Baroque (Part Ten).

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

Pilgrimage Church of Mariä Himmelfahrt, Bavaria, Germany.

Photo: 10 September 2012.

Source: Own work.

Author: Mattana.

(Wikimedia Commons)

Ukrainian Baroque is an architectural style that emerged in Ukraine during the Hetmanate era, in the 17th- and 18th-Centuries. Ukrainian Baroque is distinct from the Western European Baroque in having more moderate ornamentation and simpler forms, and as such was considered more constructivist. One of the unique features of the Ukrainian Baroque, was bud and pear-shaped domes, that were later borrowed by the similar Naryshkin baroque. Many Ukrainian Baroque buildings have been preserved, including several buildings in Kiev Pechersk Lavra and the Vydubychi Monastery. The best examples of Baroque painting are the Church paintings in the Holy Trinity Church of the Kiev Pechersk Lavra. Rapid development in engraving techniques occurred during the Ukrainian Baroque period. Advances utilised a complex system of symbolism, allegories, heraldic signs, and sumptuous ornamentation.

English: Interior of the Collegiale Saint-Martin, in la Brigue, Alpes-Maritimes, France.

Français: Intérieur de la collégiale Saint-Martin à la Brigue, Alpes-Maritimes.

Photo: 30 March 2011.

Source: Own work.

Author: Tangopaso.

(Wikimedia Commons)

During the golden age of the Swedish Empire, the architecture of Nordic countries was dominated by the Swedish Court architect, Nicodemus Tessin the Elder, and his son, Nicodemus Tessin the Younger. Their aesthetic was readily adopted across the Baltic, in Copenhagen and Saint Petersburg.

Born in Germany, Tessin the Elder endowed Sweden with a truly national style, a well-balanced mixture of contemporary French and Mediaeval Hanseatic elements. His designs for the Royal Manor of Drottningholm seasoned French prototypes with Italian elements, while retaining some peculiarly Nordic features, such as the hipped roof (säteritak).

Deutsch: Hochaltar in der Pfarrkirche Sant Stephan, Tulln.

English: The High Altar in the Church of Saint Stephen, Tulln, Austria.

Photo: September 2003 (11 November 2007 (original upload date)).

Source: Transferred from de.wikipedia; transferred to Commons by User:NeverDoING 

using CommonsHelper. (Original text : FOTOREPORT.at).

Author: Hannes Sallmutter. Original uploader was Sallmutter at de.wikipedia.

Permission: Released under the GNU Free Documentation License.

(Wikimedia Commons)

Tessin the Younger shared his father's enthusiasm for discrete Palace façades. His design for the Stockholm Palace draws so heavily on Bernini's unexecuted plans for the Louvre that one could well imagine it standing in Naples, Vienna, or Saint Petersburg. Another example of the so-called International Baroque, based on Roman models with little concern for national specifics, is the Royal Palace of Madrid. The same approach is manifested is Tessin's polychrome domeless Kalmar Cathedral, a skilful pastiche of early Italian Baroque, clothed in a giant order of paired Ionic pilasters.

Salzburg Cathedral.

Photo: 24 July 2012.

Source: Own work.

Author: Mattana.

(Wikimedia Commons)

Roof Vaulting, Salzburg Cathedral.

Photo: 22 July 2012.

Source: Own work.

Author: Mattana.

(Wikimedia Commons)

It was not until the Mid-18th-Century, that Danish and Russian architecture were emancipated from Swedish influence. A milestone of this late period is Nicolai Eigtved's design for a new district of Copenhagen centred on the Amalienborg Palace. The Palace is composed of four rectangular Mansions for the four greatest nobles of the kingdom, arranged across the angles of an octagonal square. The restrained façades of the Mansions hark back to French antecedents, while their interiors contain some of the finest Rococo decoration in Northern Europe.

English: Großgmain (Salzburg). Church of Our Lady. Baroque interior by Tobias Kendler (1731).

Deutsch: Großgmain (Salzburg). Liebfrauenkirche. Barocker Innenraum von Tobias Kendler (1731).

Photo: 17 August 2010.

Source: Own work.

Author: Wolfgang Sauber.

