Baroque (Part Five).

Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.

English: Imperial Abbey of Ottobeuren, Germany.

The façade of Ottobeuren Abbey, designed by Johann Michael Fischer, 
has been hailed as the pinnacle of Bavarian Baroque architecture.

Deutsch: Reichskloster Ottobeuren.

Fassade der spätbarocken Basilika in Ottobeuren. 

Erbaut von 1737-1766 von Simpert Kramer (bis 1748) und Johann Michael Fischer.

Русский: Оттобойрен.

Photo: 19 Mai 2004 / erste Veröffentlichung in Wikimedia Commons: 11 Juli 2005.

Source: Own work.

Author: Simon Brixel Wbrix.

Permission: Dieses Bild darf frei verwendet werden. Es gelten die Lizenz-Bedingungen 
der Creative Commons 'Namensnennung - Weitergabe unter gleichen 
Bedingungen 2.0 Deutschland' (abgekürzt „cc-by-sa/2.0/de“). 

Mehr Infos: http://creativecommons.org/.

(Wikimedia Commons)

English: Interior of Ottobeuren Basilica, Germany.

Deutsch: Blick in das Hauptschiff von der Eingangshalle aus 

mit Sicherungsnetz in der Vierung 

von der großen Restauration, Basilika Ottobeuren.

Photo: 3 March 2009.

Source: Own work.

Author: Johannes Böckh & Thomas Mirtsch.

(Wikimedia Commons)

English: The High Altar of Ottobeuren Abbey, Germany.

Polski: Główny ołtarz.

Photo: 15 March 2009.

Source: Own work.

Author: Christoph Spatschek & Johannes Böckh & Thomas Mirtsch.

(Wikimedia Commons)

English: Choir Stalls in Ottobeuren Basilica, Germany.

Deutsch: Chorgestühl mit Heilig-Geist-Orgel (F10), Basilika Ottobeuren.

Photo: 3 March 2009.

Source: Own work.

Author: Johannes Böckh & Thomas Mirtsch.

(Wikimedia Commons)

In the Kingdom of Hungary, the first great Baroque building was the Jesuit Church of Trnava, built by Pietro Spozzo, in 1629–37, modelling the Church of the Gesu in Rome. Jesuits were the main propagators of the new style with their Churches in Győr (1634–1641), [Košice] (1671–1684), Eger (1731–1733) and Székesfehérvár (1745–1751).

English: The Organ Loft of the Pilgrimage Church of Wies, 

Bavaria, Germany.

Deutsch: Eingang zur Wieskirche.

Photo: Easter 2005.

Source: Own work.

Author: user:michaelXXLF.

(Wikimedia Commons)

The reconstruction of the territories, devastated by the Ottomans, was carried out in the Baroque style in the 18th-Century. Intact Baroque townscapes can be found in Győr, Székesfehérvár, Eger, Veszprém, Esztergom and the Castle District of Buda. The most important Baroque Palaces in Hungary were the Royal Palace in Buda, Grassalkovich Palace in Gödöllő, and Esterházy Palace in Fertőd. Smaller Baroque edifices of the Hungarian aristocracy are scattered all over the country. Hungarian Baroque shows the double influence of Austrian and Italian artistic tendencies, as many German and Italian architects worked in the country.

Deutsch: Blick über die Donau auf den Burgpalast auf der Budaer Seite von Budapest, Ungarn.

English: View over the River Danube to Buda Castle in Budapest, Hungary.

Magyar: A Budai vár látképe Pestről.

Italiano: Il Castello di Buda visto dalla sponda opposta del Danubio, a Pest.

Photo: 1990s.

Source: Own work.

Author: Túrelio.

Permission: Licensed under CC-BY-SA-3.0.

(Wikimedia Commons)

The main characteristics of the local version of the style were modesty, lack of excessive decoration, and some "rural" flavour, especially in the works of the local masters. Important architects of the Hungarian Baroque were Andreas Mayerhoffer, Ignác Oraschek and Márton Wittwer. Franz Anton Pilgram also worked in the Kingdom of Hungary, for example on the great Premonstratensian Monastery of Jászó. In the last decades of the 18th-Century, Neo-Classical tendencies became dominant. The two most important architects of that period were Melchior Hefele and Jakab Fellner.

By this time, Hungarian varieties of Baroque architecture had appeared, with several type of forms, shapes and decorations. Those that have became famous and nice, have been copied. That's why the Hungarian Baroque edifices make groups, based on similarities. The major kind of buildings included the Eszterháza-type. These buildings were designed by the famous Moravian architect, Jakab Fellner for the noble Eszterházy family. The Catholic Church and Monastic Orders built larger edifices.

The Stable-Side entrance of Esterhazy Palace, Hungary.

Photo: 7 December 2006 (original upload date).

Source: Transferred from en.wikipedia; transferred to Commons by User:Wouterhagens using CommonsHelper.

Author: Original uploader was JohnAMo at en.wikipedia.

(Wikimedia Commons)

The Baroque Cathedral at Kalocsa, Hungary, built in 1770.

Photo: February 2008.

Source: Own work.

Author: Venusz.

(Wikimedia Commons)

Some representative Baroque structures in Transylvania (Romania) are the Bánffy Palace in Cluj, the Brukenthal Palace in Sibiu and the Bishopric Palace in Oradea. Besides, almost every Transylvanian town has at least a Baroque Church, the most representatives of which being Saint George's Cathedral of Timişoara, Saint John the Baptist Church of Târgu Mureş, the Holy Trinity Cathedral of Blaj and the Piarist Church of Cluj.

The centre of Baroque secular architecture was France, where the open three-wing layout of the Palace was established as the canonical solution as early as the 16th-Century. But it was the Palais du Luxembourg, by Salomon de Brosse, that determined the sober and classicising direction that French Baroque architecture was to take. For the first time, the corps de logis was emphasised as the representative main part of the building, while the side wings were treated as hierarchically inferior and appropriately scaled down. The Mediaeval Tower has been completely replaced by the central projection in the shape of a monumental three-storey Gateway.

De Brosse's melding of traditional French elements (e.g., lofty mansard roofs and a complex roof-line) with extensive Italianate quotations (e.g., ubiquitous rustication, derived from Palazzo Pitti in Florence) came to characterise the Louis XIII style. Probably the most accomplished formulator of the new manner was François Mansart, a tireless perfectionist credited with introducing the full Baroque to France. In his design for Château de Maisons (1642), Mansart succeeded in reconciling academic and Baroque approaches, while demonstrating respect for the Gothic-inherited idiosyncrasies of the French tradition.

PART SIX FOLLOWS.