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New
FREDERICK
A.
York
PRAEGER,
Publishers
ma
Contents
Introduction
Part One:
Italy
ii
Spain
The Southern Netherlands
The United Provinces
The Germanic Countries
Poland and Russia
France
England
Part
Two: The
49
63
81
105
109
113
153
Eighteenth Century
Italy
167
France
Spain and Portugal
Central Europe and the Germanic Countries
Poland and Russia
The Low Countries
Scandinavia
185
254
Great Britain
257
211
225
245
251
Bibliography
273
List of Illustrations
276
Index
284
; :
Introduction
The
prejudice established
of the
Classical conception
movement known
at the
of art,
end of the
as the 'Neo-Classical',
One
Western
civilization bear
result has
names
one
'baroque', the
artists
and
that at first
styles created
that seems to
by
theorists
meant
'imperfect'.
As
for the
word
'rococo',
it
was
common
in the
Louis
XV furniture.
The word
art,
theorists
much wider
in
acceptance.
Baroque
Modern
art a
is
formal
to
some
summed up as an alternation of Baroque and ClassiThe German theorist Wolfflin has described the formal charac-
forms might be
cal.
teristics
its
is
are simple
and
they have a
Baroque
clear,
static quality
artist,
independence
of
of things
flux
in their perpetual
becoming -
his
compositions are dynamic and open and tend to expand outside their
make them
The Baroque
him
and dense
and death
life
pathos leads
at their
show
the
him
to
extremes of
human
figure
of its powers.
The
object of this
eighteenth.
Baroque began towar ds the end of the sixteenth century, and had
impulse from
its first
and
Italy in
it
finally
1760 or thereabouts.
suffered a counter-attack
succumbed
more remote
Rococo
Italy.
Neo-Classicism, to which
from
in England, France,
at a distance
regions of
from the
which Western
phenomenon of
styles exist
a given
Sometimes architecture
was
Europe is
remarkable
art.
Various
same country. At
minor
styles practised in
arts are
owards
Baroque.
moment
is
different arts
moving towards
And
may not
be in
step.
Rococo, which
may be
^f Louis XIV
considered
as,
in a
Baroque. But
at this
very
moment
Italy, France,
towards
Classical idea
inspiration
of
which was
art,
from the
art
called
of antiquity,
Middle East
cal idea
also.
directly
during the
the
its
full
artists
aesthetics
to
which English
Baroque idea of
art
really conscious
opposed
of
for consciousness
this,
came
to Classicism
artists
later
were convinced
To
of
- in the
that
period to a
into
is
is
it is
own
genius.
The
variety
which
marked
moment
by
at
forms best
was increased by an
exchange in the
the
artistic
known s uch
of Western
intense
civilization
intellectual field.
creative artists
were
narrow
worked
painter).
European
no opposition on
seventeenth century.
whole of Europe,
Rome was
as the
German
came
to
Rome
of the modern
first
artists
this
was
soon
also those
encouraged by
official
institutions.
down, France
in turn
interest. In the
and
By
it
movement towards
was beginning
Italy
to be the object
of considerable
of Europe with
countries that
artists
a large quantity
of
who
'specialists'
brought to the
art.
This
power of
recipients'
artists
characteristics
and
its
slowness was
By
more favourable
is
to a
inconvenience,
every cultivated
its
thorough knowledge of
man must
it
that
a tour
of
forms of its
civilization. Princes
bourgeoisie
at the various
took
Courts
way
to the
Court of
had
II
his,
Voltaire - as in the
belonging to
Catholic countries
ing religious
this
faith.
The country
in
which
this alliance
between the
Divine and the Monarch was most completely realized was Austria
- there, though no longer more than a symbol, the idea of a Germanic
'Holy
Roman
Empire' was
still
alive in
And
secular.
indeed the idea of the Divine Right of Kings was not dominant
throughout Europe -
it
Low
set
also democratic. It
is
up
Countries,
regime which,
marked
so
a lack in bourgeois
Holland. But the intense need for creative art had a deeper cause;
this
was
eenth centuries
in the
moral
by
made during
sciences.
No
environment for no
;
artistic civilization
dictions, in paradoxes.
expansiveness of
its
These
reflect its
creative impulse,
strictly
determined by
which
10
is
PART ONE
Seventeenth-Century
was
It
art later
circles
known
as
in the years
Italy
it
had
lost
from the
fact that
a sense
its
losses the
universality, strengthened
till
were fighting a
then
is,
(1605-
of triumph
it
into regions
that
territories
of Trent. In spite of
artistic
Church had
by
the Council
a lively feeling
of its
unknown
spiritual battle to
to the West,
where
its
missionaries
religion.
pontiffs, the
new
that
had
popes transferred
Roman
Rome. This
revival
was
the easier to accomplish since the artists looked for their examples
to the
Rome
(those
in later works,
by
to the
'oratorical' style
art. Its
task
was
to state
II
the grandeur
monuments - but
by
the
means
of the
Faith.
also,
all
power of the
as the central
II.
Then,
at the
faith
conception
ancient
the
Rome
pontificates
from
the ruins of
at the
easier
Under
the
more
were
realized.
were
built - together
or
less,
at this
number of
great
palaces, churches,
and colleges
new
New
II,
itself,
St Peter's
and
was
now
its
considered
as
of pagan
inspiration.
later
to St Peter's
worked on
this
the architect
framework,
basilicas
to give
to this
by
it
with huge
statues
aisles
by himself and
it
end he
stucco,
others,
and devised
of bronze on
liturgical furniture
(III.
11).
At
of the Church
its
commensurate
2) rises
(///.
a scale
baldacchino (1624-163 3)
that
above the
Tomb
it is
eighty-
cohnnnsJknown
as
him
to the piers
baldac-
element, the parvis or atrium, was the inspiration for the gigantic
come
made an innovation by
it
giving
its
piazza
[III. 1).
seventeenth century
this
first
half of the
and for the Northern countries just emerging from the horrors and
brutality
ments of
civilized
life.
it
Adorned with
Rome attracted
were drawn,
artists
too,
help
men
would
the French-
si
Js^^'^iJL
il
I
X
;t
I
St Peter's
from
the air
of history,
effect
Paris
was
now
Roman School,
seems comparable
to be at the beginning
of the
twentieth century.
ARCHITECTURE
The Italian architects of the
volume of orders to carry
The
14
commonest being
that
with
on
by
a vast
a great variety
of ground-plans,
and
m\
7*-
''T
*.
Detail of the Cathedra Petri or Throne of St Peter, from St Peter's, which was begun in
1656 by Bernini in bronze, marble and stucco on the orders of Alexander VII. The humble
relic of a wooden stool was given the most sumptuous of Baroque settings in which the
unity and universality of the Catholic Church were reaffirmed.
2
15
dome
Rome
Mass
the
two
(///.
storeys
plan.
Both
3).
The two
(built
it
them more
gave
architects
this
though
less
(chiefly for
The
to the
compact ground-
Gesu were
;
ceremony of
to
become very
basilical
della
aisles
architects
size)
form of
combinations of surprising
Rome
example
3
synthesis
basilical
chapels).
round
a cortile,
in like a
of which the
finest
in 1568,
on designs by Vignola.
Its
plan
is
of the central plan (established by the grand scale of the dome) and the
plan (reduced, however, to a single nave, the aisles being replaced by
4 Plan of S. Ivo della Sapienza, Rome. Francesco Borromini had a passion for
springing curves and counter-curves and for varying his space endlessly he thus
achieved a great wealth of architectural expressiveness, even in buildings of modest
dimensions.
:
now covered with Baroque ornamenof the Palazzo Barberini at Rome (///. 5),
The
articulated plan
no doubt by Bernini,
in
is
divided
The country-house,
had reached
century,
when
Mannerist
whose
tion
its
height in
it
spirit.
figurative
many
fine
Romans,
and
allegorical
programme symbolized
the associa-
was continued
with
tendency to give
an
artificial
palaces are
the ancient
world of
17
Among
the
many
the
way by
reviving the
is
to be
found in the
Roman
ocJeon in his
Teatro Olympico
at
spectacular kind,
dating the
now
audience - and
them
which required
in semicircular tiers
developed
a stage that
were introduced
of accommo-
of boxes.
Rome
view of the
comfort by placing
at the
time of Bernini
new machinery;
the boxes
in Venice.
Facade of the Palazzo Barberini, Rome, whose elevation was derived from Sangallo's
courtyard of the Palazzo Farnese. Here, however, the Classical device of placing the orders
in tiers has been given a Baroque twist by means of richer ornamentation and a trick of
5
perspective.
The facade of the church of S. Susanna, Rome, is derived from that of the Gesu, which
Carlo Maderno had enriched with more sumptuous decoration but it retains the correctness
of Classical elevations.
6
Classical elevations
number of
Many
talented architects.
of
Carlo Maderno
St Peter's
(t
(Ills.
598-1680)
11
(i
556-1629), a Lombard,
and
6)
built the
nave of
dominant one,
who
opened with
a style
aiming
clear distribution
at effects
of power-
The
P ietro da Cortona
painter
(i
in
Rome,
of his
that
life. It
was he
of San Carlo
spirit.
al
who
Corso.
This had
Borromini (1599-1667),
(///.
4)
alle
who was
Quattro Fontane
(///.
7)
favour of a dramatic
style,
aiming
at
an architectural
new
The
of palace with
tiers
b^MMM
proportions and
new
on sculpture
that
was
in favour
of white stucco,
Italy,
at the
Baroque
Church and
(i
598-1682),
which had
its
on
Cosimo Fanzago
(1
Naples and
in the seven-
At the Certosa
di
Baroque
San Martino,
went
Sicily the
resolutely
Baroque
in the
church
itself.
else in Italy,
little
built
8),
(///.
who
adapted the
amounting
The
Italy politically,
develop a monumental
style
to
is
In
more
ornamental
influence of Spain,
encouraged the
Sicilian
its
greatest magnifi-
Zimbalo created
It
was continued
in
Sicily,
with ornamentation
(///.
9).
1693
earthquake.
Rome
way
came
priest
to
of
Italy, especially at
went
Turin.
its
own
When
he
Chapel and Santa Sindone Chapel, the Church of San Lorenzo, and
21
9 The Church of S.
Croce, Lecce, built by
new
by Zimbalo. The
city of Lecce in Apulia was
the earliest example of a
whole town treated as a
stage-set on a vast scale - a
Baroque practice later refacade
peated in the
in Sicily
after
cities
built
the
1693
earthquake.
and
circular forms,
it
was
a
Moslem
essentially
symbolic
22
full
For the
is
of
inter-
10).
To
Santa
remind one of
Guarini, architecture
Sindone he attained
of Rococo;
which the
of mystery. The
is
principles
(III.
winding-sheet of Christ
the
a multiplicity
architecture
expressive.
effect
that
ground-plan with
by combinations of
Gothic and
style
exemplified
in
many
buildings,
all
it
io
By means
planes
spaces,
of intersectin
well-modulated
Padre Guarino Guarini
and
of a church
piece of music.
as a
dome
with
interlaced
its
Moslem
architec-
had studied in
was
to
Sicily.
century.
,y
SCULPTURE
The figurative
arts
governed by an
made
Italy, are
<j
means of expressing
considerable progress in
on
artists
or
down
critics
the
first
formulated
treatises indicate
how
the
had
to be depicted at their
movements of the
soul
saint
of
is,
.)
The outward
became'those of
saintliness
is
manifestations of
of passion. The
a transport
a confessor
by
the
ecstasy.
The
Church
for
The
by
may
- musical,
art
perhaps be considered
all
the others
many monumental
in opera,
and dramatic -
plastic,
as the
major
art
were
first tried
The
artists
of
principles
by
reference to examples
and
so
became
were
aimed
at
of ancient
largely a reinterpretation.
sculptors
to light again in a
The
work of
statues.
restorers
all
of the
Rome
first
century and
vineyard in 1506,
They thought
it
the
24
anger, tenderness,
had
to be depicted
movements of the
soul
of
saintliness
were exte
by [actio
is,
became~tho
saint
is
<
by word, by
The
by
the
Bernini's
may
St
of
Vittoria,
Teresa,
S.
art
of voluptuousness. In
per
has contrived to
artist
Ecstasy
Maria della
the
body of the
denly
many
Holy
at
lifeless
Saint
reality
the
show how
becomes sud-
Spirit.
quantity of sculpture,
tect
life,
in competition
the passions -
from the
brutality
nymph
XIV
quivering quality of
of the warrior
(///.
(in his
12), at
gamut of
'David') to
moment when,
of Louis
marble
his bust
He
of St Teresa'
To
to give
with painting.
(III.
13),
(Versailles)
(as
in the bust
of
he created what
is
surely the
Tombs of Urban
most
VIII
new
26
dramatic power.
13
Rome,
in
is
first
in
its
vitality.
action.
by
a certain
(III.
14). It
(i
trian portraits
that
of Bernini
(as in
the eques-
Alessandro Algardi
(1
at Piacenza).
ment than did his contemporary Bernini his manner is more directly^
inspired by antiquity. The Flemish sculptor! Francesco Duquesnoy
;
/)
(1
him
by
of Bernini
mood
(///.
crystallized into a
15).
At
the
formalism
of genius.
PAINTING
In the last years of the sixteenth century and the
first
Rome two
years of the
great
works of
27
14
attitude to art,
15
It
of
its
Rome,
with the
contrasts strikingly
classical
calm of St Susanna,
S.
Maria di Loreto, by
Francesco Duquesnoy.
art
in
called the [ t
Europe
wo
pole s/ on
the ceiling
rests:
Annibale Carracci from 1597 to 1604; and the great canvases on the
life
*
^Q7 and ^6pi for the Contarelli Chapel in the Church of San Luigi
dei Francesi.
At one time
historians
of
art,
him
as a rebel, a destroyer
already said.