(Wikimedia Commons)

Istanbul, once the capital of the Ottoman Empire, hosts many different varieties of Baroque architecture. As reforms and innovations to modernise the country came out in the 18th- and 19th-Century, various architecture styles were used in Turkey, one of them was the Baroque Style. As Turkish architecture (which is also a combination of Islamic and Byzantine architecture) combined with Baroque, a new style called Ottoman Baroque appeared. Baroque architecture is mostly seen in mosques and Palaces built in these centuries. The Ortaköy Mosque, is one of the best examples of Ottoman Baroque Architecture. The Tanzimat Era caused more architectural development. The architectural change continued with Sultan Mahmud II, one of the most reformist sultans in Turkish History. One of his sons, Sultan Abdülmecid, and his family, left the Topkapı Palace and moved to the Dolmabahçe Palace, which is the first European-style Palace in the country.

English: Church of Saint Stephen, Braunau-am-Inn, Austria.

Deutsch: Stadtpfarrkirche Sant Stephan,, Braunau-am-Inn, Austria.

Photo: 26 March 2011.

Source: Eigenes Werk (Own work).

Author: Mattana.

(Wikimedia Commons)

English: Braunau-am-Inn with the Stadtpfarrkirche Saint Stephan 

and the Old City Wall in view. This is a 4 x 2 segment panorama.

Deutsch: Braunau-am-Inn mit Blick auf die Stadtpfarrkirche St. Stephan 

und die alte Stadtmauer. Hierbei handelt es sich um ein 4x2 segmentiertes Panorama.

Datum/Date: 2007-03-02T17:45+01:00 ISO 8601.

Source: Eigenes Werk (Own work).

Author: Philipp Mayer.

(Wikimedia Commons)

Baroque architecture in Istanbul was mostly used in Palaces near the Bosphorus and Golden Horn. Beyoğlu was one of the places that Baroque and other European style architecture buildings were largely used. The famous streets called Istiklal Avenue, Nişantaşı, and Bankalar Caddesi, consist of these architecture style apartments. The Ottoman flavour gives it its unique atmosphere, which also distinguishes it from the later "colonial" Baroque styles, largely used in the Middle East, especially Lebanon. Later, and more mature, Baroque forms in Istanbul can be found in the gates of the Dolmabahçe Palace which also has a very "Eastern" flavour, combining Baroque, Romantic, and Oriental architecture.

Cathedral of Our Lady, Antwerp, Belgium.

Photo: 27 March 2011.

Source: Own work.

Author: Mattana.

(Wikimedia Commons)

Cathedral of Our Lady, Antwerp, Belgium.

Photo: 27 March 2011.

Source: Own work.

Author: Mattana.

(Wikimedia Commons)

Cathedral of Our Lady, Antwerp, Belgium.

Photo: 27 March 2011.

Source: Own work.

Author: Mattana.

(Wikimedia Commons)

THIS ENDS THE ARTICLE ON BAROQUE ARCHITECTURE.

Baroque (Part Nine).

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

English: Church of Saint Francis de Sales, Krakow, Poland.

Polski: Kościół św. Franciszka Salezego (wnętrze), ul. Krowoderska 16, Kraków.

Photo: 17 July 2008.

Source: Own work.

Author: Zygmunt Put Zetpe0202.

(Wikimedia Commons)

The magnates, throughout the Polish-Lithuanian Commonwealth, competed with the kings. The monumental castle, Krzyżtopór, built in the style palazzo in fortezza between 1627 and 1644, had several courtyards surrounded by fortifications. Late Baroque fascination with the culture and art of the "central nation" is reflected in Queen Masysieńka's Chinese Palace in Zolochiv. 18th-Century magnate Palaces represent the characteristic type of Baroque suburban residence built entre cour et jardin (between the entrance court and the garden). Its architecture, a merger of European art with old Commonwealth building traditions, is visible in Wilanów Palace, Branicki Palace in Białystok and in Warsaw, Potocki Palace in Radzyń Podlaski, Raczyński Palace in Rogalin and Wiśniowiecki Palace in Vyshnivets. Architects such as Johann Christoph Glaubitz were instrumental in forming the so-called distinctive Vilnius Baroque style, which spread throughout the region.

Polski: Kościół św. Floriana w Krakowie.

English: Saint Florian Church in Kraków, Poland.

Photo: 4 August 2007.

Source: Own work.

Author: Jakub Hałun.

(Wikimedia Commons)

By the end of the century, Polish Baroque influences crossed the Dnieper into the Cossack Hetmanate, where they gave birth to a particular style of Orthodox architecture, known as the Cossack Baroque. Such was its popular appeal, that every Medieval Church in Kiev and the Left-Bank Ukraine was redesigned according to the newest fashion.

