DOCSLIB.ORG

The Story of Baroque Architecture Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE STORY OF BAROQUE ARCHITECTURE FREE DOWNLOAD Claudia Zanlungo | 144 pages | 15 Apr 2012 | PRESTEL | 9783791345956 | English | Munich, Germany What Is Baroque Architecture? Rather than having a single moment of inception, the Baroque period brought together a number of innovative developments in the late s as it was informed by the different and rival painting styles of Caravaggio, the Bolognese School led by Annibale Carracciand the architecture of Giacomo Della Porta. It was a style seen during the 17th century in England and became truly prominent in the 18th century. The origin of the term Baroque is a bit ambiguous. The Story of Baroque Architecture features of the palace include the Hall of The Story of Baroque Architecture and the Grande Canal. Known as a master of detail and light, Velazquez's work has been a significant influence on generations of artists and movements, from Realism to Surrealism. This church was found in Lisbon and was designed by architect Joao The Story of Baroque Architecture. The figures are depicted realistically, their strong muscled calves and thighs in mid-movement. The Rococo was a far reaching artistic movement associated with ornate decoration that included architecture, painting, sculpture, music, interior design, landscape design, and theater. Read More. Views Read Edit View history. Another characteristic example is the Church of St. Trained in Milan in the dominant Mannerist style, he quickly evolved his own technique using chiaroscurodramatic contrasts of light and dark, and tenebrismintensifying the contrast into dark atmospheric scenes with some elements highly lit as if by a spotlight. An especially ornate variant, appeared in the early 18th century; it was first called Rocaille in France; then Rococo in Spain and The Story of Baroque Architecture Europe. Claude's work emphasized landscape and the effects of light, and his subjects, whether religious or classical themes, were simply the occasion of the work but not its focus. English Architecture in the Baroque Period English architecture during the 17th The Story of Baroque Architecture can be characterized by its use of Palladian, Jacobean, and English Baroque styles. The Story of Baroque Architecture elements subdued Baroque architecture in France. Facebook Twitter. Broad naves : In churches, it is characterized by broad naves the central part The Story of Baroque Architecture a church where services are held with oval forms. By the early 18th century, Baroque buildings could be found in all parts of Italy, often with The Story of Baroque Architecture variations. Quick view Read more. Published in two volumes, first inthenit influenced artists and architects throughout Europe into the s. The formal aesthetic of the palace was meant to glorify France and show the power and greatness of the The Story of Baroque Architecture Sun King, Louis XIV. Baroque architecture often used visual and theatrical effects, designed to surprise and awe the viewer:. Claude Lorrain. Religious subjects were most often depicted in printmaking to illustrate Biblical texts. In painting, the works of the anti-Mannerist Bolognese School led by Annibale Carracci were the first to be promoted as part of the Counter-Reformation. The Dutch Golden Age was the only example of the Baroque style employed in a Protestant area, and, as a result, took a very different approach in both architecture and painting. A revival of interest in Bernini's architectural work is noted by a number of contemporary architects, including I. History of architecture. The parterredesigned to be viewed from above from the Chateau windows and terrace, was an extension of the interior architecture and design. In growing usage the term originally contained negative connotations, the artwork within its cadre viewed as bizarre and sometimes ostentatious. Judith and Holofernes c. By Kimutai Gilbert on June 13 in Society. The Churriguera family, which specialized in designing altars and retables, revolted against the sobriety of the Herrerian classicism and promoted an intricate, exaggerated, almost capricious style of surface decoration known as the Churrigueresque. Cite article. Chapel of the Sorbonne by Jacques Lemercier — Caravaggio, too, was rediscovered, but not until the mids, and his work has subsequently influenced photographers, filmmakers, and artists. However, Baroque architects were distinctly more theatrical. The Judgment of Paris c. Chiaroscuro, Tenebrism, and Sfumato. Landscape with Orpheus and Eurydice depicts a classical Greek story within an idealized landscape where contrasts of light and dark create drama. Mexico City Metropolitan CathedralThe Story of Baroque Architecture City, built between andby several architects. Gardens at Versailles : Plan for the The Story of Baroque Architecture gardens at the Palace of Versailles. Bernini: The Sculptor of the Roman Baroque. In general, Baroque architecture evolved in response to a tumultuous period that began in the 16th century. Period The Story of Baroque Architecture architecture does not exist in North America, but specific themes like dynamism and Chiaroscuro have been implemented into other art forms and building styles. Archived from the original on 8 July Skip to main content. In The Abbey of MelkJakob Prandtauer used an abundance of polychrome marble and stucco, statuary and ceiling paintings to achieve harmonious and highly theatrical effects. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree The architects chosen were Louis Le Vau and Jules Hardouin- Mansartand the facades of the new palace were constructed around the earlier Marble Court between and This or That? A number of ecclesiastical buildings of the Baroque period in Rome had plans based on the Italian paradigm of the basilica with a crossed dome and navebut the treatment of the architecture was very different than what had been carried out previously. In Baroque palaces, grand stairways became a central element. Help Learn to edit Community portal Recent changes Upload file. Bernini redefined sculpture with iconic works capturing key moments of pleasure and narative. To achieve this, it used a combination of contrast, movement, trompe-l'oeil and other dramatic and theatrical effects, such as quadratura the use of painted ceilings that gave the illusion that one was looking up directly at the sky. An Outline of European Architecture..
Recommended publications
  • The Architectural Style of Bay Pines VAMC