The
Carracci, and
his
28
work
we
truth
is
of the
that
art
of painting -
Caravaggio
is
as
Poussin had
as constructive as the
to be coloured
life,
which was
that
rehabilitated
him
police.
by
tends to treat
as a painter,
society, in
whom we
admired by the
much of
artists
and
to
art lovers
refusec
(1573-1610)
past,
time
Caravaggio was
as a great
innovator.
was
at
painter of temperament;
which he repainted
The
his
once
buy them.
16
of
effort to
the Calling
(III.
16)
the
and
style,
is
Rome
was painted by Caravaggio before the Martyrdom. It represents a scene of low life
on a monumental scale, and in it Caravaggio seems to be taking leave of his early, 'worldly'
(detail)
r
xV. #
untrue that
it is
he was trying to break with what had gone before, that he was trying
to destroy the Renaissance idea
of
art.
His
from Raphael, prove the contrary. Caravagg^oVwork was not negative; his aim was to restore full corporeal/densitylto the unstab]
figures
ures
of
Ma nneri sm. He
as<^Giotto
trying to
No
one in the whole of Italian painting ever pushed this anthropomorphism further - in his case, it went so far as to eliminate
everything in a picture that was not the
human
The
human
presence.
body by means of an overall lighting that brought out all the aspects.
They proceeded by means of light, and for them shade was
merely the means of accentuating
his athletic
and plebeian
18).
presence,
was
led to seek
it
where
it
has
in the deliquescence
its
* perate way.
When
of Mannerism, he
though
in a
more tem-
in a
way, to the
spirit
of
the Gospels, and this sanctifying Populism, this implication that the
humble
was
painting.
30
the
all
1605,
was the
mythological painting in
hum an
destiny,
and
it
was not
emerges
many of the
ceiling
(1
was painting
in light
was
of the soul^vhich
impression
a pessimistic
at grips
with the
essential
drama of human
[III.
ly).
stories
of
Caravaggio
in
which the
3i
18
In the two pictures which he painted for the Cerasi Chapel, S. Maria del Popolo, Rome
the Conversion of St Paul (above) and the Crucifixion of St Peter, Caravaggio was in full poslonger
session of his genius. The scene is reduced to its essentials, and is played by men, no
by
actors
results.
It
may
safely
their inimitable
be said that
all
Palazzo
was
to
Europe - and
an unreal place, an
enchanted environment.
The
style
sources', those
and Raphael,
whom
whose
was
secret
is
to say
'the best
from Michelangelo
own.
their
It
was, in
fact,
by
masters - both those of antiquity and those of the recent past - that
the Carracci succeeded in dominating Mannerism, in recovering
both the feeling for ordered compositions and ease and truthfulness
in the play
of
theirs
of the
figures.
Lodovico
(i
fallen,
degli Incamminati, in
treat
He
laid
down,
also,
The most
far
what were
gifted
temperament
realistic
removed from
to
become
the
more
(III.
lg).
While
at the Galleria
of
altar painting
Ingres -
a picture
on
two
a dialogue
by
all
to last until
rhetoric.
In the
were
first
closely
bound
Rome
working
at
33
For Madonna of
19
the Bargellini,
The
Renaissance
conversa-
'sacra
and
the
fro
Bologna School
is
cities.
Guido Reni
The most
(i
20).
representative artist
575-1642) whose
as
art,
with
of
its
'Baroque Classicism'
Domenichino (1581-1641) leant definitely towards Classishowed the way to Poussin (III. 21). It has, in fact, been
cism, and so
Roman
who
chose to live in
Rome
artists,
theorists)
Italian artists
to return to
Classical or
was
antiquity
Baroque.
Rome
at this
time was
their collections.
Above
full
of
the
all,
'antiquaries',
museum of antiquities
of Albano
(i
way,
a deserter
The
(1
artist
studied
belonging to
artists as different as
Meanwhile Guercino
in a
and the
591-1666), another
artist
artists
at
once imitated, in
Bologna) and even from Northern Europe. These acquired the name
of i
tenebrosi.
years),
so small
opened out
(it
was
all
possibilities that
figures.
20
Aurora,
decoration,
rebelling
is
interest in Lanfranco,
Dutchman who took the style back to Utrecht and started a whole
School there. Under the influence of the Dutchman Pieter van Laer,
the painter
known
1660) developed
it
as
(c. 1
the painter
who,
came
nearest to
(c.
1570-163 7),
known
as
II
Battistello
(///.
great stream
23).
of sacred and
and
in other Italian
largest share
21
is
cities.
Of
in
Rome
and
It is safe
by Domenichino, Galleria Borghese, Rome, the calm of the commodesty with which the nudes are painted shows the feeling of restraint
the sign of a mind that has turned towards Classicism.
In Diana Hunting,
which
ceilings
22
by Orazio
with an Angel,
good example of
the
refinement of feeling of
Baroque
element
vaggio himself.
to say that
it
fully
dc vivre
of the
Baroque period,
Pitti in
in his ceiling
Florence (1641-1646)
(///.
24).
An
some
is,
to
37
Ay
23
The
Caracciolo
art. It
art,
was
(II
this artist
adding to
it
from Naples
a personal
Monte
who
is
by Giavanni
the gravity
was
a steady
development
in that
overhung by
figures, that
in
was
especially
Baroque
in spirit
its full
of
rooms
in
Battista Gaulli
reached
its
Jesuit priest,
it
who
also
wrote several
treatises
on the
before
this art,
Rome,
on
perspective, painted
ceiling
of the Church of
25 ).
The
cities
of the
Italian provinces,
pilot
informed about
it.
Some artists,
Roman
art,
in Florence,
(1
577-1621)
march of
painted
still
At Bergamo,
time.
still lifes
Evaristo Baschenis
(III 26),
(1 607-1 677)
artists
from various
parts
also,
who
continued
happily the sensuousness and delight in colour that had been the
mark of
(III.
the
that city.
27), the
Roman Domenico
German Johann
Liss
Fetti
(who died
(c.
Strozzi
15 89-1 623)
in 1629/30)
(15 81-1644)
(///.
28),
and
1621 and 1644; but the best colourist was a painter from Vicenza,
introduced into
brough them
Schools had
his
paintings
close to the
become
an element of caricature
Romanticism
in
which
Italian
interested.
39
24
in
Pietro Berettini,
Rome. His
works
25
as
known as Pietro
light colouring
for S.
Pitti,
Florence.
from
Ignatius, S. Ignazio,
26 The Breschia painter Evaristo Baschenis has arranged the musical instruments
of his Still Life, Palazzo Moroni, Bergamo - already a favourite motif with the
Venetian painters of the Renaissance - so that they become independent still-life
compositions.
27 The realism of Bernardo Strozzi, as shown in this kitchen scene, The Cook,
Palazzo Rosso, Genoa, may have been stimulated by the example of the Flemish
painters.
"
Domenico
28
Fetti's
Melancholy,
engraving
human mind
as it
the
glorified
confronts
in-
its
knowledge of the
more humble and
ability to attain a
real:
Fetti's,
may
This Romanticism
be considered
artists
dramatic or
bloody, and
more or
for
his,
less
its
(1607-1665),
(c.
(1
II
598-1630)
(///.
a thick darkness.
known
as
II
(III.
29),
Cairo
Giovanni Battista
The dominant
(1 573-1626)
from
whereas
Morazzone
575/6-1632),
though
essentially different
Caravaggio accentuated
Crespi
is
talent
was
that
of Bernardo
Strozzii///. 27).
43
29
painter
from
Morazzone
that
is very different
of Caravaggio, who made
In
St
Francis
in
Ecstasy,
Castello
full
30
3 1
drama
He
invented a formula of
The most
directly
lively
on the
and
art
Ribera
(i
591-1652),
Caravaggism
of Caravaggio,
into
prolific
which was
on Gaspard Dughet.
who had
lived there
It
drew
and
left
who
a bitterness,
mitted to Mattia Preti (161 3-1699). This School produced innumerable painters of historical scenes,
genre scenes.
still lifes,
battles, landscapes,
and
whose
atmosphere
(17/.
32). Salvator
harmonized
his life
His
45
Monsu Desiderio, painter of fantastic landThe Destruction of Sodom, Bagnoli Sanfelice Collection, Naples,
into two people, both of them from Lorraine and working in the same studio Didier Barra
and Francesco de Nome.
32
later influenced
may
whose
virtuosity earned
him
the
indeed on occasion a
nickname
'Fa Presto'
(///.
33).
MINOR ARTS
Italian furniture at this
as
The
46
still
cabinets
gilt
bronze
fittings,
miniature columns,
The
interiors
of the
stucco.
more
less at the moment when the Italians began - especially in Piedmont - to imitate the French style of decoration in gilded woodwork.
or
still
remained
architectural.
was
a console,
By the
a piece
to be grafted
on
of furniture, especially
if
The Neapolitan
painter
Luca Giordano
who
nicknamed
compositions
full
'Fa Presto'.
artists,
He was
the
Money
a virtuoso
It
is
represented
by
the
of Venice (1662-1732),
(///.
34).
were
was not
Gobelins
till
set
later, in
spirit
Rome
the
first
Genoa were
in
stuffs
of the
finest quality
and
of his from the Palazzo Rezzonico, Venice, they are covered with carved figures.
Seventeenth-Century Spain
The period
that runs
from the
last
though he died
century'. El
Greco
and belongs
is
usually included in
sovereigns, Philip
Philip IV,
in 1614
and Charles
tried in vain to
II (the
keep up the
exercised
III,
who
it,
rise
monarchy was
absolutist,
but
this
did not
ARCHITECTURE
Secular architecture in the seventeenth century experienced a certain
set-back,
Church
by comparison with
that
dominated the
art
century, Philip
forced to
Frenchmen and
call in
on
it
was the
wished to revive
Court
Italians.)
architecture,
he was
as a
cure
it
this
movement.
Fray Francisco Bautista (who died in 1679) built the Imperial College
49
of Madrid (San
style
Isidro)
at
Toledo
in a
semi-Baroque
Pedro de
la
all its
form of
its
from Mannerism
to
Baroque came
in
(III.
35),
The
Church
artists in
stucco
The
and 1670,
in the
form of an imitation
interiors. It
in stone
was the
Andalusia,
of the decorative
altar-pieces, in fact,
At Compostella and
altar-piece
with
in
its
Cano
was the
first
Cathedral of Granada
50
what
of
most
obliterate the
memory
in full
-^^ ^
the end of the century and continued to spread during the eighteenth
century,
when
*
SCULPTURE
In seventeenth-century
Spain native
artists
confined themselves
almost entirely to religious sculpture. (This had already been the case
in the preceding century,
Philip
II
had had
to call in
Esconal
in the
active, in response to a
demand
in
for carvings to
wood
fill
the
century
when
less
a great deal
were painted
used.
The workshops
5i
He
gave
it
a Classical ten-
who
mind of
best expressed
wholly
the Saint,
life.
were concentrated about two main centres, each with its own tradition - Valladolid in Old Castile, and Seville in Andalusia. The
at
of Gregorio Fernandez
Castilian
Mannerism of
Mannerism
and
into
(c.
Baroque through
a larger conception
more
pathos
art
altar-
{/
which
himself,
figures.
marked
in the altar-pieces
he designed
and groups of
38)
place
it
At
its
Seville,
artist;
tion
Even when he
is
representing Christ
was dramatic in
At Valladolid, where Alonso Berruguete and Juan de Juni had founded the
tradition of a passionate art, Gregorio Fernandez took this tendency straight into the Baroque
in his famous Picta, Valladolid Museum.
.
inspiration.
Montanes the
Above
Seville
School of
of Gregorio Fernandez
sian painters
striving
this is
due
altar-pieces in the
same
to the superiority
at this time.
of the Andalu-
Montanes designed
Classical spirit.
Seville
Seville style
(III.
more than
39).
Pedro de Mena
manufacturer of pious
costume. His master, Alonso Cano, in the few statues from his
chisel,
showed more
of the
originality
eighteenth century
40
was
(///.
40).
Cano
ception,
which
was
down
to be continued
by
the School
style
PAINTING
The ch ief centre of painting in seventeenth-century Spain was
Seville. Whether tenebrism was introduced by the paintings of
Caravaggio that were imported into Spain or was an indigenous
creation is disputed. What is certain is that it already marks the work
fl
of Francisco Ribalta
at
de Ribera
a Spanish possession
manner
further, in a
life,
that
He
however,
his art
two
(1
artificial.
Towards
(///.
(1
41).
met
tendencies
in Spain.
The
of Francisco de
art
and
object;
The
by
it
their vigorous
isola-
realism of Zurbaran's
work
in Spain
had a mystical
truly
Zurbaran
time
at that
[III.
42).
decadence of the
The second
style
half of his
illuminated
life
by an inner
imitating - clumsily,
new
painterly style
by
(///.
43).
more
most Baroque of
-^who
these painters
Spanish painters
'temperamental painting'.
^i
F*^
~"*^flfl
ft
k.
*.
-S-Cl
j2
Si^
Jfe $??
'
^^fc^^_
1
S?9 i S^P
fe
P^l
P*
Ribera was a strange mixture in him the instinct for cruelty characteristic of the
Neapolitan School was pushed to the point of masochism yet other works of his, like this
Saint Agnes in Prison, Gemaldegalerie, Dresden, are filled with the feeling for femininity that
41
42
style
43
(who
also
worked
brushwork. Earlier he had had to struggle against the influence of Zurbaran before taking
up the suave and blandishing style to which he owed his success.
were
religious but,
style imitated
more
summoned
changed
portraits,
form
is
have
to
a place
still-life
studies
of some importance
(///.
with
by
of kitchen
utensils
When
he was
44).
he adopted
a fluid
manner,
all
fine shades, in
which the
made
me nt
sculpture,
elusive
from
the
move-
drew from
its
His
handling of the
59
We
:
which
it
of Court
dignitaries, princes
(///.