A notable style of Baroque architecture emerged in the 18th-Century with the work of Johann Christoph Glaubitz, who was assigned to rebuild the Commonwealth capital city of Vilnius. The style was therefore named "Vilnian Baroque" and Old Vilnius was named the "City of Baroque". The most notable buildings by Glaubitz in Vilnius are the Church of Saint Catherine (1743), the Church of the Ascension (1750), the Church of Saint John, the Monastery Gate and the Towers of the Church of the Holy Trinity. The magnificent and dynamic Baroque facade of the formerly Gothic Church of Saint John (1749) is mentioned among his best works. Many Church interiors, including the one of the Great Synagogue of Vilna, were reconstructed by Glaubitz as well as the Town Hall in 1769.

English: View of the Saint Michael's Golden-Domed Cathedral in Kiev, Ukraine, 

from the Saint Sophia Bell-Tower.

Français: Vue de la Cathédrale Saint-Michel au Dôme d'Or de Kiev 

depuis le clocher de Sainte Sophie.

Photo: 2 July 2007.

Source: Own work.

Author: Dmytro Sergiyenko.

(Wikimedia Commons)

The Saint Michael's Golden-Domed Monastery in Kyiv, Ukraine, although started in 1113, represents one of the most typical examples of Ukrainian Baroque architecture.

Notable buildings of Vilnian Baroque in other places are Saint Sophia Cathedral in Polotsk, Belarus (rebuilt in 1738-1765), the Carmelite Church in Hlybokaye, Belarus (1735) and the Church of Saint Peter and Saint Paul in Berezovichi, Belarus (built in 1776, the 1960s and 1970s), its replica was constructed in Białystok in the 1990s.

In Russia, Baroque architecture passed through three stages: The early Moscow Baroque, with elegant white decorations on red-brick walls of rather traditional Churches: the mature Petrine Baroque, mostly imported from the Low Countries: and the late Rastrelli-esque Baroque, which was, in the words of William Brumfield, "extravagant in design and execution, yet ordered by the rhythmic insistence of massed Columns and Baroque statuary."

The first Baroque Churches were built in the estates of the Naryshkin family of Moscow boyars. It was the family of Natalia Naryshkina, Peter the Great's mother. Most notable in this category of small suburban Churches were the Church of the Intercession, in Fili (1693 - 1696), the Holy Trinity Church, in Troitse-Lykovo (1690 - 1695), and the Church of the Saviour, in Ubory (1694–97). They were built in red brick with profuse detailed decoration in white stone. The belfry was not any more placed beside the Church, as was common in the 17th-Century, but on the facade itself, usually surmounting the octagonal central Church and producing daring vertical compositions.

Русский: Новодевичий монастырь в Москве.

Français: Couvent de Novodievitchi (à Moscou en Russie).

English: Novodevichy Convent, Moscow.

Deutsch: Nowodewitschi-Kloster in Moskau.

Photo: 17 May 2007.

Source: Own work.

Author: Anne-Laure PERETTI Lotusalp.

(Wikimedia Commons)

The Church of the Intercession, at Fili, Russia.

Built in 1694.

Photo: 25 April 2010.

Source: Church of the Intercession at Fili.

Author: Sergey Rodovnichenko from Moscow, Russia.

(Wikimedia Commons)

The Church of the Intercession at Fili (Russian: Це́рковь Покрова́ в Филя́х) is a Naryshkin Baroque Church commissioned by the boyar Lev Naryshkin in his suburban estate, Fili; the territory has belonged to the City of Moscow since 1935.

As the style gradually spread around Russia, many Monasteries were remodelled after the latest fashion. The most delightful of these were the Novodevichy Convent and the Donskoy Monastery in Moscow, as well as Krutitsy metochion and Solotcha Cloister near Riazan. Civic architecture also sought to conform to the Baroque aesthetics, e.g., the Sukharev Tower in Moscow, and there is also a Neo-Form of this style, like the Principal Medicine Store on Red Square. The most important architects associated with the Naryshkin Baroque were Yakov Bukhvostov and Peter Potapov.

