerto grosso contrast a concertino with a ripieno orchestra?

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caricature of Antonio Vivaldi — concerto Caricature of Antonio Vivaldi, pen and ink on paper by Pier Leone Ghezzi, 1723; in the Codex Ottoboni, Vatican Library, Rome. The inscription below the drawing reads, “Il Prete rosso Compositore di Musica che fece L'opera a Capranica del 1723” (“The red priest, composer of music who made the opera at Capranica [College in Rome] of 1723”).

The concerto grosso is a hallmark of Baroque music defined by the structural contrast between two distinct instrumental groups:

The Concertino: This small group of soloists typically featured a trio sonata configuration—usually two violins and a continuo (a bass melody instrument and a harmony instrument)—though wind instruments were also common.1
The Ripieno: Also known as the tutti or the full orchestra, this group consisted of a larger string ensemble with continuo, often augmented by woodwinds or brass.1

The composition relied on the interplay and opposition between these two forces. In fast movements, this relationship was often organized through a ritornello structure, where the full ripieno played a recurring theme that alternated with contrasting episodes performed by the concertino soloists. This dynamic exchange allowed for a sophisticated dialogue between the intimate, virtuosic solo group and the larger, more powerful orchestral body.21