45), infantas
and
jesters,
he gives
came
naturally
which
is
of Philip IV,
world no
reality
but that
subject-
of God.
there
is
in the
mood
Velazquez was in
them with
full
discretion,
him
to
effects
60
achieve
the
which merely
artist,
right
tonality at
display virtuosity.
all
ease,
which enabled
times and to
disdain
45
from
with
the sculptural
its
manner
broad landscape,
is
The Artist's Family, by J. B. del Mazo, Kuns this tor isches Museum, Vienna.
The pupils of Velazquez, among them his son-in-law Mazo, developed his refin ed
manner in the direction of a pathos anticipating that of Goya.
4.6
It
was in
Mazo
(c.
- particularly that of
1612-1667)
(///.
46),
more
personal.
a painter
of
The
art
portraits
his son-
who somela
Miranda
whose
style
is
and
religious pictures,
is
somewhat nearer
to
was
62
in store for
them
underwent
in
an archduke. In the
first
districts,
governor
remained
which
the
latter,
his
at Brussels.
The
Isabella,
None
the
less,
the
main
artistic
centre
was not
at Brussels
but at
power of this city, yet during the second third of the century its
wealth made a great centre of the arts possible. Here, by virtue of
his genius,
painters,
and
his
art.
PAINTING
The study of Flemish art in the seventeenth century is best approached
through painting, not through architecture
this
of
region was about half a century behind that of Rome, the centre
of the
new movement,
while
its
The
was
Battle of the
Amazons
(III 47),
as
the^
rather
63
The Battle of the Amazons, by Rubens, Alte Pinakothek, Munich. Painted by Rubens
about 1618, when he was still young, this shows to the full the impetuosity of his talent.
The whirlwind composition is typically Baroque, while the horse charging headlong into
the fight was an image perfectly suited to this artist's passionate temperament.
47
in
later
Rubens
(1
577-1640) learned
his trade
At
during
this
a visit to Italy
for churches,
which
whom he persuaded to
II,
but he did
and became
one of the
buy Caravaggio's
64
already in
full
Church of
St
of
(now
by
on
now
painting,
Antwerp, shows
that he
made
the Cross
Walburg, and
exploit
St Paul in
in 1609,
a sensation
with
in
Antwerp
showing
traces
was
of its origin
by
art,
con-
art lovers.
Flemish
artists,
when
called
on
easel pictures
empty and unstable compositions, characteristic of the Mannerists. Rubens brought back from Italy the feeling
for compositions on the grand scale where the figures were life-size
or larger than life - figures oh a scale proportionate to the space. This
Rubens
is
the painter
who embodied
was
it
essentially
in the
autonomous
Baroque, and
definitions
The Chateau de Steen, by Rubens, National Gallery, London. At the end of his life,
48
Rubens's art tended to be meditative. His favourite dwelling-place was a country-house just
outside Antwerp, from which his gaze could lose itself in the limitless calm of the Flemish
plain.
of the
Italians
of the
who
Seicento,
never completely
by the Renaissance
each
in
which we
in
live,
is
moment
relationship that
many
is
it is
imagination creates
a living
life,
wonder-
is
lingering, in a kind
this
his
dynamic
materializes
impulse
sensuality,
drama which
Strictly speaking,
a synthesis; in a single
organism, whose
of the space
suddenly crossed by
by
in the existence
to
show,
world comes
Though
him
a
is
form of luminous
light, as
vibration,
owed
this
Eyck.
It
light
is
which he imbues
not an absence of
mysterious. Rubens
work
it is
not 'lighting'
his colours.
it is
And
the
shade
it
that he
from
its
Van
his transparent
(///.
48).
plants, threatening
men
full
becoming which
is
living truth
life:
- that
animals, trees,
and, above
all,
those
all its
The
Italian painters
pictures, such as
a surface,
which they
Pietro da Cortona,
movement from
side to
as
though they were carvings. Rubens, on the other hand, treated the
canvas in depth; he came and went outwards and inwards unceasingly, melting his foregrounds into his distances in a unity
It
was only
in expressing space.
which was
The few
artists.
Rubens
was
a tradition
of monumental decorative
of space.
had succeeded
in the tradition
of his
this
Rubens
Eyck,
who
included the whole world in the few square inches of the landscape
of
his Rolin
Eyck, united breadth and depth in the encircling space of his Merry
Way
to the
Broken
Gallows.
in
by
few years
He
virtuosity
which he perfected
monumental sequence of
Infante Ferdinand. Finally,
after his
50).
49).
In 1635
his
of commissions,
alone,
(///.
Triumph of the
in the easel pictures of the second half of his
in the
life,
and
as the confessions
of an enchanted
spirit that,
when
intensity heightened
by
67
must leave
Rubens
it all.
is,
more so even than Titian, whose horizons were to some extent limited
by the anthropomorphism of the Renaissance. At a time when
many
artists,
were finding
now
it
difficult to fit in
and those of
his spirit,
harmony between
from
68
the balance he
had succeeded
power of harmony
in creating in his
own
life.
50
by
All the
calls
forth
Rubens painted
world; Van
manner, Van
was
of Titian - but
from 1623
refmed
to 1627.
also to the
up
his
somewhat corrupt
extremely productive
At length he found
was employed
set
a place agreeable to
Court of Charles
in 1620, 1632-1634,
I,
and 1635-1641.
by
whom he
He
modified
69
belongs to
his
own, but
is
sitters.
left to
(///.
51)
homme
at
Jacob Jordaens
(1
transposed
(///.
52).
fluidity
<^
soil.
from
that
of Rubens.
its life-size
figures,
took up the
some - such
as
new
Caravaggists.
'Italian'
Gerard Seghers
manner
(i
591-165 1),
(1
584-1669),
attraction
of
Rubens, with
towards
such
as
and turned
Cornelis de
(c.
their attention
more towards
Italy
a meticulous portraitist,
(///.
53).
more of a
One
of the 'hunting
72
scene',
beasts or
game from
The Larder, by Franz Snyders, Musees Royaux des Beaux-Arts, Brussels. The genre of
composed of things to eat was created at the end of the sixteenth century by the
Antwerp painter Pieter Aertsen. Franz Snyders gave it a decorative amplitude that belongs
to the Baroque spirit.
54
the
still life
our
own
full
(1
part of the
596-1678) took up
felicity,
this genre,
the other as a
on
mere
to life-size
a sensuousness that
quality
55
by Jan
alive
or
The
dead,
skilled
Game and
still-life
{III.
54)
proved equal
feathers
in compositions
supplier.
with
(i
and the
real painterly
all sorts
paintings,
of other
which Snyders
flesh
of the
fruit
{III.
55).
r^^x^^^^
T/ie Kitchen of the Archduke Leopold William, by David Teniers the Younger,
56
Mauritshuis, The Hague, the best of the so-called 'genre painters' in Flanders.
He produced pictures on
with
All these
artists
them, such
as
it.
dramatic
number of
a large
century.
Momper
(1564-1635),
Roeland Savery
(1
still
576-1639)
easel
who
many of
painters
was continued by
specialized in
life.
(c.
1560-
belonged to the
continued the
1638),
who had
free style
charming silver-grey
(///.
56).
bathed
more straightforward
74
light
realism
(///.
57).
Antwerp was
swarms of specialists
Middelburg and
established himself at
at
Utrecht,
and exported
in this genre
at Utrecht,
at
Roelant Savery
Brueghel went to Naples. The most gifted of these painters was the
Jesuit
Daniel Seghers
(i
590-1661),
who
(c.
side
Fyt,
from the
Of these
I
\
genius -
this
Brueghel,
57
painters in the
'little
who
painted with
by Jan
Munich. In
Girls,
The
exceptionally vigor-
ous naturalism with which Jan Siberechts rendered landscapes, peasants and
(1
568-1625),
known
as
'Velvet'
58
in a
Garland
was
established
in
the
Netherlands
by Jan Brueghel,
Roelant Savery and Abraham Bosschaert. The best of the Flemish
flower painters - after Jan 'Velvet'
(21/.
of the
senses
and some of
59).
not very original. Commissions for secular buildings were unimportant, since the capital
Spain,
seat
ruling class
these
arranged in
76
tiers,
streets.
which
fitted in well
i-J*
iim
*S
59
SiV/if,
by Jan
was aroused bv
activity,
of architecture handed
down from
the
The
Jesuits,
who
were
volutes.
religious;
in
them
the
Isabella,
played
Roman
heuvel.
1609, a
architecture.
by Wenceslas Cobergher
dome crowning
a central
(c.
at
Scherpen-
ground-plan, the
basilical
ground-
77
human
6o-6i
Charles
St Michael in
The former still belongs to Mannerism, the successor of the Renaissance - architecture did
not become overtly Baroque till the second half of the century.
nave and
as adviser
was covered with rich polychrome ornamenmanner of the churches in Rome (it was destroyed by
171 8). The facade, however, with its dominant vertical lines
and painted
a ceiling,
tation in the
fire in
(///.
was created
in painting
still
The
belongs, like
real
and in the
Baroque
structures
Rubens,
also built,
palace,
which was
style,
an
Rubens
Italianate
century.
good example of it
Louvain (1650-1671),
plan and facade
(///.
built
is
the Jesuit
Church of St Michael
by Guillaume
60) derived
at
a fine
Grand Place
bombardment
in Brussels, destroyed
in 1695,
was begun
still
by
in 1696
the east side, the square rejects the discipline of a uniform programme
as
The
deliberate variety
is
attractive.
in stone
artists,
Francesco,
Germany, Holland,
Duquesnoy joined
Obestal, Buyster,
attracted
were
many of them
the
Italy,
Roman
and the
Van
to France,
monuments and
more quickly
fashions in architecture.
62 God
Quellin
Father,
the
II,
Bruges
The generous
work,
62)
some emigrated
plentiful in the
funerary
was
(///.
that
and
by Artus
Cathedral.
plasticity
its stresses
on
To
of
gesture,
his
its
handling of
draperies make Quellin almost a
rival - in sculpture - of Rubens.
opulence
its
- monumental
Belgium the
in sculpture than
style
altars,
of Bernini
were the
Roman
of Rubens certainly
Faydherbe,
(Luc
contributed
while
pupil),
Walloon
the
Often
a church's chief
with statues -
Rome
ornament was
its
Church of
a gigantic pulpit,
covered
(1631-1707),
at times
of furnishing made
St Peter
it,
and St Paul
Malines (1699-1702)
(Hi. 63).
of abundance in the
several series
of Rubens,
art
who
became
illustrations
and separate
prints spread
63
genre.
In France the
'chaire de
a literary
in
won
new
known
nation,
as the
of Europe by
The
from the
rest
religion.
its
While
large-scale
Thus
th e ostentation
were of modest
art
led, in
mos t of Europe,
to
which
size,
liberal institutions.
The
Treaty of Westphalia
finest
dwelling-houses
little
less
to the
which was
susceptible
above
all
to realism.
made
that country a
parts
haven of refuge
in a divided
Europe - from
political exiles
all
found
and
intellectual
from
flourishing,
human
work of Rembrandt.
81
became
population. This
little
the
had
won
greatest
in the
still
had
found
liberty
its
first
by
But the
force.
to consolidate
itb
and expansion by
in trade
when
up the wealth
Classicism
of having
architects
by
were
laid
later to reach
which
by
down
architecture
To
Holland,
imposed on
by Hendrick de Keyser
constructed
Amsterdam during
Westerkerk)
(///.
Its
of Classicism
secular
now
the sobriety
building and
it
sea.
the nation
the
64)
first
were
(1
which
565-1621)
in
still
(1 608-1 669), at
the time
life at
dominance of vertical
82
lines
- an inheritance
set
The Westerkerk,
64
Amsterdam, from a
plan by Hendrick de
Keyser.
De
Keyser car-
ing
Mannerism elaborated
in
the
during
second half of the six-
vinces
teenth century. In so
way
for
Dutch
Classic-
ism.
Mauritshuis at
The Hague
(1633)
(///.
65).
was of
as in the
two
is
it
was
built
with
tiers.
The Dutch
Protestants
their decorative
The only
is
more
suited
were the organ and the wooden amphitheatre of seats. The exterior
S3
was
Classical in style.
survivor
Of
is
French chateau.
It
Bosch
at
is
out like a
laid
memory of
and
it
is
is
example
the only
in Holland,
had to be brought
in
from
Antwerp.
Towards
Dutch
Chateaux
Netherlands - drew
now
style
were
built,
but
all
of these
been destroyed.
to
Pieter Post
and Jacob
over
all
The Mauritshuis, The Hague. With its large stone pilasters carrying an architrave, the
house begun in 1633 by Jacob van Campen is completely Classical in spirit.
65
3
1
ri
ribP M
miiiii?
111111 1111
mil
Hi
III"!
(ill
1
1 is I
iiiiiiiiii
mi
it
imli
Pi
1,
Nil
1
66
by Verhulst, Rijksmuseum,
Amsterdam. There is very little
Dutch sculpture. In the portrait
busts which he produced, Hendrick
de Keyser was still traditional. Romberg,
by
practised
Northern Europe.
It
,*)*-
own
it
relief carving
work
in decorating
allegorical character
commis-
pulpits.
did,
however, find
the Italians
PAINTING
The conditions
Verhulst (1624-1696)
(///.
66).
ck
different
Rombout
in
from those
painters
all
were
over Europe
of
85
of Rubens)
a tendency to treat
artists.
Dutch
painters
work
in the arts
artist
found himself
countries he exercised
ecclesiastical circle
real
social
European
it is
arts.
possible to distin-
who had
Baburen
spent
some period of
(1 590-1624),
Gerard Honthorst
vaggesque
style,
subjects and,
(1
formed
at
Hendrick Terbrugghen
above
all, its
side.
of portraits
(1 588-1629),
and
Roman
its
picturesque
to be a detached
and genre
Dirck van
(1 580-1666),
painter
endowed
a collective being
communal
instinct.
through which
Like Rubens, he
86
Women Governors of the Haarlem Alms-houses, by Franz Hals, Franz Hals Museum,
Haarlem. Hals broke up the formal texture of the conventional portraits of his time and
substituted exhibitions of bravura. At the end of his life, when he depicted the male and female
governors of the hospital in which he had found refuge, his art had gained an inner quality.