Petrine Baroque is a name applied by art historians to a style of Baroque architecture and decoration favoured by Peter the Great and employed to design buildings in the newly-founded Russian capital, Saint Petersburg, under this monarch and his immediate successors. Unlike contemporaneous Naryshkin Baroque, favoured in Moscow, the Petrine Baroque represented a drastic rupture with Byzantine traditions that had dominated Russian architecture for almost a millennium. Its chief practitioners – Domenico Trezzini, Andreas Schlüter, and Mikhail Zemtsov – drew inspiration from a rather modest Dutch, Danish, and Swedish architecture of the time. Extant examples of the style in Saint Petersburg are the Peter and Paul Cathedral, the Twelve Colleges, the Kunstkamera, Kikin Hall and Menshikov Palace.The Petrine Baroque structures outside Saint Petersburg are scarce; they include the Menshikov Tower in Moscow and the Kadriorg Palace in Tallinn.

Interior of the Church of Saint Anne in Krakow, Poland.

Photo: 2009.

Source: Own work.

Author: Gryffindor.

(Wikimedia Commons)

English: The Monastery Church at Raitenhaslach, Bavaria, Germany.

Deutsch: Klosterkirche Raitenhaslach, Blick in Richtung Altar.

Photo: 30 July 2010.

Source: Own work.

Author: Misburg3014.

(Wikimedia Commons)

PART TEN FOLLOWS.

Baroque (Part Eight).

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

English: Interior of the Imperial Abbey of Rot an der Rot.

Deutsch: Reichsabtei Rot an der Rot.

Photo: 20 November 2010.

Source: Own work.

Author: Richard Mayer.

(Wikimedia Commons)

Rot an der Rot Abbey (also referred to as Roth, Münchroth, Münchenroth, Mönchroth or Mönchsroth) was a Premonstratensian Monastery in Rot an der Rot in Upper Swabia, 

Baden-Württemberg, Germany. It was the first Premonstratensian Monastery 

in the whole of Swabia. The imposing structure of the former Monastery is situated 

on a hill between the valleys of the rivers Rot and Haslach. 

The Monastery Church, dedicated to Saint Verena, and the Convent buildings 

are an important part of the Upper Swabian Baroque Route. 

Apart from the actual Monastic buildings, a number of other structures 

have been preserved, among which are the gates and the economy building.

Frequently, the Southern German Baroque is distinguished from the Northern German Baroque, which is more properly the distinction between the Catholic Baroque and the Protestant Baroque. In the Catholic South, the Jesuit Church of Saint Michael, in Munich, was the first to bring Italian-style across the Alps.

However, its influence on the further development of Church architecture was rather limited. A much more practical and more adaptable model of Church architecture was provided by the Jesuit Church in Dillingen: The wall-pillar Church, a Barrel-Vaulted Nave, accompanied by large open Chapels separated by wall-pillars. As opposed to Saint Michael's in Munich, the Chapels almost reach the height of the Nave in the wall-pillar Church, and their Vault (usually transverse Barrel-Vaults) springs from the same level as the main Vault of the Nave. 

The Chapels provide ample lighting; seen from the entrance of the Church, the wall-pillars form a theatrical setting for the Side Altars. The wall-pillar Church was further developed by the Vorarlberg School, as well as the Master-Masons of Bavaria. This new Church also integrated well with the Hall Church model of the German Late-Gothic age. The wall-pillar Church continued to be used throughout the 18th-Century (e.g. even in the early Neo-Classical Church of Rot an der Rot Abbey), and early wall-pillar Churches could easily be refurbished by re-decoration without any structural changes, such as the Church at Dillingen.

Deutsch: Langhaus der Roter Klosterkirche St. Verena, Rot an der Rot.

English: Nave of Rot Monastery Church St. Verena, Rot an der Rot.

Photo: 11 October 2009.

Source: Own work.

Author: Zairon.

(Wikimedia Commons)

However, the Catholic South also received influences from other sources, such as the so-called radical Baroque of Bohemia. The radical Baroque of Christoph Dientzenhofer and his son Kilian Ignaz Dientzenhofer, both residing at Prague, was inspired by examples from Northern Italy, particularly by the works of Guarino Guarini. It is characterised by the curvature of walls and intersection of oval spaces. While some Bohemian influence is visible in Bavaria's most prominent architect of the period, Johann Michael Fischer (the curved balconies of some of his earlier wall-pillar Churches), the works of Balthasar Neumann, in particular the Basilica of the Vierzehnheiligen, are generally considered to be the final synthesis of Bohemian and German traditions.

Deutsche: Die Dresdner Frauenkirche in der Blauen Stunde aufgenommen.

English: The Frauenkirche, Dresden, during the "Blue Hour".

Photo: 12 September 2009.

Source: The Church of Our Lady.

Uploaded by X-Weinzar.

Author: Christian Prade.