    The Architectural Style of Bay Pines VAMC

    The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques.
  • Wren and the English Baroque

    Wren and the English Baroque

    What is English Baroque? • An architectural style promoted by Christopher Wren (1632-1723) that developed between the Great Fire (1666) and the Treaty of Utrecht (1713). It is associated with the new freedom of the Restoration following the Cromwell’s puritan restrictions and the Great Fire of London provided a blank canvas for architects. In France the repeal of the Edict of Nantes in 1685 revived religious conflict and caused many French Huguenot craftsmen to move to England. • In total Wren built 52 churches in London of which his most famous is St Paul’s Cathedral (1675-1711). Wren met Gian Lorenzo Bernini (1598-1680) in Paris in August 1665 and Wren’s later designs tempered the exuberant articulation of Bernini’s and Francesco Borromini’s (1599-1667) architecture in Italy with the sober, strict classical architecture of Inigo Jones. • The first truly Baroque English country house was Chatsworth, started in 1687 and designed by William Talman. • The culmination of English Baroque came with Sir John Vanbrugh (1664-1726) and Nicholas Hawksmoor (1661-1736), Castle Howard (1699, flamboyant assemble of restless masses), Blenheim Palace (1705, vast belvederes of massed stone with curious finials), and Appuldurcombe House, Isle of Wight (now in ruins). Vanburgh’s final work was Seaton Delaval Hall (1718, unique in its structural audacity). Vanburgh was a Restoration playwright and the English Baroque is a theatrical creation. In the early 18th century the English Baroque went out of fashion. It was associated with Toryism, the Continent and Popery by the dominant Protestant Whig aristocracy. The Whig Thomas Watson-Wentworth, 1st Marquess of Rockingham, built a Baroque house in the 1720s but criticism resulted in the huge new Palladian building, Wentworth Woodhouse, we see today.
  • Th E a G a K H a N P Ro G R a M F O R Is La M Ic a R C H