6j
Along with Rubens and Velazquez, Hals was one of the painters who
made touch the painter's chief means of expression. This meant
destroying the impression of calm handling which had
traditional
point of honour to
mask
From
on
own
plastic
hand-
writing.
it
become
(III.
67),
Women
and
analogous to the one that led Rembrandt from the frank and joyful
sensuality
87
Rembrandt
(i 606-1 669),
from
He
his soul.
to
it
worked
painter,
at
gesque
way of bringing
and emphasizing
it
by
but
it
was
owed
the
more
spiritual feeling
round about 1590 and died before 1643) must also have opened his
mind to the poetry of the imaginary (///. 68). Like Rubens - but with
perhaps a more personal emphasis, since he was
less
responsive to
life,
Amsterdam, he
at
when he went
Anatomy
Lesson, 1632).
to live
as a portrait
He made
happy
make
stance, in
life
it
that his
spiritual side.
(III.
own
and
70), 1642),
this
Supper
from
at
Emmaus
the severity
(III.
saw
69), 1648),
and
of Calvinism, with
this
its
separated
of love (The
him somewhat
~"*
88
absorbed
life,
researches,
his
technique
graving.
of
His
enro-
mantic
visions
nature
may
of
well
brandt,
Remwho owned
some
of
have inspired
en-
his
gravings.
of the Jewish
may seem
He was
circles in
brush,
was indulging
in a regular
The Supper
brandt,
at
Louvre,
by
at a
Emmaus, by RemRembrandt
all
the
the dog-
when
all
expressions
came, through
of the
its
rejection
all
Catholic Europe
Paris.
time
faith,
from
it
must be
all
said,
the current
shown
iconographic
traditions
which formed
a screen
religion
Calvinism
itself,
in
God
as
and
from
between the
this
set
him
was
the
face to face
priestly
of an
directives,
artist's
soul
and
lessly
all
aspirations
his
own
last years,
of the
tragic destiny
painting
90
(///.
71).
of
man
that
71
Self-Portrait ,
c.
Rem-
by
1668,
brandt,
Wallraf-
Richartz
Museum,
Cologne. Obsessed
by the life of the
Rembrandt
soul,
studied
its
mysteries
most frequently
own
his
in
features.
who
two
artists
self-portrait in this
way.
Rembrandt's technique
is
Hals and Rubens. Franz Hals, in the intoxication ofjoyous improvisation, slashes the canvas in all directions
it is
of
his.
is
a kind
of
light.
cities
are so close to
Vice-Admiral Jan
72
Liefde,
van
de
by Bartholomeus
der
Rijks-
Heist,
sitter
senting
him
in
the
all
generosity of youth, or in
the sufficiency of maturity,
or in the
age.
On
wisdom of
old
each occasion he
between them so
easy. Classification
by
genres
is
were
easier
it
also has
most of the
artists
specialists.
Portrait painting
that
wanted.
of the human
Among
effigy
the
more
their
Thomas de Keyser
(///.
72),
and
a sober,
'little
manner', in particular
deep
feeling
of loneliness -
To
(///.
with
73).
by
from the
century, jumping a
as the
a direct link
Dutch
(which often
let
the
wood
and
a surface
of
the secret
world of domestic
life,
familiar objects,
of merchants, for
may
whom
One of
effects
of daily
life
had
meaning. That there was almost no opera in Holland confirms that the
73
Velazquez.
the imaginary,
*r
ethic,
which
limits
its
whole
civilization in all
loves painting
realized
by
sensibility
fine shades
is
fail
forms.
to be attracted
brushwork
light
art
cannot
of painting that
can anyone
who
with so
really
a school
we
time,
activities
its
human
own
repetition
keeps
its
a sincerity
An
incredible
number of
of military
amused
life,
its
family
a society which,
tending to stabilize
artists
public.
life,
picturesque
They
itself in a bourgeois
They reproduced
Hals,
was 'miniaturized' by
his brother
The
74
Mill
at
by Jacob van
Wijk,
Dutch landscape
consists
essentially
of sky dominating
low-lying land,
where
water
(whether
sea
or
it
some
frequently
be the
canal)
reflects
the clouds. In
work of
the
the
Ruisdael
of inwhich man
feeling
finity, in
seems
lost, attains a
Pascalian gravity.
y
I0!&
B^i JRir*
iy
iiiii
W
Mb
-.*._.
..
:.
/
1
Ml'
jj
...
scape suggests the outside world, and the cupid holding a letter refers to the absent
the girl
is
evoking
as
young
Dirck
(i
From Haarlem
it
Codde
Duck
[c.
(c.
W.C.
599-1678),
1600-1667)
At Haarlem
Duyster
(c.
(III 76).
also
but sky and water. Jacob van Ruisdael (1628 9-1682), Salo-
He
with
its
feeling
o that
flat
country
many
imitators at
Haarlem and
(163 8-1709)
of solitude
at
sky,
(Iff.
74).
gave
rise to
crushed the poetry of Jacob van Ruisdael under the heaviness of his
realism, while Aert
Hobbema had
76
tried to express,
and peopled
it
Ruisdael and
with picturesque
life
Division of the Spoils, by Jacob Duck, Louvre, Paris. At the time when Jacob Duck and
Codde were painting, the disturbances caused by the wars of religion were long past,
Pieter
the soldiery
had become
a picturesque
fc*
theme
that
77
't'H'
of the JVesterkerk,
All aspects of
der Hevden.
Wouweiman,
(Philips
as
1630 5-1684).
Younger
(1610-1693 and 1633-1707) and Johannes van de Capelle (1624 51679) - speciahzed in marine pictures. There were painters
concentrated on
78)]
It is
descent
still
(III.
jy),
church interiors
Emmanuel de
in the
who
lifes
who
and others
(Pieter
devoted them-
Saenredam,
597-1665
and paintings o
home
life
is
most
upon which
the
still-life
clearly perceptible.
The love
The two
genres
paintings concentrate
made
its
appearance
97
78
Interior
The
painters
only one of them, Pieter Saenredam, expressed in his pictures the intimidating nakedness
of these Protestant churches, with their complete lack of images and ornamentation.
Flemalle.
At
and
In the
first
descriptive
religious compositions
together as though to
facilitate
The
on
difference
(who was
still-life
still-life
were
an inventory,
detached
as,
still
98
laid
painting was
out or heaped
living in 1665).
of composition, colour,
(1
from
a subtle pursuit
itself
and
still life
Master of
in the
Heem
Heem
(1608-1684)
(1594-f:.
1680/2)
of objects.
Flemish painting in the fifteenth century had also been interested
in the expression
Van
conscious in the
Eycks.
several generations
The Dutch
and
it
painters took
artists
had
left
of artists
now
treated this
up these
them when
own
tradition,
human
beings
who
lived in
was
still
it.
it
and the
of the Haarlem
still
peopled the
Hendrick Pot)
but
it
in the second
1
I
century,
both
was
a favourite genre
still
and was
fragility
of the
are linked.
of the
in
man whose
4,
-*
life
^
7
Dou
work
private
life,
by
the
room
is felt
as a secret place, a
refuge of
of consider-
to a society
able refinement indulge in music or in conversation, are seen dressing, or are caught at a
One
artifices
These researches
who worked,
all
human
being
who was
its
soul.
80
The Sick Child, by
Gabriel Metsu, Rijks-
museum, Amsterdam.
Of
all
the
so-called
Metsu
was the one with the
most painterly sensibility. Gerard Dou (who
was more successful)
'genre painters',
inclined towards a
ral
lite-
reproduction that
rendered
human beings
and objects
lifeless.
Si
View of Delft, by Vermeer, Mauritshuis, The Hague. This is one of the two landscapes
the fascination it exerts over the spectator is due to t he magic of the light,
really to be the soul of the world.
by Vermeer
which seems
(///.
as it
81),
may seem
Vermeer owed
Utrecht,
from
in
a
view of the
great
whom
difference
deal to
the
of
their subject-matter,
Caravaggesque painters o
pictures of
Terbrugghen were,
in their
colouring.
75). What chiefly distinmany artisans was the way in which he, like
Rembrandt, deepened the human and artistic range of his art. He
airect forerunners
of Vermeer's work
(III.
101
Abandoning
pointillistc
number of pictures
result
seems, in
it
(about forty
now
of long meditation.
Vermeer formed
a kind
made up of luminous
of
pricks of
colour that give intensity and a crystalline purity to the small space
of the
picture.
With him,
as
life
of the
Pieter de
soul.
Hooch
(1629-
made
his
light
he drew only
had
effects
of
lighting.
its
as
it
was by the
life.
Through
in
The
principal
one
monu-
in
(1
objects
555-1614)
arts
- silversmiths' work
(111.
82),
Adam
102
82
Silver dish, by Paulus van Vianen, 1613, Rijksmuseum, Amsterdam. Holland was die
European country which produced the best goldsmiths and silversmiths in the first half of
the seventeenth century. Strangely enough, they retained the complicated style of Mannerism and moved on towards an exuberant Baroque, just when architecture was developing
in the direction of a strict Classicism.
Dutch
art
went
far
beyond the
frontiers
of Holland, thanks to
at the
its
own
chrome,
is
and
vases, the
103
Dutch
potters
decorating houses
[III.
83),
tiles
used for
Dutch Tile picture of oriental flowers and birds, Victoria and Albert Museum,
83
London. Pottery, chiefly in the form of vases of many shapes, or of tiles assembled
into ornamental or figurative compositions,
in Holland.
Its
Brazil.
grew
all
in
a brilliant
Germanic
II.
centres
seemed
set to
to
develop towards
Rococo, but
this
Court
Indeed,
a direct transition
movement was
interrupted
German
art
from Mannerism
by
the disasters of
Germanic
lands.
It
art.
ful to
tion.
who
luxuriant forms
of the Gothic
wood-carvers
(///.
spirit,
84)
but
as
this style
it
is
who worked on
can be interpreted
a forerunner
renewal
as a
art
on
on
these elabora-
This art spread into the Scandinavian countries, and one of the
105
84
the
German
artist Dietterlin
the
Classical
These
were
orders
influenced
who pub-
fantasies
on
about 1600.
sculptors and
in
the
finest
85
monumental
The Wallenstein
architects
first
is
of goldsmiths' work on
a treasure-house
scale.
from 1625
was one of the
were responsible
for
it
and
it
Three Milanese
Baroque buildings in Central
to 1629 to build.
first
Europe.
&a
a o o u
^-^^
rturrtifitiiii s in
The
influence of the
style
art
was brought
in
without
restraint,
and
of Italian
by the
Jesuits,
The
new
From
conflict
example was
later imitated
enough, so they
Baroque
artists
Carlones, in Bavaria
built the fine
War
artists
83),
Italy.
The
first
from
(III.
Italy
on Agostino
in Austria
Barelli
on
phase of the
was
directly
the
architects
(1 660-1 690),
dependent on
spread
his
it
territories
(1663 -1690)
who
(III.
86).
87
The
by
The
original style
artists as
its
rise
in the
and
It
produced the
still-life
landscape painter,
painter,
Adam
in
Georg
Elsheimer
108
Rembrandt but
- Claude Lorraine.
also
Germany
in
Flegel (1563(1
578-1610).
(///.
8y), in-
a Catholic
country with
its
new
Renaissance city of
capital.
rise
style
Cracow
of Baroque religious
(III 88),
it,
new
Warsaw developed
and
Rome,
many
art in
noblemen, and
Poland naturally
It
in
kind fashionable in
Rome
From
Baroque
art,
Italian,
portraits
thus, in the
or
Dutch
and for
art
who
historical painting.
At
the end of the fifteenth century and during the sixteenth, Russia
opened
its
tine style
tsars
still
had
Western
influences.
on
art,
The Byzan-
initiative.
knowledge of Western
it
art
began to
even affected
109
religious art.
resistance
by trying
to
make
to
ban remained
inefFective,
Moscow was
some of the
in the
style
no
surrounded by a ring of
ancillary buildings
Baroque
style (as at
was grafted on
now
at
Moscow.
these churches.
fortified monasteries,
constructed within
and
them were
mixed
style
it
grafted itself on
Orthodox church.
(1690-1704)
boyars
who
(///.
lived in a
churches - that at
Of the
little,
for
8g)). It
Fili
was
Moscow
at the
end of
Church of Dubrovitzy
secular architecture
produced
at this
art
was made
easier
in
as a
counterbalance.
infiltrate, as
On
its
way
column with
way
all
its
Baroque motifs,
Eucharistic
in parti-
symbolism -
90
to
by
at Polotsk,
the Calvinists
(///.
go)
Seventeenth-Century France
France was in the seventeenth century the most powerful country in
It
In the
when
of the
spirit
Italian Renaissance
political
spirit,
French
art
underwent
its
a grave
a fresh
School of Painting remained very poor until about 1640. The best
French
left
such
artists,
as
depriving their
would have
own
supplied.
Roman
XIII,
however,
Court
art
began to
By
by
its
gardens and
supreme expression of
princes of
Europe
art spread
everywhere.
To
tried to imitate
it,
all
artistic
the
of French
organized the
its
art
XIV,
and
culture.
and
tended, in France, to
govern
taste
decisive
Academie
advising
The
in 1648.
and
des Inscriptions,
Petite
set
up
on iconographic problems,
Academie,
in 1663,
inscriptions,
de Sculpture,
known
as the
Academie
became
d' Architecture,
a nursery
of builders; and
it
was followed,
in 1672,
set
up
in 1666,
In
by the
Rome
the
Academie de Peinture
at the
unrivalled model.
et
The lectures
ideal
much
Colbert did
all
rise
of the
industrial arts.
Lyons.
first
large-scale
He regrouped
which
des Gobelins,
direction of Charles
the
King on
g8).