(Wikimedia Commons)

Original image description from the Deutsche Fotothek

Deutsch: Ruine der Frauenkirche gegen Rathausturm.

English: Ruins of the Frauenkirche, Dresden, Germany.

Photo: Circa 1965.

Photographer: Richard Peter (1895–1977).

Institution: Deutsche Fotothek.

Accession Number: df_ps_0000348.

Source: Deutsche Fotothek.

(Wikimedia Commons)

Protestant sacred architecture was of lesser importance during the Baroque, and produced only a few works of prime importance, particularly the Frauenkirche, in Dresden. Architectural theory was more lively in the North than in the South of Germany, with Leonhard Christoph Sturm's edition of Nikolaus Goldmann, but Sturm's theoretical considerations (e.g. on Protestant Church architecture) never really made it to practical application. In the South, theory essentially reduced to the use of buildings and elements from illustrated books and engravings as a prototype.

Palace architecture was equally important both in the Catholic South and the Protestant North. After an initial phase, when Italian architects and influences dominated (Vienna, Rastatt), French influence prevailed from the second decade of the 18th-Century, onwards. The French model is characterised by the horseshoe-like layout enclosing a cour d'honneur (courtyard) on the town side (chateau entre cour et jardin), whereas the Italian (and also Austrian) scheme presents a block-like villa. 

The principal achievements of German Palace architecture, often worked out in close collaboration of several architects, provide a synthesis of Austro-Italian and French models. The most outstanding Palace, which blends Austro-Italian and French influences into a completely new type of building, is the Würzburg Residence. While its general layout is the horseshoe-like French plan, it encloses interior courtyards. Its façades combine Lucas von Hildebrandt's love of decoration with French-style classical orders in two superimposed Storeys; its interior features the famous Austrian "Imperial Staircase", but also a French-type enfilade of rooms, on the garden side, inspired by the "apartement semi-double" layout of French castles.

English: Interior of Vierzehnheiligen Basilica in Bavaria, Germany.

Deutsch: Innenansicht Basilika Vierzehnheiligen.

Photo: 5 September 2005.

Source: Own work.

Author: Asio otus.

(Wikimedia Commons)

The first Baroque Church in the Polish – Lithuanian Commonwealth was the Corpus Christi Church in Niasvizh, Belarus (1586–1593). It also holds the distinction of being the first Domed Basilica, with Baroque façade, in the Commonwealth and the first Baroque piece of art in Eastern Europe.

In the early 17th-Century, the Baroque style spread over the Commonwealth. Important Baroque Churches include: Saints Peter and Paul (1597–1619), constructed in the Early-Baroque style, following the pattern of Vignola's il Gesù; the Vasa Chapel (1644–1676) of the Wawel Cathedral, Baroque equivalent to neighbouring Renaissance Sigismund's Chapel, St. Anne (1689–1703) and the Visitation Church (1692–1695) in Kraków.

Other significant examples include the profusely-decorated Jesuit Church in Poznań (1651–1701), with almost theatrical decoration inside, the Xavier Cathedral in Hrodna (1678–1705), the Royal Chapel (1678–1681) in Gdańsk, a mixture of Dutch and Polish patterns and Święta Lipka in Masuria (1681–1693), the Northernmost Tyrolean Baroque building.

PART NINE FOLLOWS.

Baroque (Part Seven).

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

The Basilica of Our Lady of Scherpenheuvel is a Roman Catholic Parish Church 

and Minor Basilica in Scherpenheuvel-Zichem, Belgium. 

The Church was consecrated in 1627 and raised to the status of a Minor Basilica in 1922.

English: The High Altar at the Minor Basilica of Our Lady of Scherpenheuvel, Belgium.

Nederlands: Schilderij van Theodoor Van Loon in de Onze-Lieve-Vrouwebasiliek 

te Scherpenheuvel, België.

Photo: 1 January 2009.

Source: Own work.

Author: Paul Hermans.

(Wikimedia Commons)

Baroque aesthetics, whose influence was so potent in Mid-17th-Century France, made little impact in England during the Protectorate and the first Restoration years. For a decade between the death of Inigo Jones, in 1652, and Christopher Wren's visit to Paris, in 1665, there was no English architect of the accepted premier class. Unsurprisingly, general interest in European architectural developments was slight.

It was Wren who presided over the genesis of the English Baroque manner, which differed from the Continental models by a clarity of design and a subtle taste for classicism. Following the Great Fire of London, Wren rebuilt fifty-three Churches, where Baroque aesthetics are apparent primarily in dynamic structure and multiple changing views.