    Th E a G a K H a N P Ro G R a M F O R Is La M Ic a R C H

    THE AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE 8issue AKPIA AKTC Established in 1979, the Aga Khan Pro- Buildings and public spaces are grams for Islamic Architecture (AKPIA) at physical manifestations of culture in Harvard University and at the Massa- societies both past and present. They chusetts Institute of Technology are sup- represent human endeavors that can ported by endowments for instruction, enhance the quality of life, foster self- akpia research, and student aid from His High- understanding and community values, THE AGA KHANTRUST FOR CULTURE ness the Aga Khan. AKPIA is dedicated to and expand opportunities for economic aktc the study of Islamic architecture, urban- and social development into the 2 0 1 1 - 2 0 1 2 ism, visual culture, and conservation, in future. The Aga Khan Trust for Culture an effort to respond to the cultural and (AKTC) is an integral part of the Aga features: educational needs of a diverse constitu- Khan Development Network (AKDN), Harvard HAA ency drawn from all over the world. a family of institutions created by His Activities p. 2 Highness the Aga Khan with distinct yet People p. 8 Along with the focus on improving the complementary mandates to improve teaching of Islamic art and architecture the welfare and prospects of people Harvard GSD Activities p. 20 and setting a standard of excellence in in countries of the developing world, People p. 27 professional research, AKPIA also con- particularly in Asia and Africa. tinually strives to promote visibility of MIT Activities p. 33 the pan-Islamic cultural heritage. Though their spheres of activity and People p.
  • Willis Papers INTRODUCTION Working

    Willis Papers INTRODUCTION Working

    Willis Papers INTRODUCTION Working papers of the architect and architectural historian, Dr. Peter Willis (b. 1933). Approx. 9 metres (52 boxes). Accession details Presented by Dr. Willis in several instalments, 1994-2013. Additional material sent by Dr Willis: 8/1/2009: WIL/A6/8 5/1/2010: WIL/F/CA6/16; WIL/F/CA9/10, WIL/H/EN/7 2011: WIL/G/CL1/19; WIL/G/MA5/26-31;WIL/G/SE/15-27; WIL/G/WI1/3- 13; WIL/G/NA/1-2; WIL/G/SP2/1-2; WIL/G/MA6/1-5; WIL/G/CO2/55-96. 2103: WIL/G/NA; WIL/G/SE15-27 Biographical note Peter Willis was born in Yorkshire in 1933 and educated at the University of Durham (BArch 1956, MA 1995, PhD 2009) and at Corpus Christi College, Cambridge, where his thesis on “Charles Bridgeman: Royal Gardener” (PhD 1962) was supervised by Sir Nikolaus Pevsner. He spent a year at the University of Edinburgh, and then a year in California on a Fulbright Scholarship teaching in the Department of Art at UCLA and studying the Stowe Papers at the Huntington Library. From 1961-64 he practised as an architect in the Edinburgh office of Sir Robert Matthew, working on the development plan for Queen’s College, Dundee, the competition for St Paul’s Choir School in London, and other projects. In 1964-65 he held a Junior Fellowship in Landscape Architecture from Harvard University at Dumbarton Oaks Research Library and Collection in Washington, DC, returning to England to Newcastle University in 1965, where he was successively Lecturer in Architecture and Reader in the History of Architecture.
  • Architectural Styles in Spain.Pdf