Hotel
and
its
crafts,
First Painter to
and
to be a school
silversmiths,
stone-cutters, cabinet-makers,
114
(///.
at the
goldsmiths
in 1662
workshops
casters,
and
dyers.
of
engravers,
The
of
carpet-makers,
administrative control
of the
arts
of Buildings. The
Painter,
artistic
who worked
direction
Superintendent
Le Brun,
to Charles
First
all projects.
formed part of
which was
fell
out or approved
who was
general policy,
his
it
The results
all
hopes
artistic
XIV
new
style
Down
of ornamentation, which
to the
it
could
now
creation
created a
export to Europe.
in the production
of furniture and
The
tapestries.
other nations
and
officially
own
artistic
production.
ARCHITECTURE
Building in France,
at the
as
we
have
being slowed
religion,
down
began
again very actively under Henri IV. In religious building the style
its
Jesuits
own
but in
traditions,
was
secular building,
of Louis
not
He resumed
XIII.
religious, that
Paris
also
failed
in France, unlike
dominated
at the
The King
But
with two important squares - the Place des Vosges and the
Place Dauphine.
The ornamentation of
these buildings,
when not
its
made
it
a continua-
which
115
was Mannerist
Jesuits at
(the Hotel
La Flcche)
(77/.
de Ville
gi). In
at
La Rochelle
interiors
France would
Italy.
move
definitely
towards the
France began to
was
work out
to be pursued there
was
into Baroque,
style
then prevailing in
of tendency, and
who
91
598-1666)
The Chapel of
continued the
work on
g2)
and of
it
still
(77/.
but
years of the seventeenth century, interprets the plan of the Gesii, with
chapels, in a spirit
which
who
that
a reversal
till
as to
and
style.
first
side
Orleans wing of the Chateau of Blois (1635). Here the stone facade
has three
tiers
sance.
had been
Mansart perfected
this
(III.
93).
house
on
several
a theatrical
at the
origin -
garden' occupied
by
to the gardens or
known
it
by
on
same period
cour
type of nobleman's
et jardin' (a
the
117
The Chateau of Maisons-Lamtte was built by Francois Mansart in a noble style, and with
93
the decorations of its interior entirely in stone, this chateau is one of the earliest examples of
French Classicism.
doorway
from
the
the
large
street,
death of his Minister, Cardinal Mazarin, and began to give art the
royal impetus
French
art
it
first
by one
enterprise
worthy of
about a
The
dome which
(161 3-1670)
fell
into disgrace
life
(///.
p^),
is
by Le Vau
first
architect
of those huge
vistas
of his, with
of water and green framed by groves of trees, which give the inhabitant
of the chateau
118
of nature.
Le Vau was
at that
an impressively monumental
a
quality that
impose
its
Baroque.
will
The
on
the arts,
crisis
which French
XIV was
competition open to
Italians,
his architects,
to France to put an
Unsatisfied
he threw the
end to the
crisis.
at the
XIV summoned
way
designs
much
birth of
94
new
Louis
him
beginning to
scheme based on
form is one that was
has a decorative
himself.
Its
'
*'
Rip
Si
***
S&BljLjijl
95
Bernini's
Whinney
first
Dr M. D.
Collection, London.
96 The Colonnade. and East Front of the Louvre. When the noble Classicism of the existing
colonnade is compared with the Baroque style of Bernini's design, it is easy to understand
how the latter failed to please Louis XIV. Nevertheless he showered Bernini with honours
and commissioned his portrait bust from him.
Si
-14"
5e*EH
bJ'
..^^^M^^^HH^Mb
/A
m^
1_ MMflBl
yj
iJtHtiftimtti
Illil
''iJ'ili
li
Will
ntiJ* wi'i
ryf^W
STi
-i.
,1.
\.
97 An aerial view of the Chateau of Versailles shows how the royal palace is the point of
convergence of the three broad avenues about which the town and the perspective of the
park were arranged.
not please
(///.
95),
and
consisting of Le Brun,
finally a
commission
du Louvre',
that
An
pairs stands
set
style
most
(III.
till
Classical
of the large-
high upon
a plain stylobate
and
is
completed by
When
the
to Versailles,
Vicomte -
to
King removed
his
Paris
it was to the team that had worked at Vaux-leLe Vau, Le Brun, and Le Nostre - that he entrusted
121
m^
98 The Galerie des Glaces, Versailles, was conceived by Mansart and decorated by Le
Brun. The novel use of mirrors for the decoration of the walls facing the windows was to
have an enormous influence in the Germanic countries during the eighteenth century.
99 A general view of the gardens at Versailles shows the manner by which Le Nostre
draws the eye of the observer to the distant horizon in a leisurely progress in which the
natural and artificial elements of trees, statues, grass, and water are skilfully composed.
which he desired
Europe
(III.
gj).
The
very
architecture
The
more clearly in the Grand
Trianon (///. 100) or the Trianon de Marbre (1687), a smaller pleasure
chateau built at some distance from the large one, and in the Dome
1708) was brought in to correct Le Vau's bad proportions.
of the Invalides (1679) in which he harmoniously modifies the horizontal effect of the orders by a use of the traditional vertical emphasis.
In the decoration of the interior at Versailles -
(III.
g8) - Jules
Hardouin Mansart
and Le Brun departed from the panelling with gold edges that had
been the rule under Louis XIII, in favour of an Italian-style decoration
in
decoration
is
gilt
ordered in a Classical
way -
that
is
to say, subjected to
prospect of over
two
miles
which
(III.
gg).
The gardens
and of marble
(the
contain build-
Colonnade) and
Roi
Soleil, a
amusements
now
the praises of la
Roman
tournaments,
of an
of the
ballets,
raised, in literature as
belle simplicite, in
architecture,
fetes,
institution. Critics
well
as in the
less
of
pleasing
from 1690
were dominated by
the
124
monumental
arts
to 171 5, architecture
the personality
and
of Jules
France became
Versailles.
many grand
moved from
nobility,
houses were
he had
built.
Nor
it;
by
the
he added to
it
several
large-scale groups
men wounded
in his
wars, and laying out Squares - the Place Vendome, the Place des
Victoires - in
Classical
which
all
the facades
had
to
conform
to
an overall
of the King on
a statue
royale,
Beyond
of
in the
Le Nostre made
one of those vast prospects leading the eye to the horizon, the taste
for which he established firmly during this period - this was, of
Avenue
course, the
way
into Paris.
Towards
was tending
Versailles
at
SCULPTURE
The
France
is
been created
at the
time of Henri
II,
its
Not
went there
became
had
of the Mannerist
some of them
to study, others lived there for such long periods that they
de Francheville,
who
life
of some
Italian centre
as
did Pierre
restricted
full in the
example of Bernini's
influence in his
work was
style.
He
its
101) in the
he had worked
at
kind of
realistic
XIV,
this Classical
honesty, which
Gilles
as
first
came out
clearly in the
many
(///.
show
is
to
this
tendency
till
his
death
in 1686.
Both
in his sculptured
tombs and
in his
ornamentation of
art
of
Girardon.
of the
new
work
tiring
enormous amount of
this
un-
a great
number of
respectable professions
grand
his
scale.
The outstanding
Girardon (1628-1715),
sculptor
who was
of
Versailles
responsible for
on
the
was Francois
many
statues
and
101 Milo
by
of Crotona,
Pierre Puget, Louvre, Paris,
who, with
his
hand
of
helpless
suited to the
Puget.
strength,
Baroque
well
style
of
the
Nymphs
(1668)
(77/.
102).
The French
by
his time,
begun
is
not a purely
Rome - so much so
1696 a Director of the Acadcmie de France in Rome suggested
had,
it
was
in Greece, not in
Vendome, which he
finished in 1699,
Girardon created the prototype for the royal equestrian statue whose
(77/.
103).
statues
of Roman
owed
a great deal to
Le Brun's
Versailles,
version of the
of Louis XIV for the Place des
Conquetes (Place Vendome), by
Francois Girardon, Louvre, Paris.
Mansart and Girardon were together
Small-scale
103
statue
Vendome,
that masterpiece
was
finished
among
in
others,
Grand Elector
inspired,
1699,
the
statue
in Berlin
of the
by Andreas
Schlatter.
he belonged to the
which
Berninism. Whether
or an
artist
whose
of the head, of
Classical
this
tombs) showed
his
it
was
a note
of
features
in action, with
glorified to
some movement
clothes, or
on
movement, yet
spirit
(///.
104).
by
the
King
in 1665,
had
a decisive
There was
a magnificent
at Versailles
required a large
number
129
more
finish.
was
quickly,
PAINTING
The accepted
ornamentation of gardens.
Paris, in 1627,
with
casts
is
the return to
after
Rome. The efforts of HenriJV to reconFrance had met with success in architecture
school of art in
to
was
so
poor in painters
life
Simon Vouet
Caravaggesque
(1 590-1649),
style;
when
but in Paris
that
Marie de Medicis,
call in
Rubens
(///.
49).
105).
He
art.
The
130
gramme
of the
from
his
own
arts
who came
overwhelmed with
des
to Paris unwillingly in
tasks that
left in
which
similar to that
1642,
and the
were the
effort
105
Bruno
(///.
Wealth,
106) differs
by Simon
On his
from Rome
became Court
return
in 1627 he
made
fruitless.
who
whole pro-
Italy,
but his
series
from the
of paintings on the
Italian renderings
of the
life
of
lives
of
saints
and
is
typical
in
At
the end of the reign of Louis XIII and at the beginning of that
and
of
this
period invested
elevation
the three Le
1648),
no work
in this respect
work a
bourgeois, or
and
with
quiet gravity
satirical,
108).
(///.
human
subjects
But indeed
artists at that
dignity
(///.
spiritual
that
of
Louis (1593-
- to other painters
the
time, whether
feeling for
mood of
loy).
is
(///.
their figures
all
simplicity, giving
austerity in
and
human figures
of
princes,
of
a certain naturalness
log).
The Baroque only laid its hand peripherally in the French proAt Nancy it inspired the draughtsman and engraver Jacques
vinces.
who had
took place in
a vault
his
who must
have been in
manner of lighting
a scene as
Italy,
though
few
figures,
are
among
those
practised a
sombre
style
Vignon
In Paris Claude
(1
590-1667)
593-1670),
who had
been in Rome,
when
The Death of St Bruno, by Eustache Le Sueur, Louvre, Paris. This is the best
out of a cycle of twenty-two paintings which decorated the cloister of the
Carthusians in Paris its noble and Classical representation of death had a considerable
influence on French painting and even outside France.
106
known
'
107 Ex \ oto, 1662, by Philippe de Champaigne, Louvre, Paris. To commemorate a miraculous cure with which his daughter, one of the nuns of Port Royal, was favoured, Philippe
de Champaigne depicted her in prayer side by side with La Mere Agnes Arnauld, the
But
it
was
in
Rome, not
its
(1
Poussin
of
worked out
the
Rome
at the
Italian
company with
to
some
Nicolas Poussin
(1
134
Rome
distil
disregard
Domenichino nor
from the
seventeenth century
detested) as the art
is
of Annibale
all
sculpture of antiquity.
so far
Nothing
in the
whole
as
artists
most opposed
to
to the
Caravaggio
strongly
108
is
The Guard, by Le Nain, Private Collection, Paris. This picture, bearing the date 1643
(sic), is attributed to Mathieu, the youngest of the three Le Nain
of the Renaissance, so
as to define a
form
integrally
revive the
on
tion
had proposed
to the artists
first
coldness
by
for himself
of
his
Roman
time - to
history
yet
reliefs,
and which
It
removed
which he
and medium-
as
life
seemed
artists
consists in thick
were
working
part of his
Roman
all
drawn
stories
During the
little
of
worked out
of
a light
Alberti, in
from them
it is
aim which
life
the historical
he composed
it
commonly
life
Roman
Philippe de Champaigne)
went
own
which
style.
is
artist
wished, so that
his
formed
many of
The theme
Unfortu-
more of the
Bellini
at Ferrara
and
were
Titian,
at that
whose
(III.
111), a genre
instincts in the
and
his
from
the
Liberata,
modern romances,
which exerted
especially
drew nourishment
his
own
subjects;
U3
in 1649, this
marks the beginning of Poussin's final period, that in which the poetry rises to an
all-embracing feeling for the world - still, however, interpreted through a mythological
picture
guise.
Though
thought,
Poussin lived at
by
Rome he was
Roman aristocracy,
- chiefly to the
pondence with
large
Poussin's
work was
noblesse de robe
XIV, the
much admired by
selling at
de Sculpture, where
paintings,
the
number of his
greatest
and
at the
XIV
acquired a
Academie de Peinture
were
et
particularly admired,
work was the subject of pedantic dissertations and erudite discussions. The result of this was a kind of official aesthetic, Poussinism,
his
several stages
little
141
of works which
sensibility
typical expression
It
it
many
to represent as the
of intellectualism.
quality of
its
execution
- was the
pictures)
result
(in
all
of conscious thought in
different.
instinct.
its
working-out.
From
the
start,
even more
than for Poussin, nature was for Claude the essential source of his
art,
to
Rome
at
at first
he vegetated in various
on
Rome
for good.
He
in 1625,
and
in 1627
much
Italian painting as
working
out, in
which the
Classical conception
German
who
Elsheimer, from
art
114 The Tiber above Rome, wash drawing by Claude Lorraine, British Museum,
London. Although he painted in the open air, the only studies from nature by
Claude Lorraine that have survived are his innumerable drawings, most of them
in pen and wash. They are incomparable evocations of the Italian light.
brothers,
it
towards
a realistic integrity,
art
had been
of giving
Le Brun French
life
art
figures
Roman painters
on
which
a restricted surface
Hotel Lambert in
Paris,
on
that
its series
Le Brun
in
of the Great
Room
in the
Chateau
at Versailles
art
than
had
it
few
poetry
at Versailles
of the
in the hands
Its
while in
his individual
1646, he
During
had managed
his residence
to assimilate that
Galleria Farnese
assiduously.
fail
as
whose
established ideal
though
by pundits of
was Raphael. At the
an example of bad
taste
Academie
made him
a real
Baroque
extent contradicted
by the
artist,
had not
at
comes
out in his easel pictures on religious subjects, where the small surface
enabled
of his
him
light colouring,
(III.