His most ambitious work was Saint Paul's Cathedral, which bears comparison with the most effulgent domed Churches of Italy and France. In this majestically proportioned edifice, the Palladian tradition of Inigo Jones is fused with contemporary Continental sensibilities in masterly equilibrium. Less influential were straightforward attempts to engraft the "Bernini-esque" vision onto British Church architecture (e.g., by Thomas Archer in Saint John's, Smith Square, 1728).

English: Großgmain, Salzburg, Austria. Church of Our Lady. 

Baroque interior by Tobias Kendler (1731).

Deutsch: Großgmain (Salzburg). Liebfrauenkirche.

Barocker Innenraum von Tobias Kendler (1731).

Photo: 17 August 2010.

Source: Own work.

Author: Wolfgang Sauber.

(Wikimedia Commons)

Detail of Vaulting in Salzburg Cathedral, Austria.

Photo: 22 July 2012.

Source: Own work.

Author: Mattana.

(Wikimedia Commons)

Detail of Vaulting in Salzburg Cathedral, Austria.

Photo: 22 July 2012.

Source: Own work.

Author: Mattana.

(Wikimedia Commons)

Although Wren was also active in secular architecture, the first truly Baroque Country House in England was built to a design by William Talman at Chatsworth, starting in 1687. The culmination of Baroque architectural forms comes with Sir John Vanbrugh and Nicholas Hawksmoor. Each was capable of a fully developed architectural statement, yet they preferred to work in tandem, most notably at Castle Howard (1699) and Blenheim Palace (1705).

Although these two Palaces may appear somewhat ponderous or turgid to Italian eyes, their heavy embellishment and overpowering mass captivated the British public, albeit for a short while. Castle Howard is a flamboyant assembly of restless masses dominated by a cylindrical domed tower, which would not be out of place in Dresden or Munich. 

Blenheim is a more solid construction, where the massed stone of the arched gates and the huge solid portico becomes the main ornament. Vanbrugh's final work was Seaton Delaval Hall (1718), a comparatively modest mansion, yet unique in the structural audacity of its style. It was at Seaton Delaval that Vanbrugh, a skillful playwright, achieved the peak of Restoration drama, once again highlighting a parallel between Baroque architecture and contemporary theatre. Despite his efforts, Baroque was never truly to the English taste and well before his death, in 1724, the style had lost currency in Britain.

Castle Howard, Yorkshire, England.

Photo: 21 March 2008.

Source: Taken by Pwojdacz.

Author: Pwojdacz (talk). Original uploader was Pwojdacz at en.wikipedia.

Permission: Released into the public domain by the Author.

(Wikimedia Commons)

Blenheim Palace, Oxfordshire, England.

Photo: 27 July 2009.

Source: Blenheim_Palace_2006.jpg.

Author: Blenheim_Palace_2006.jpg: gailf548

from New York State, USA. derivative work: Nev1 (talk).

(Wikimedia Commons)

In the Holy Roman Empire, the Baroque period began somewhat later. Although the Augsburg architect, Elias Holl (1573–1646), and some "Theoretists", including Joseph Furttenbach the Elder, already practiced the Baroque style, they remained without successors due to the ravages of the Thirty Years' War. From about 1650 on, construction work resumes, and secular and ecclesiastical architecture are of equal importance. 

During an initial phase, master-masons from Southern Switzerland and Northern Italy, the so-called magistri Grigioni and the Lombard master-masons, particularly the Carlone family from Val d'Intelvi, dominated the field. However, Austria came soon to develop its own characteristic Baroque style during the last third of the 17th-Century. Johann Bernhard Fischer von Erlach was impressed by Bernini. He forged a new Imperial Style by compiling architectural motifs from the entire history, most prominently seen in his Church of Saint Charles Borromeo in Vienna. Johann Lucas von Hildebrandt also had an Italian training. He developed a highly decorative style, particularly in façade architecture, which exerted strong influences on Southern Germany.

PART EIGHT FOLLOWS.

Baroque (Part Six).

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

English: Versailles's Chapel, as seen from the tribune royale.

An outstanding example of French Baroque.

A four-segment vertical panorama of the 

Royal Chapel of the Palace of Versailles, France. 

Français: Panorama de la Chapelle du château de Versailles, France.

Photo: 7 July 2006.

Source: Own work.