    Architectural Styles in Spain.Pdf

    These presentations are examples of our work on Romanesque, Gothic, Renaissance and Baroque art styles. Students have made this activity with the purpose of learning the main characteristics of each style, mainly focused on architecture and also a little of sculpture and painting as a complement. So that’s why students write about the main characteristics of each style and illustrate it with examples. TIEHA ARCHITECTURAL STYLES Romanesque Gothic Renaissance Baroque Names: Núria Gassó, Kiona Gil, Ikram maaroufi & Aina Canosa Year: 3rd A Subject: History Date: INDEX ● ROMANESQUE ● GOTHIC ● RENAISSANCE ● BAROQUE ROMANESQUE Sant Martí de la Cortinada, Andorra 1. Romanesque introduction 11th - 13th 1.2 ROMANESQUE ARCHITECTURE Buttress Round arch Depth walls Few windows Barrel vault Latin cross plan Capital Rib vault EXAMPLES Church of San Martin, Segovia, Spain Sant Climent de Taüll Cantabria GOTHIC 2. GOTHIC INTRODUCTION 12th - 15th 2.2 GOTHIC ARCHITECTURE Pinnacle Flying 2 towers buttress Rib vault 3 spaces buttress Pointed floor plant arches Pillar church Examples Santa Maria del Mar church, Barcelona The Cathedral of Notre Dame, The Cathedral of St. John the Baptist, Paris Savannah, Neogothic style (Georgia, United States) RENAISSANCE 3. RENAISSANCE INTRODUCTION 15th 16th Antropocentrism 3.1. RENAISSANCE ARCHITECTURE Ceilings Columns Dome SYMMETRY & PROPORTION Proportion, harmony and humanism Human Proportion Symmetry in Basilica of Saint Andrea QUATTROCENTO dome lighter latin cross The birth of Venus by Sandro Botticelli. Gates of Paradise of Florence Cathedral by Ghiberti. CINQUECENTO Tempietto’s ground plan The creation of Adam, Sistine Chapel Villa Rotunda Leonardo Da Vinci The School of Athens by Raphael. IN SPAIN: PLATERESQUE (1st/3 of the 16th century) ● Inside: Gothic ● Outside: Renaissance ● Abundant and detailed decoration: Silversmith San Esteban Church (Salamanca) IN SPAIN: PURIST (2nd/3 of the 16th century) ● Pure, simple and proportional (as italian).
  • Baroque Architecture Through a Century of Art Historiography and Politics

    Baroque Architecture Through a Century of Art Historiography and Politics

    From ‘bad’ to ‘good’: Baroque architecture through a century of art historiography and politics Review of: Evonne Levy, Baroque and the Political Language of Formalism (1845-1945): Burckhardt, Wölfflin, Gurlitt, Brinckmann, Sedlmayr, 400 pp., 42 ills, Basel: Schwabe, 2015. € 68, ISBN 978-3-7965-3396-9 Marco M. Mascolo Among the theoretical patterns that shaped art history between the nineteenth and twentieth century, formalism has undoubtedly a central place, with the turning point of Heinrich Wölfflin’s publication of the Kunstgeschichtliche Grundbegriffe (Principles of Art History) in 1915, which offered practical tools to interpret works of art on the basis of the historical forms of sight.1 One of the crucial contributions of early twentieth-century German formalist scholars was the creation of the conditions to reconcile modernity with the Baroque. Directing her attention to the architectural historiography of the Baroque from 1845 to 1945, Evonne Levy points out that ‘political circumstances pressed those who studied the history of art to compare that epoch [i.e. the seventeenth century] to their own’.2 The temporal frame defines a century that had, at its beginning, Jacob Burckhardt’s entry ‘Jesuitenstil’ for the ninth edition of the Conversations-Lexikon3 (chapter one) and, at its end, the downfall of Hitler’s Third Reich, with the consequent scrutiny on methods compromised with the National Socialist regime, as in the case of art-historical works of Albert Erick Brinckmann (chapter four) and the Austrian Hans Sedlmayr (chapter five).4 In the middle, the book follows the ideas of two of the most important baroquists of the first half of the twentieth century: Heinrich Wölfflin (chapter two) and Cornelius Gurlitt (chapter three).
  • Ancient with Modern Course Handbook Urban Design: Ancient with Modern Urban Design: Ancient with Modern

    Ancient with Modern Course Handbook Urban Design: Ancient with Modern Urban Design: Ancient with Modern