116).
tradition
of
his pictures,
- for instance, in
his Jabach
who
Family (Berlin,
On 6
now
his
n6
by Charles Le Brun, Louvre, Paris. This picture shows howcomposition, at mingling the world beyond with earthly life and at
controlling the fantastic effects of the light produced by a screened fire.
Adoration oj the Shepherds,
clever
Le Erun was
at
Le Brun of
1695).
his prerogatives
poor in imagination,
as his
a rather
painting of the
proves but he had a great success because of the amiable and conven;
tional character
Le Brun
he gave to
started a
including families
tions,
such
as the
his portraits
of
women
who handed on
their
and children.
painters in France,
Meulen,
Lesser painters,
146
XIV, by Hyacinthe Rigaud, Louvre, Paris. Louis XIV had such an admiration
which he is shown invested with the attributes of royalty,
that he kept it although he had intended to present it to Philip V of Spain. Rigaud, as was his
H7
Louis
usual practice in portrait painting, has turned his sitter into a type
face of the
in the depiction
of the
spirit
of the Louis
XIV
attitude, expressiveness
was
less
his
to depict an individual
and
started the
able importance in
the passion of
The aim
a character, as Philippe
de
Court
sitter,
portrait
by
of the
Rigaud thus
short,
Coysevox had
which he showed
period.
in painting, as
portrait,
in his
arts, especially
the
making
new
owned work-
shops in Paris and the best compositions of Simon Vouet were those
;
Hotel des
from
all
on cartoons by
148
many
over Europe. The tapestries were based, for the most part,
the First Painter,
whose
indefatigable invention
met
133
1
ll
*?#
Hi
If
M
k
is
AifcH
*-*
s.
Is
a~sr
118
*>
jo
an una
a a a-a'-s-a-u
The most famous series of tapestries for which Charles Le Brun supplied cartoons is
The episode of Louis XIV Visiting the Gobelins Factory recalls the impetus
all
the
a -a-a
demands with
monarchy
(///.
arts
ease.
118)
through
his patronage.
Some of them
series
known
as
V Histoire
du Roi and as Maisons Royales, also the Histoire d' Alexandre (which
was an
of Louis XIV)
demand in Europe had an exotic subject, The Indies, and the cartoons
for it, made at the Gobelins in 1687, were based on pictures brought
back from Brazil by the Dutchmen Franz Post and Van Eckhout,
which were sent to the King by Prince John Maurice of Nassau. At
the end of the reign Berain and Claude Audran I invented a new
style, less illustrative and more strictly decorative, borrowed from the
grotteschi - a type of theme which, started by the Italian Renaissance,
149
or
the
fused
into
style.
He
new
vigour
poetic
the
in-
and
decorative Renaissance
theme of
now
also
took on fresh
The Manufacture de
thegrotteschi.
Savonnerie
la
like that
of
a ceiling.
At
on the
in imitation
Italian Renaissance, to
The Rouen
potteries
lambrequin
(III.
120).
workshops
faithful.
The Moustiers
potteries
took
their inspiration
XIV
dishes,
with
continued the
of the eighteenth century.
Few examples of
the goldsmiths'
and
silversmiths'
work of
this
time have survived, since almost the whole output was melted down.
sumptuous
set
of furniture in massive
it,
too,
fell
silver
by Le Brun. But
was made
this
for the
Lyons,
products of Venice.
an end to the furniture of cubic form which had been in use since the
The
Baroque
actual forms
style; the
of pieces were
wood was
now
The Boulle
though
it
it
gave
its
name - marquetry
in
copper and
family,
tortoiseshell.
And,
XIV
121) ).This
more and more close adaptaand towards a more purified style of orna-
development towards
life at
the Court of
Louis XIV.
The Boulle family became famous for its method of decorating furniture
121
with inlay in tortoiseshell and copper. This piece, made for the King's Room in
the Trianon, is an example of a type of furniture that was to have a great success
in the eighteenth century - the commode.
Seventeenth-Century England
For
much of the
and loving
Rubens
to his Court,
display, Charles
and acquired
of
his collection
were
came almost
it
later
War
sold abroad,
such as
first,
At
artists
more was
not, at
summoned
I,
royal
to a standstill under
was resumed -
a collection
his
work,
especially in architecture.
between the two countries was reinforced when Princess Mary was
called to the throne
ARCHITECTURE
It
was
in the field
greatest contribution
was made
by what
ment
is
there
called the
was
exclusively as
is
definitely
to the
of develop-
as
Baroque.
153
The
were
of
principles
begun
with
his career
him towards
down by
clearly laid
Inigo Jones
have made
was
have turned
easily
at the
He
English Court.
seems
-ini6i3-i6i4, during
vocation
the Baroque; he
(i
a tour
as a Classicist.
not only to
fact,
Rome but also to the Veneto, where he was able to admire the works
of Palladio
Libri
has the
still
Italy,
of his annotations.
(III.
at
122). Inigo
his return
a strict application
is
made Surveyor of
the King's
Buildings
House
Works, and
set
up
to
in Whitehall
(1620-1621),
in a style based
is
on
that
of
Vicenza.
Thus
was
clearly defined
room
at
Wilton House
(c.
it,
to adopt
by Inigo Jones
as in the case
of the
at that
imposing plan for the Palace of Whitehall, which was never carried
out.
The
and
architects
Sir
principles
of Classicism, while
Webb
(1611-1672)
Gerbier (i5Qi?-i667)
more workaday
style
was
from
London -
new
in
continuation in
brick
the earliest
The
is
was Hugh
second
started
May
War, in
company with Buckingham. This chastened style in brick, relieved
only by a few stone mouldings and bands of masonry, gives many of
taken refuge in the United Provinces during the Civil
the English
towns
example
Age
The Great
until stone
came
in again
with the
(III 123).
Fire
5 th
of
monarch
the
on
ruled, centred
art
a city.
This sizeable
Sir
by
with a university
career as Professor of
his
presided over
but this one was to Paris, in 1665. There he met Bernini and examined
with passionate
interest the
of construction.
style,
which
Jones and
latitude
may truly be
and
by Inigo
to English Puritanism
- Baroque.
Wren,
Sir
Roger
Pratt,
and Hugh
May
radiating
was made
Christopher
to the
from squares or
Sir
circuses,
it
Acts.
An
and was
a survival
of the
radial
plans that had been dear to the Renaissance. Public buildings - the
Guildhall, the
afresh.
As regards dwelling-houses,
cal rebuilding
built
result
being a sober
style
123
Compared with
May, shows
the Mauritshuis in
examples.
One
appearance
many of
it
these buildings
London
the general
focal points
in
of the
were
built afresh. It
under
is
his supervision.
essentially
assembly
him and
is
seen
halls,
scale,
but spacious in
most
constructed
Walbrook,
basilical plan,
Wren,
of
157
unencumbered
and
The
(III 124).
a certain richness
vitality
of
and in France,
Wren's
set
belfries,
surmounted by slender
composi-
his space
spires.
his
churches
Some of these
are even
all
style apart
to
be used in
it
Tom Tower,
himself for
was conceived on
Wren's
first
was ordered
to
gradually, however, in
basilica
on
a vast
up
set
produce
making
to
Peter's,
were
his
in
grand
Wren succeeded
colonnade of the
light,
requires
St
Bride's,
London (photographed
125
Fleet
Street,
before 1940).
St Paul's Cathedral
to rival St Peter's in
was intended
Rome, and
its
Wren
in
London.
l!P^istt.iki
*mjm
jiij
%\
kg
wS|f!1
And
[III.
125).
(///.
is
The use of
Roman.
definitely
Wren
126),
He
designed the Great Hall of the same Hospital (169 8- 1707) with
a
examples
perfect
James Thorn-
Sir
hill later
this genre
stalls
at St Paul's in his
carved by Grinling
Gibbons.
Our
include the
first
by
indicated
Baroque
follower of
two
Nicholas
architects,
times
worked
scope
the
under the
- came
to be
of Hawksmoor
men some-
together.
construction of the
houses,
related,
styles
this
(1661-1736), a
(1 664-1 726)
freely
Hawksmoor
is
moment
at that
style
influence of
Not only
the date of
(III
127)
to create
prise the
courtyards). In each of
distribution
this architectural
there
is
language
is
spite
effects
of everything, one
feels that
where
which
this style is
spontaneous.
of a century of essays
architecture back to
126
The
of Wren's
Eastern
Roman
Dome
style
its
in the Baroque,
brought English
native tendencies.
127 The use of a colossal order and the richness of the ornamentation make
Vanbrugh's Castle Howard one of the most Baroque buildings in England.
Sir
John
128
Endymion
strength
Van Dyck's
Porter,
Dobson
Gallery,
figures.
so
few
painters
came from
Netherlands.
artists
The
best sculptor
some from
the Southern
Stuart, Duke of Richmond and Lennox, by Sir Antony van Dyck, Metro- w
Museum, New York. When he was required to paint Charles I and his Court,
Van Dyck found scope for the aristocratic tendency of his own temperament.
129
James
politan
The Family of Charles Dormer, Earl of Carnarvon, by Sir Peter Lely, Collection of Sir John
130
Coote, Bt. The pictures of the Dutchman Lely lack the aristocratic grace of Van Dyck. Instead,
they reflect the superficial character of the Court of Charles II.
in churches did
mythology,
this
on
and
entirely
had
with
little taste
art
away almost
also lacking.
The only
set
of mythological
164
image of Charles
and
I,
his
He
created the
(III.
on
as
I2g)
>
anc^
ms
had
a great influence
may be regarded
thoroughbred
elegant,
last
style
by the
William
Dobson
style
of
his
contemporary,
(1611War.
The
Civil
1646), who was English, had in it more of a Baroque turbulence
grace of the society of the Cavaliers, soon to be threatened
(III.
128).
by
Sir Peter
Lely
parents, studied at
Haarlem, and
the Restoration he
became the
Van Dyck, he
which was
Painting,
to
become
so
next century,
London
settled in
official
Under
in 1643.
somewhat
to Renaissance
It
was
at the
beginning of the
life
to the
woodwork
decorations in Wren's
who was
The English were among the first in Europe to use lacquer. This was
introduced from Japan and China, and it had been imitated in
England before 1688 when John Stalker and George Parker published a Treatise ofJapanning and Varnishing.
to Chinese
and Japanese
influence.
The
silversmiths' art
it
to create so
many
masterpieces in the
style
at the
its
style
of Jean Le
David Willaume
(///.
131),
and
Pierre Platel).
131
exile,
The
now become
PART
TWO
Eighteenth-Century
Italy
was moderately
peaceful.
The
territory
was
still
States,
Sicilies,
the
Two
main
the
and
centres
of art, for different reasons. People went to Venice to see the masterpieces
also
had consider-
Rome new
attractions
were added to
those the Eternal City had presented in the previous century - the organization
Rome was
who
settled in
Rome in
1755, laid
had become
Campagna. Winckelmann,
scientific bases
thus
became an
Rome
of Neo-Classicism.
ARCHITECTURE
For
all
not slacken.
Rome
remained fixed in
with Pietro da
this tradition to
132 The Villa Albani, Rome, still contains the famous collection of Classical antiquities, of
which Winckelmann was the keeper. The Caffe Haus of the Villa by Carlo Marchioni
reflects this taste and led directly to the Neo-Classical style in architecture.
by Francisco de
Sanctis, the
so Berninesque that
is
by
the
master),
Galilei. In the
on Roman
Marchioni
it
(///.
But
Haus of the
son of Philip
this
(c.
by Carlo
of Bernini,
set
by Baldassare Longhena.
In 1734 the
a design
Giorgio Massari
variation
on
Villa Albani,
to be based
facade.
of
monte and
168
Caserta,
and
in
Naples
itself
were
built.
The most
Sanfelice (1675-1750),
which
palaces
a variety
about
artists
from out-
Rome
Dutch
Vanvitelli
staircases, to
and churches
was Ferdinando
imagination gave
his
many new
painter Gaspar
van Wittel
was summoned
(a specialist
in views
seat
scale,
of Rome),
Son of
in 175 1
reduced in
city.
of
no
mind
political
less
a vast royal
power. Though
huge chapel in
close imitation
of the one
at Versailles
up to the
centre,
with
its
its
way of leading
entrance giving
(7//.
on
Versailles,
marbles.
SfeM!
v
3
9 i
m
\
:11
&
rays,
Hi
i^'
m
Jf*w5
w,
45N
'
and
to a vast stairway.
The Chapel of
133
133),
of compact ground-
Jiiin!-
nfcSLlisi!! u
***
Beyond
colossal vista,
still
and
this
was
novelty in
laid
enormous
scale,
and
employment,
in the
tioned
but
it is
still
is
is
Baroque by virtue of
Neo-Classical in
its
its
of colossal columns -
tiers
Italy,
of nobly propor-
throughout Europe.
In Sicily,
meanwhile -
at
made
it
To
in
Rome,
tried to bring
whole
string
some
At Catania
Of each
of these the
as a single
who had
possible to rebuild a
of Italy,
full liberty.
architects
made
its
work of art.
folly
was reached
in the
extreme South
his pupil,
Giuseppe
While
it.
II
North
summoned
to
concept of an imagination
kind.
put a brake on
Amedeo
city, a
by conformism of any
Madama
started.
Sometimes -
as in his
whose ground-plan
in the
Its
At
facades are
170
form of an
style. In
Roman
in a Neo-Classical spirit.
and
(///.
to Lisbon,
London, and
is
Neo-
already entirely
that
in
Turin
he was called
and he died in
Vittone (1704/5-1770),
who
it.
It
still
inspired Bernardo
Rome
with
statues
and
tremely active.
from
Rome
ture,
(statues
were ordered
the style
171
his
full
extricating himself
from
of Bernini. In
Rome
in
this it contrasted to
Faith.
which
painting,
(1 726-1 746)
are
among
most
the sculptors
was more
original. In
Naples
(1 704-1 762),
free access to a
kind
folly
creative
of impotence
(III.