Attribution: Photo by DAVID ILIFF. License: CC-BY-SA 3.0.

Author: Diliff.

(Wikimedia Commons)

The Château de Maisons demonstrates the ongoing transition from the Post-Mediaeval Chateaux of the 16th-Century to the Villa-like Country Houses of the 18th-Century. The structure is strictly symmetrical, with an order applied to each storey, mostly in pilaster form. The frontispiece, crowned with a separate aggrandised roof, is infused with remarkable plasticity and the ensemble reads like a three-dimensional whole. Mansart's structures are stripped of overblown decorative effects, so typical of contemporary Rome. Italian Baroque influence is muted and relegated to the field of decorative ornamentation.

The next step in the development of European residential architecture involved the integration of the gardens in the composition of the Palace, as is exemplified by Vaux-le-Vicomte, where the architect, Louis Le Vau, the designer Charles Le Brun, and the gardener, André Le Nôtre, complemented one another. From the main cornice to a low plinth, the miniature Palace is clothed in the so-called "colossal order", which makes the structure look more impressive. The creative collaboration of Le Vau and Le Nôtre marked the arrival of the "Magnificent Manner", which allowed to extend Baroque architecture outside the Palace walls and transform the surrounding landscape into an immaculate mosaic of expansive vistas.

English: Château de Maisons, near Paris, by François Mansart (1642).

Château de Maisons-Laffitte, in the department of Yvelines, France. 

The château is classified as an historic Monument.

Français: Château de Maisons-Laffitte dans le département des Yvelines en France. 

Le château est classé monument historique.

Photo: 27 March 2012.

Source: Own work.

Author: Moonik.

(Wikimedia Commons)

The same three artists scaled this concept to monumental proportions in the royal hunting lodge, and later main residence, at Versailles. On a far grander scale, the Palace is an exaggerated and somewhat repetitive version of Vaux-le-Vicomte. It was both the most grandiose, and the most imitated, residential building of the 17th-Century. Mannheim, Nordkirchen and Drottningholm were among many foreign residences for which Versailles provided a model.

Français: La cour d'honneur du château de Versailles, France.

English: Versailles Palace, Versailles, France.

Photo: February 2007.

Source: Own work.

Author: Eric Pouhier.

(Wikimedia Commons)

The final expansion of Versailles was superintended by Jules Hardouin-Mansart, whose key design is the Dome des Invalides, generally regarded as the most important French Church of the century. Hardouin-Mansart profited, from his uncle's instruction and plans, to instill the edifice with an Imperial grandeur, unprecedented in the countries North of Italy. The majestic hemispherical Dome balances the vigorous vertical thrust of the orders, which do not accurately convey the structure of the interior. The younger architect not only revived the harmony and balance, associated with the work of the elder Mansart, but also set the tone for Late-Baroque French architecture, with its grand ponderousness and increasing concessions to academicism.

The reign of Louis XV saw a reaction, against the official Louis XIV Style, in the shape of a more delicate and intimate manner, known as Rococo. The style was pioneered by Nicolas Pineau, who collaborated with Hardouin-Mansart on the interiors of the royal Château de Marly. Further elaborated by Pierre Le Pautre and Juste-Aurèle Meissonier, the "genre pittoresque" culminated in the interiors of the Petit Château at Chantilly (circa 1722) and Hôtel de Soubise, in Paris (circa 1732), where a fashionable emphasis on the curvilinear went beyond all reasonable measure, while sculpture, paintings, furniture, and porcelain tended to overshadow architectural divisions of the interior.

Deutsch: Die Verzückung der hl. Teresa von Avila, Bernini, 

in Santa Maria della Vittoria, Rom

English: Ecstasy of St Theresa, 1652, by Gianlorenzo Bernini. 

Cornaro chapel, Santa Maria Della Vittoria church in Rome.

Español: Éxtasis de Santa Teresa, 1652, de Gian Lorenzo Bernini. 

Capilla de Cornaro, Iglesia de Santa María de la Victoria en Roma.

Français: L'Extase de sainte Thérèse ou La Transfiguration de sainte Thérèse ou La Transverbération de sainte Thérèse, 1652, par Le Bernin (Gianlorenzo Bernini). 

Chapelle Cornaro de l'église Santa Maria Della Vittoria à Rome.

Italiano: Trasfigurazione di santa Teresa, 1652, di Gianlorenzo Bernini. 

Cappella Cornaro nella chiesa di Santa Maria della Vittoria a Roma.