    Urban Design: Ancient with Modern Course Handbook Urban Design: Ancient with Modern Urban Design: Ancient with Modern Teaching Institution: Chelsea College of Arts Credits: 3 Class Hours: 5 hours/week for 10 weeks Tutor: George Rome Innes Course Outline Assessment This module will take place outside college, in the city. You Final project (100%) will see great buildings, important interiors and unique treasures. Each session’s visit will be recorded in your diary, Project as photographs,sketches and notes. Consider how the Critical Commentary buildings we see were constructed with the technology of their time, consider the use of materials. Look at the Choose two buildings where new uses have been processes used in making furniture and smaller artefacts. implemented or new additions built within the past twenty years. Think of who used the buildings, who uses them now and why? Choose one you consider to be successful design and one you consider to be unsuccessful. How do you feel modern and ancient work together in each case? They should be buildings that you yourself have seen, but the choice of buildings and the opinions are entirely Aims yours. This course will provide you with: Where appropriate look at planning, circulation, lighting and ambience. • To introduce the students to the History of Western Art, Architecture and Design Concentrate on details, junctions where one material meets another. Look at the suitability of materials. • To engender a critical understanding of how old and new design can work together This is to be presented on A4 sheets (one sided) as a visual commentary with annotated illustrations.
  • Northern Estate Programme Norman Shaw North Standalone

    Northern Estate Programme Norman Shaw North Standalone

    Northern Estate Programme Norman Shaw North Standalone - Archaeological Statement March 2021 00NSN-2131-MLA-XX-XX-T-XX-RG-10344 Status: S2 Revision: C01 Version Date Name Reviewed By Description of Sign-off Changes C01 29/03/2021 Ashley Blair Rupert For Planning Rosalind Morris Featherby & Rosalind Morris -1- Norman Shaw North Standalone Archaeological Statement ContentsContents ................................................................................................................................... 2 Figure List ................................................................................................................................................ 3 1 Introduction .................................................................................................................................... 4 2 Methodology and sources consulted .............................................................................................. 8 3 Site location, topography and geology ......................................................................................... 10 4 Archaeological and historical background .................................................................................... 14 5 Statement of significance.............................................................................................................. 23 6 Impact of proposals ...................................................................................................................... 26 7 Conclusion and recommendations ..............................................................................................
  • Ottoman Baroque

    Ottoman Baroque

    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Introduction It is fair and accurate to say that this beautiful building and gladdening house of worship— all of solid marble and so charming— has no like or counterpart not only in the capital [Istanbul], but indeed in [all] the lands of Islam. —­Ahmed efendİ, construction accountant of the nuruosmanİye mosque The mosque that Sultan Mahamout had built is, without doubt, the most beautiful that one can see in the Empire, after one has seen St. Sophia. — Jean-­Claude flachat, french merchant and resident of istanbul ritten of the mid- eighteenth- century Nuruosmaniye Mosque by authors contemporary with its construction, these statements may surprise the Wmodern observer (fig. 1). So conditioned are we to locate the heyday of Ottoman architecture in the sixteenth century— and above all in the works of Sinan (d. 1588)— that it is difficult to credit that a later building could have excited such praise. If the first statement might be dismissed as mere hyperbole on the part of an Ottoman official involved in the mosque’s construction, the second— penned by a Frenchman with no connection to the project— cannot be so easily disregarded. Indeed, the widespread acclaim that greeted the Nuruosmaniye bespeaks a mo- mentous shift in the history of Ottoman architecture, one embedded in, and itself constitutive of, far- reaching sociopolitical developments. The modern focus on the period before 1600— what has come to be known as the Ottoman classical age— has obscured the decisive role of the eighteenth century in (re)shaping the Ottoman Em- Fig.
  • Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture

    Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture

    Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture by Maxine Compean A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master in Art History Carleton University Ottawa, Ontario ©2015 Maxine Compean ABSTRACT My research aims to challenge existing notions of cross-cultural histories during the early modern era. This thesis will speak to an alternative analysis of the cultural consequences of colonialism and how Indigenous and Mestizo styles that emerged in Mexico had a global cultural impact. During the 17th and 18th centuries, Mestizo and Indigenous architects and sculptors succeeded in creating a different artistic product from the Spanish Baroque that enabled them to represent Christian symbols in their own way. In turn, while the Spanish conqueror was physically and intellectually removed from current European artistic developments, he was visually drawn by Tequitqui architecture because it was not only a new style but it also exuded a different identity. Through the analysis of written testimonies by Spanish friars, historians and architects it is evident that the result of cultural hybridity made an impression on the European's visual culture. After close observation it became evident that the discussion of Tequitqui art, especially regarding Indigenous and Mestizo artist's recognition, is often neglected in art history books. Most literature covers the usual discourse of Spain shaping Mexican culture due to colonialism, but the opposite discussion is nonexistent. Therefore this study aims to challenge the Western discourse and 2 propose that the cosmopolitanism of Tequitqui art and the artists who created it deserve acknowledgment in the literature of Baroque art history.
  • Italian Humanism Was Developed During the Fourteenth and the Beginning of the Fifteenth Centuries As a Response to the Medieval Scholastic Education