133).
More
136).
Right
at the
start
possibilities
is
his
work
136 The Oratory of S. Lorenzo, Palermo, by Giacomo Serpotta. Stucco was very
widely used in Italy and in Central Europe it made possible the rapid execution of
an extremely rich ornamentation, with a great virtuosity in varied expression.
:
compensation -
German
of the Rococo
artists
from
this
it
It is
best studied
In Bologna,
Seicento
(1
both to
and
his religious
a spirit
Seicento that
and
of realism
was
still
itself,
more
Academicism,
against this
Seicento
- that
is,
carried
137).
It
by applying
atmosphere
side
of the
scenes to
makes him
del Cairo,
of
his colour.
work, express
and
his
of night
Romanticism
deep melancholy
(///.
138).
painters.
137
Sacraments,
Crespi,
fol-
them
in their
everyday simplicity.
(///.
Mura
this
139),
still
belongs to
(1696-1784), of the
In the
North of
painters towards
Italy, in
war
with
still-life
Lombardy,
pictures, based
peasants or of beggars,
who were
Giacomo
painting.
this realism
turned some
on observation of the
who was
life
of
satirical
active in the
who amused
not
satirically
feeling for
that of a
Lombard
The
produced by
his brush,
effigies
was
name
Piazzetta. the
as
his time,
[HI. 141).
its
own. The
choppy handling o{
portrait painter.
make one
The
can. in fact,
o varied
scenes
picturesque.
the
and by Giovanni
Battista
who
Piazzetta
painted in light
(1683-1754),
who
own
number o
landscape
Reception on
Even
Terrace,
The Feast of the Ascension, Venice, by Canaletto, Aldo Crespi Collection, Milan.
140
Canaletto was a kind of chronicler of the life of Venice, its festivals, ceremonies, and monuments.
painters,
who
picturesque
success
life
that filled
them and
;
had
a great
known
as
was
image
possible
whose
!793)>
(III.
140). In contrast
and
is
reflected
(///.
144).
When
its
colour that
his association
with
his
Rococo
the essentially
139
The Massacre
Museum,
Chamber
Naples,
genre
is
that
is
of the
capriccio.
This pastoral or
the sketch for one of the large-scale compositions for the Senate
as
those used
by
idyllic genre,
with
compositions
its
Marco
full
of fantasy and
its
decorative
by Francesco
till
Zuccarelli (1702-1788).
Naples
(Solimena,
Sebastiano
Its
to
its
Gian
climax,
Battista
by leaving
architectural perspectives
and
of his predecessors'
and
(///.
brushwork
142).
that
sensitive, rapid,
and
Prince-Bishop's Residenz at
The
his frescoes
oils,
was
The Venetian
spatial painting
Wurzburg
in Franconia (1750-1753).
summoned
to a
number of
Hat,
Nobleman with
by
Vittore
the
Marco
Three-Comered
Poldi-
Ghislandi,
Pezzoli
a
Goya
(///.
142
176).
The
Gian
of the Rosary, by
Tiepolo, the Gesuati,
Institution
Battista
Pozzo.
beyond them.
WQ
143
Charles III
Museum,
visits
Benedict
XIV at
the Quirinak,
Ricci, Pellegrini
Roman
who was
Italian painting
to the Seicento
Baroque and
to Venetian
Rococo. The
sole exception
artists
vedutisti
now
was
whose views
- such
as
Gaspar
144
The
Rw
dei Mcndicanti,
Venice, by Francesco Guardi, Acadcmia Carrara, Berforerunner of the Impressionists in the way he painted his forms
145
Achilles on Scyros,
peo Batoni,
by Pom-
The
Pompeo
Uffizi, Florence.
Neo-Classical brush of
inspiration
life to
Roman
Rome, made
it
these
also
Vanvitelli,
now having
many
a great success
both
amusements of the
however,
as
Baroque painting.
city
came from an
Pierre Subleyras
and
(1 699-1 749), a
than a poet's
Frenchman who
(///.
settled in
143).
Rome,
work of
went
Andrea de
182
so far as to plagiarize
Vetralla).
Pompeo Batoni
mythological
(///.
and
143)
adopted simple
visitors.
(1 728-1 779),
Winckelmann's
theories
of an
aristocratic society
a passionate adept
ideal
style
in
furniture
secretaire)
were produced,
and the
in particular
from Baroque to
from the
produced elegant
rocaille
Barocchetto
is
a simplifi-
New
Barocchetto.
the ribalta
transition
The
lifeless
portraits
cation
of
types of
(an elaborate
two
parts).
The
change
Venice
ribalta.
woods
Court of Savoy.
designs and
most
of furniture, profiting
from both French and German influences. The Palazzo Reale and
Palazzo dell'Accademia Filarmonica in Turin
rooms decorated
in gilded
still
the
contain admirable
The English
style
known
as
Germanic lands
reached
Italy,
at this time.
as
much
as in
for porcelain
factories at
now
Vinovo
183
in
Piedmont and
factory
Chinese
made
at
the decorations of a
montc Museum
(///.
whole room
of Portici, and
146). In Naples,
still
this
is
in porcelain in the
now in the
Capodi-
many
figures
became
common
moulded
in terms
in terracotta.
The
beginning of the
Neapolitan
Seicento,
classes,
ended up
in the
of these
cribs.
146 The Porcelain Room from the Palace of Portici is now installed in the
Capodimonte Museum, Naples. The decoration in the 'chiiwiserie style was
carried out in porcelain between 1754 and 1759 by the Capodimonte factory.
*JJg
Eighteenth-Century France
The seventeenth had been a royal century the next was an aristocratic one. At the death of Louis XIV the Court at Versailles was
;
dissolved,
There was
a hasty flight
a child,
still
Tuileries.
last
political miscarriages
years
and by
a general feeling
of depression.
now
noblesse d'epee
and
it
noblesse de
to bring
a milieu where women were developgood manners, and the art of living. After
taste,
the severity of the second half of Louis XIV's reign, morals relaxed.
The Duke of
Orleans,
who
exercised the
Regency
both
new and
example
as a
was
a great
life.
demand
for
works of
XIV had
set
art,
an
to
add
grew
prices.
Court
at Versailles.
had no
effect
it
185
was
now
some of
hesitate to destroy
Louis XVI,
who was
now
Ambassadeurs, in order to
arts,
and
in the lock-
and the
taste
also to furniture.
The important
live
salons,
in
where
position
of
frills
which
now
and
better intro-
arts,
an increasing refinement.
None
the
Comte d'Angiviller,
once more began to
exert an influence
arts in their
by commissioning works on
programme
years of the
initiative
of the
on
the
arts.
D'Angiviller
historical subjects
due to the
last
was
during the
less,
from
living artists
to royal collections.
has
The Regence
1750.
186
reigns.
XVI
style,
style
is
to say,
became dominant -
of the
common
'Louis
to
find a
interiors
lagged behind
XV' scheme of
From
moment
many
that
at least in architecture.
;
For in
it
is
not un-
decoration inside a
facades.
ARCHITECTURE
It
King
that
in the time
at Versailles after
marble and
in the decoration
of interiors
life
gilt
houses that were built in Paris from the beginning of the eighteenth
century
this
mirrors, leaving
little
room
replaced
to
for
rocaille.
as
later,
Meissonier caused
a quality
this sen-
grotteschi,
which
tect
to
(///.
it
this
it
147).
in Paris
point of view.
It
its
architecture
from
vistas
specialize
the places where people lived in accordance with their uses - a bedroom,
187
147
Paris,
is
the best
an antechamber,
gallery, a study, a
usual to distinguish
dining-room,
boudoir for
a reception
room
leisure, a library;
replacing the
and
it
became
upstairs.
in
floor
this
188
Stanislas
Leczinsky,
who had
built
by
their decoration
(III.
this
been
prince
and gardens
148) remains.
which came
of Louis XIV.
Paris,
XV,
XV
periods, the
transition
dominant
architect
XIV
Concorde
la
(///.
150), the
less
The
architect
in the
Nancy, for the Duke of Lorsometime King of Poland 1753 1755. One of the finest pieces
France, it is entirely in the Rococo style.
Here
of town planning in
149-15 Place de la Bourse, Bordeaux. Place de la Concorde, Paris, with the Hotel de la
Marine and Hotel de Crillon. In both of these 'places royales Jacques- Ange Gabriel used the
arrangement already tried in the Louvre colonnade (///. 96), but the one in Bordeaux, with
its
is
the
less Classical.
meaning of Classicism
Madame
designed for
built
from 1762
of
in the case
de
to 1764
a single architect.
Pompadour
is
in the
House
is
He
also
style,
whose
essential
we must
and
XVI
him
count ourselves
to
go ahead.
architectural feature,
with
Opera
the
Chateau of
'folly'
The
became
tendency to approximate
of St Paul's
in
of Southern
London
Italy
(///.
131).
soon influenced
antiquities
Greek
at
the temples at
Paestum
(III.
(1
152).
which
architects
He
repeated endlessly,
for
the motif
Theatre
rocaille
at
went out of
garlands, ribbons,
by
orders,
which occurred in the first part of the reign of Louis XIV, was
carried out in
It
fashion and
was
now
stronger colour or
by
a little gilding.
some of
the town-houses
gilded.
by touches of
who made
several journeys to
were decorated
in the
Pompeian
The
of the
earliest
The 'Hameau', or artificial village, in the grounds of the Petit Trianon, Versailles, was
by the architect Mique in imitation of an 'English garden' it was the final caprice
of Queen Marie-Antoinette.
153
laid out
style,
much
in
fashion in England.
The layout of the gardens remained, during the reign of Louis XV,
more or less in conformity with the style of Le Nostre, though on
a less
imposing
scale. In
it
its
in
there
is
Trianon
hardly anything
at Versailles, laid
in response to
left
in
Of all
caprice of
(1 728-1 794)
(///.
153).
SCULPTURE
more Baroque than architecture in eighteenth-century
stemmed from Coysevox rather than Girardon. Most
Sculpture was
France.
192
It
of the
artists
dramatic attitudes,
taste for
to
XIV -
the-
was the
most
portraitist
tradition
in favour
(///.
154).
under Louis
XV
he revived the
of Coysevox's busts by
Soleil,
his
nine years in
closer
time
(///.
Jean-Baptiste
as
this,
but his
work
lacked that
penetration
which
distin-
155).
statues,
and various
artists
met
this
demand,
Pompadour. His
work
(///.
II
was
who was
affected grace
which he
a sharp
the
was
set
up
break with
lgg).
became
rare,
of houses.
and the
None
the
artists
less,
style',
and
in his
at
(///.
Monument of
157),
and
his
the
Comte
Tomb of Marshal
movement with the Classical cadence. Jean-Jacques Caffieri (17251792) still endowed with nobility the art of the portrait bust, which
Jean-Antoine Houdon (1741-1828) reduced, more often than not,
155
Cupid Making a
Bow
by Bouchardon, Louvre,
Paris.
156 Diana, by Houdon, Gulbenkian Collection, Lisbon. These two statues illustrate the
French conception of the smooth and elegant nude, which derives from the School of
Fontainebleau.
157
In.
the Funerary
Monument
to the
Comte D'Harcourt, by Pigalle, NotreDame, Paris, the praying widow and the
mourning
with
spirit
who
merely to the
face,
bibelot-sculpture inspired
gallantry.
(///.
156).
PAINTING
Whether
the
in 1684
and
eighteenth century
is
a controversial question.
century, has
it
made some
The
poetic gravity of
him
would
historians consider
as
belonging to the
195
is
that
by
his
he brings out, in
fact,
the altered
balance between the tendencies that had been in conflict at the end
art
was
an enchanted world,
Italian
Commedia
choly and
from the
kind of anguished
rest
work
is
sensibility.
Two
1 71 7,
this
two other
executed rapidly,
de
Gersaint (Berlin)
[III.
158),
(///.
less
159),
which he
as a sign
Watteau's painting,
like Chardin's,
was
still
as Poussin's
had
art
of society, not
Court
But
some extent
and there was
to
This
Artists
mere
196
depiction.
/*
158 L'Enseigne de Gersaint, by Antoine Watteau, Staatliche Schlosser und Garten, Berlin.
Painted in a few days for use as a sign for the shop of Gersaint, the dealer, this picture is one
When,
life
of eighteenth-century France.
the Academie,
where
his reception as a
it
Cy there was
member,
it
sphere to a
Lancret,
more
silvery one,
The
registered at
(///.
two followers of
Valenciennes
varied,
more of
for
as zfete galante.
atmo-
(1 690-1 743).
160).
who
work of
his
two
style
but
this style
in 1733
still
kept
became
1777) and Francois Boucher (1 703-1 770). Boucher was the favourite
painter of Madame de Pompadour, Louis XV's mistress his man;
nered grace
fitted in well
style,
and adapted
itself
159 L'Emharquement pour Cy there, by Watteau, Louvre, Paris. This was the picture presented by Watteau on his reception into the Academic it is a kind of summing up of his
;
art,
inspired
by Giorgione, Leonardo,
Some
(///.
162),
it
bleau, painted
XV. Both
this
these artists
by Oudry
finest evocations
on the
left
161).
illustration
XIV
XV in
showed
a great interest
among
the
demand - on condition
198
(///.
under Louis
in landscape
society
only places
self in
now the
and supplied
its
that
it
sitters
itself,
portrait painting
adapted
itself to
with seductive
was
in great
effigies.
Nicolas de
i k
3*
160
Lc Moulinet devant
la
no more than
*n
-^
und Garten,
Berlin. Watteau's
by Francois Boucher, Banque de France, Paris. The mythothemes which had already inspired so many of the Baroque and Classical painters
are transformed by Boucher into the gallant style, which he adapted to the new decorative
161
logical
requirements.
with
two
centuries, continued to
produce allegorical
portraits,
logical characters in
mythomanner had
up
his
as
decidedly
who was
desses
many
(///.
accessories
most fashionable
There was
of
this
200
The
of goddesses.