Photo: 26 February 2006.

Source: Flickr.

Author: [1].

(Wikimedia Commons)

English: The Baroque Interior of the Church at Minden, Germany.

Deutsch: Dom Minden.

Photo: 1895.

Source: Die Bau- und Kunstdenkmäler des Kreises Minden.

Author: A. Ludorff.

(Wikimedia Commons)

Baroque architecture in the Southern Netherlands developed rather differently than in the Protestant North. After the Twelve Years' Truce, the Southern Netherlands remained in Catholic hands, ruled by the Spanish Habsburg Kings. Important architectural projects were set up in the spirit of the Counter-Reformation. In them, florid decorative detailing was more tightly knit to the structure, thus precluding concerns of superfluity. A remarkable convergence of Spanish, French, and Dutch Baroque aesthetics may be seen in the Abbey of Averbode (1667). Another characteristic example is the Church of Saint Michel, at Louvain, with its exuberant two-storey façade, clusters of half-columns, and the complex aggregation of French-inspired sculptural detailing.

Six decades later, a Flemish architect, Jaime Borty Milia, was the first to introduce Rococo to Spain (Cathedral of Murcia, West façade, 1733). The greatest practitioner of the Spanish Rococo style was a native master, Ventura Rodríguez, responsible for the dazzling interior of the Basilica of Our Lady of the Pillar in Zaragoza (1750).

Some Flemish architects, such as Wenceslas Cobergher, were trained in Italy and their works were inspired by architects such as Jacopo Barozzi da Vignola and Giacomo della Porta. Cobergher's major project was the Basilica of Our Lady of Scherpenheuvel, which he designed as the centre of a new town, in the form of a heptagon.

The Rococo façade of Murcia Cathedral, Spain.

Photo: December 2004.

Source: http://en.wikipedia.org/wiki/Image:Murcia_Cathedral.jpg.

Author: en:User:JCRA.

(Wikimedia Commons)

The influence of the painter, Pieter Paul Rubens, on architecture, was important. With his book, "I Palazzi di Genova", he introduced novel Italian models for the conception of profane buildings and decoration in the Southern Netherlands. The courtyard and portico of his own house in Antwerp (Rubenshuis) are good examples of his architectural activity. He also took part in the decoration of the Antwerp Jesuit Church (now Carolus Borromeuskerk), where he introduced a lavish Baroque decoration, integrating sculpture and painting in the architectural programme.

There is little Baroque about Dutch architecture of the 17th-Century. The architecture of the first republic in Northern Europe was meant to reflect democratic values by quoting extensively from classical antiquity. Like contemporary developments in England, Dutch Palladianism is marked by sobriety and restraint. Two leading architects, Jacob van Campen and Pieter Post, used such eclectic elements as giant-order pilasters, gable roofs, central pediments, and vigorous steeples in a coherent combination that anticipated Wren's Classicism.

Español: Capilla del Pilar de la Basílica de Nuestra Señora del Pilar en Zaragoza. De izquierda a derecha: la imagen de Santiago y sus Convertidos, la representación de la venida de la Virgen al lugar y la Santa Columna donde está la Santísima Imagen de Nuestra Señora del Pilar.

English: Chapel of the Basilica del Pilar in Zaragoza, Spain. From left to right: The image of Santiago and his Converted; the representation of the coming of the Virgin; and the place where is 

the Holy Image of Our Lady of Pilar.

Photo: 21 June 2009.

Source: Own work.

Author: Davas27.

(Wikimedia Commons)

The most ambitious constructions of the period included the Seats of Self-Government in Amsterdam (1646) and Maastricht (1658), designed by Campen and Post, respectively. On the other hand, the residences of the House of Orange are closer to a typical Burgher Mansion than to a Royal Palace. Two of these, Huis ten Bosch and Mauritshuis, are symmetrical blocks with large windows, stripped of ostentatious Baroque flourishes and mannerisms. The same austerely geometrical effect is achieved without great cost or pretentious effects at the Stadholder's summer residence of Het Loo.

The Dutch Republic was one of the Great Powers of 17th-Century Europe and its influence on European architecture was by no means negligible. Dutch architects were employed on important projects in Northern Germany, Scandinavia and Russia, disseminating their ideas in those countries. The Dutch colonial architecture, once flourishing in the Hudson River Valley, and associated primarily with red-brick gabled houses, may still be seen in Willemstad, Curaçao.

PART SEVEN FOLLOWS.

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.