    Italian Humanism Was Developed During the Fourteenth and the Beginning of the Fifteenth Centuries As a Response to the Medieval Scholastic Education

    Italian Humanism Was developed during the fourteenth and the beginning of the fifteenth centuries as a response to the Medieval scholastic education • Growing concern with the natural world, the individual, and humanity’s worldly existence. • Revived interest in classical cultures and attempt to restore the glorious past of Greece and Rome. Recovering of Greek and Roman texts that were previously lost or ignored. • Interest in the liberal arts - grammar, rhetoric, poetry, history and moral philosophy. • Promotes human values as distinct from religious values, mainly Roman civic virtues: self-sacrificing service to the state, participation in government, defense of state institutions. Renaissance architecture: Style of architecture, reflecting the rebirth of Classical culture, that originated in Florence in the early 15th century. There was a revival of ancient Roman forms, including the column and round arch, the tunnel vault, and the dome. The basic design element was the order. Knowledge of Classical architecture came from the ruins of ancient buildings and the writings of Vitruvius. As in the Classical period, proportion was the most important factor of beauty. Filippo Brunelleschi (1377 - 1446), Florentine architect and engineer. Trained as a sculptor and goldsmith, he turned his attention to architecture after failing to win a competition for the bronze doors of the Baptistery of Florence. Besides accomplishments in architecture, Brunelleschi is also credited with inventing one-point linear perspective which revolutionized painting. Sculpture of Brunelleschi looking at the dome in Florence Filippo Brunelleschi, Foundling Hospital, (children's orphanage that was built and managed by the Silk and Goldsmiths Guild), Florence, Italy, designed 1419, built 1421-44 Loggia Arcade A roofed arcade or gallery with open sides A series of arches supported by stretching along the front or side of a building.
  • Baroque Architecture

    Baroque Architecture

    '"" ^ 'J^. rfCur'. Fig. I. — Venice. S. Maria della Salute. (See pp. 88-90.) BAROQUE ARCHITECTURE BY MARTIN SHAW BRIGGS A.K.I. B. A. " iAulhor of " In the Heel of Italy WITH 109 ILLUSTRATIONS NEW YORK ; ' McBRIDE, NAST & COMPANY ^ y 1914 ,iMvMV NA (^Ay n^/i/j reserved) In all ages there have been some excellent workmen, and some excellent work done.—Walter Pater. PREFACE is commonly supposed that the purpose of a preface is to IT explain the scope of a book to those who do not read so far as the first page. There is a touch of cynicism in such an opinion which makes one loth to accept it, but I prefer to meet my troubles half way by stating at the outset what I have emphasized in my last chapter—that this book is not in any way an attempt to create a wholesale revival of Baroque Architecture in England. It is simply a history of a complex and neglected period, and has been prepared in the uncertain intervals of an architectural practice. The difficulty of the work has been increased by the fact that the subject has never been dealt with as a whole in any language previously. Gurlitt in his Geschichte des Barockstiles, published in 1887, covered a considerable part of the ground, but his work is very scarce and expensive. To students his volumes may be recommended for their numerous plans, but for details and general views they are less valuable. In recent years several fine mono- graphs have appeared dealing with Baroque buildings in specific districts, and very recently in a new international series the principal buildings of the period in Germany and Italy have been illustrated.