Van Loo
But
Aved
a reaction
(1702-1776),
who owed
a great deal to
is
sometimes
dated from La Rosalba's coming to Paris (1720), but in fact this genre
made himself a
two
exploited
artists
its
in France,
specialist in
restless
man, wandered
him somewhat
made
La Tour, on the
painterly effects
precision,
style
(III.
and
he aimed
at
his trenchant
164).
it
emerged again
in the eighteenth
commercial
1779) painted
the
life
of the
With him,
success. Jean-Baptiste
still life
petite bourgeoisie
as
sitive
woman
is
had
163
Madame
his
illustrative painting
an Allegory of Water,
portraits.
of
highly sen-
of the loaded
real object
(///.
165).
He
his talent.
by Jean-Marc
fine,
successive applications
by
intimacy,
handling, achieved
its
with Vermeer,
in
is
realism.
XV
reign of Louis
Honore Fragonard
Boucher.
He made
journey to
it
was
coming
a pupil
Italy,
and
was the
of Chardin and of
his career
painters
began on
of the Northern
who had
the
most
effect
on him. Like
who were
a feeling
masterly fashion.
his inspiration,
He employed
He began
all,
Rubens
the seventeenth-century
convey
he attached
his pictures
'carried off' in
whose
secrets
as a practitioner
his
was
of transparent painting he
of the genre
galant,
and
203
own
spirit
he turned to the
idyllic
and sentimental
work of Greuze
events in his
(///.
life,
167).
(1725-1805)
(///.
166),
was
but no
field.
less ingratiating.
The
official
(1725-1802).
women, and
Hubert Drouais
and
Greuze produced
Duplessis
were of
most distinguished
(1 727-1 775),
Madame du
now Joseph-Siffrein
The most
the
Greuze
who
painters
painted
Madame
two women
de Pompadour
painters,
Madame
of whom the
204
latter
by JeanLouvre, Paris
The technique of this 'gal-
The Broken
Baptiste
(right).
lant' picture,
is
Pitcher,
Greuze,
with
its
erotic allusion,
in style.
mart
Andre,
Paris
(bottom).
a visit to
coastal scenes,
which he
his
topographical
1808),
was
who
very productive
artist.
of ruins, but in
his
he became the
illustrator
hands
it
He took
became
of
Italian
less
end of the
at the
ancien regime
of
Paris.
known
tableaux de place, he
in his
as
works on
small scale he was a very fine painter, with a sensitive and sponta-
(1 729-1
805),
who
depicted the
scenes.
all
first
to
He was
in
Rome
in 1784
and exhibited
in Paris
it
relief,
Composed with
MINOR ARTS
Made
for the
a prodigious
206
life
development of the
industrial arts.
The
art
produced
art lovers
of this
Madame
inventory of
many
kinds.
The
less
make
and the other royal buildings were packed with furniture and
objects,
A new tapestry factory was opened and placed under the direction
of Oudry.
It
of different shades -
as
many
as
and used
remarkable number
were apt
to fade.
Coypels, and
The outstanding achievements of the French goldsmiths and silversmiths of this time can hardly be appreciated unless they are studied
owned by
some
five
hundred of
(c.
1 726-1
Germain
791)
(///.
(c.
168). It
was an
much
sought
and
gates
The
art that
in
edict issued
by Louis
XV
at
Nancy
of gold and
pottery,
style
many
major
ones
Barowas subjected to
In France the
168
que
restraints
arts.
it
in
In the
expressed
the
minor
itself
as
in
this
silver
and ornamental
are outstanding.
services
silver plate
took kindly to
railings
of
down of
luxury product.
which
Pottery,
and
smiths'
easily
silversmiths'
Its
(in the
Niederwiller,
at
nobility,
the
Madame
de
in the east
of France -
by
the
Pompadour who,
was
in 1753
transferred to Sevres.
of cabinet-
rise
makers had
full
their customers
by inventing
all
taste
of
list
may
give
some
idea
of the incredible
variety.
draught-board
boudoir
tables,
tables, tables
backgammon
dressing tables,
tricoteuses,
with drawers
work
tables,
dressing tables
(toilette
(en chiffonniere),
tables.
The writing
table
side
a serre-papiers
secretaire;
this
might be
in
by
la
it
either
supporting
en pente, en tombeau,
a abattant
(drop-
which
a cartonniers, desks
and other
varieties.
book
and pedestal
jewel cabinets,
la
atheniennes (candelabra
on
a tripod, in imitation
Belle Athenienne).
There were
sizes.
and the prie-Dieu. There were barometers, therwide variety of clocks - bracket, cartel, mantel,
screens, fire-screens
mometers, and
were
combined with
posts),
la turque,
and
styles.
a starry sky,
without
a la polonaise
(an
by
a la romaine,
a I'italienne,
elaborate four-poster), a
a cabinet or
Chairs could be
(tabourets)
:
en gerbe, en
lyre,
en eventail, a
at the
chairs en cabriolet, a
la
there
beds
were
(lits
chairs a coiffer
de repos),
were
d'affaires,
or
bidets;
arm-
and short
and
day
and children's
took
many forms
tables
never
were often
gilt
bronze ornamentation on furniture of various kinds, especially writing desks and chests. Gaudreaux
(///.
169), Jean-Francois
Oeben (who
209
died in 1763), and Jean-Henri Riesener (173 4-1 806) were the most
celebrated cabinet-makers of the Louis
worked on
years (from 1760 to 1769) to make. Georges Jacob (1739-18 14) was
the principal supplier of furniture to the Court under Louis
XV,
especially chests
XVI.
and wall-
forms and
Louis
XVI
rocaille
Under
style.
rais
soon be added. At
this
Under
the Revolution
all
this
richness
of ornamentation
Directoire style.
furniture-making
169
Napoleon
XVI
style
known
art.
dis-
this
com-
draw
into
much
itself,
France and
resentful
Italy.
inforced in 1759,
Sicilies,
the
when
Court
last
Kingdom of
was
the
Two
III.
splendid climax.
The Court
art,
while the
rest
formed by foreign
was
art,
attaining a
influences,
was
original forms
re-
which
of
unknown
luxury hitherto
name of Charles
dynasty, Philip V,
the Farnese.
in Spain,
He
which prevailed
was
to
expression of
last
when
style the
in the midst
Habsburgs had
art.
monumental
arts, especially
bound up with
as
the other
shown
in
211
name
it
difficult to dissociate
is
it
first
of a
It
in the
The
truth
is
that
families, that
of the Churrigueras
in
Baroque of Spain
of the Figueroas
in Seville
It is
signi-
of San Esteban
at
Salamanca
(77/.
170), for
which he sup-
begun
at
in about 1660
among
which had
cliff
monumental
made
worked
1
70
at
The High
Altar of the
Church of San
by Jose
feet
171
San Luis,
Seville, built
by Leo-
churches
their
to
produce
of
new forms
orders
Churrigueras
is
distinguished
by the
is
in which, unquestion-
of the Plateresque
and
in 1728,
it
style,
style
the finest
Hall),
of
for
it
whose
architect
We
name
origin.
mixing
The Figueroa
Classical motifs
Leonardo da Figueroa
which was
gueras;
sorts,
it
quite different
An engineer,
- to
'Churrigueresque'.
mouldings of all
Seville
(c.
family, in
of columns and
this style,
(///.
171).
213
of
Seville,
palace
Figueroa's
(the
adorned
(1683-1742)
San Fernando Hospital (1722-1726)) whose overloaded ornamentation even borrows motifs
from drapery,
lace,
and braiding. At
Dos Aguas,
built
granite
by Ignacio
style
draw from
these
some sumptuous
effects.
palaces,
was begun
at the
of a humanist canon,
Work
on
initiative
two
172).
this
(///.
century.
The
by
is
(1 721-173 2), a
altar
[III.
173).
is
it.
at times.
altar-pieces
The most
(1770)
by
a Portuguese,
applied,
in-
in Seville.
Coyetano da Costa,
in the
_
i
Vergara,
Valencia, built
by Ignacio
740-1 744.
worthy o remark
that
all
these buildings
spirit,
and schemes of
of the Rococo, had not these been used in the royal palaces under
foreign influence.
In fact, as
we have
said, there
Italian
Court
this native
V after the
Treaty of
in the
French
style
were
laid
174
The Royal
Palace, Madrid,
was
which
first
by
is
on
and
its
as sculptors
a closed
Rococo
on
gardens.
by
by
Classical
in 1734)
plied
designs
new
The
on
Sacchetti
example in Spain of
alcazar.
also
The
down
embodies
designs sup-
174).
style, dates
The
III.
movement which,
of the eigh-
founded
in
official
now
The
Neo-Classical, as
spread,
vested in the
The
best practitioner
of
this
Italian Classicism
a
it
shown
216
more
Monumental
sculpture - of
which
little
chiefly used to
at Seville,
and
in
a final
stemmed from
that
at
at
practised an effeminate
origin,
life
moment of
of the Neapolitan
Salzillo family,
and mannered
art
of
which
cribs.
PAINTING
During the reign of Philip
It
became an
art
Italians,
as
such
mood of
Paret
the
still-life
(1 747-1 799)
painters
was
a society painter
who might
be compared
Goya
(i
746-1 828) came on the scene, and asserted once and for
From
life
two
all
periods.
of society in an elegant
style,
of women
(///.
173),
remind us of the
manner he adopted
iy6).
cratic society
is
a bitterness
The French
turning-point.
his art
Goya
invasion cut
la
characterized
by Romantic
of Charles IV
Florida (1793)
Goya
off
in the
from the
that point
mark
aristo-
onwards
in 1800,
MINOR ARTS
Pottery flourished in Spain, the
was
on
called
more
so since the
The
mother country
Italian
filtered
through.
The
Conde d'Aranda
lustre. In
1727 the
Italians,
in-
who
factories,
in the
and other
manner of Berain.
factories in Catalonia,
of the walls
in churches
and
it
tall grilles
In the
was
it
had possessed
work of the
of metal-work;
that
off by
palaces.
swirls.
was continued
in France,
example of what
arts
of interior
from the
Brussels workshops.
Deprived of the
Low
Countries,
to
this
The
III,
who had
Capodi-
monte
in 1743
factory decorated
two rooms
219
had remained
Renaissance
set in the
style,
owing
PORTUGAL
an error - shared by the majority of historians - to
It is
as a
of neighbouring Spain -
from
that
art
from German.
is
Another error
is
of La Granja
it
is
it is
from the
was an
architect
the sculpture,
its
art
vow
all
was confined
imported from
of Portugal
another
Italian,
is
to be
to Lisbon
V ordered
German Ludovice
Italianized
which was
It is
Escorial.
(1670-1752), and
forms
Italy,
a note-
Mafra became
true that
new
came
of a
influence
art
roughly, as French
Portugal
as different
to be built in pursuance
Its
as different,
treat
radically different
is
from
art
forms, but
real native
Oporto, where
at
and
at
style,
may
be
from
of Spain in being Rococo and using asymmetrical ornamentation - in the second half of the century, with the exception of the art
that
of Braga,
its
220
The
it
best examples,
however, are in
Brazil.
The churches
woodwork, which
(///.
177),
and then, between 1740 and 1760, moved towards unity and
is
The outbuilt by
rooms and
buildings.
was
its
1755,
most
from the
resistant. It
introduced the
was
its
capital into
was
new
in
which made
it
necessary to rebuild
style at
carrier.
221
Machado de Castro
his
King
art.
not destroy
Under Don
Jose,
He was more
style did
do Comercio
in Lisbon.
The
result
of
was heavy.
of Naples.
is
represented
Antonio
de
Sequeira
The minor
were
arts
(1768-1837),
chiefly
rather
Goya.
remarkable for a product that
is
with designs
with
religious
The
figures,
and in secular
art
(///.
in
178).
art
now
in the
Museu
Nacionale, Lisbon.
*****
mW*
A
M&
^^\*
N
'
m&
'
"
%53bt^ jZigB$r^'
'iS
^3W\
PuV'
"'-'SBBHBHBHMWHB
sBf?
them more or
formed themselves
less skilfully.
Independent
possibilities
precocious Baroque.
monuments whose
The Puebla School
some
little
art
time before
this
of India, produced in
style
in
may
be regarded
Mexico had
the idea
scheme of decoration
was done
in Spain at
in
Cordova
to 1670,
were fore-
large cathedrals
style
produced
was
still
mainly
a great proliferation
religious,
of forms, both
in the gilded
woodwork of
(where
in
artists
Mexico and
in Bolivia, a style
on the stone
facades
Colombian
In Brazil,
arrival
art
(///.
lyg).
art
is
artistic civilization
closer to that
before the
of the mother
of
their
by
Gerais,
223
18
14),
known
as Aleijadinho.
Portuguese and
decorator, and
his
mother
cripple
and
a Negress),
he worked
at
as architect,
Congonhas do
territories,
medieval flavour,
it
large
in a popular manner.
numbers of
Quito and
at
Cuzco.
pictures painted
by the
as at
as in Spain.
The portal of the Church of San Lorenzo, Potosi, Bolivia, is a remarkable example of a
179
type of sculpture that recalls pre-Columbian art. It is the work of native craftsmen.
The Prophet Isaiah, from the terrace of the Church of Bom Jesus, Sanctuary of Con180
gonhas do Campo, Brazil, is an example of the archaizing spirit of the great Brazilian sculptor,
Aleijadinho, the last genius of the Baroque anywhere in the world.
in
in
activity
seriously
down
slowed
after
being
by the Thirty
Years War, revived- between 1660 and 1680, and continued to the
circumstances
favoured
this
intensity.
upsurge.
prestige
The Austrian
from
its
decisive
throughout the
Principalities
Crescent.
their churches
and monasteries on
a vast scale
and with
rebuilt
a prodigious
of the Christian religion, with which they associated the Imperial idea.
Many
Austrian and
Bohemian
princes,
them from
style.
as full
as
Vienna.
it
through the Treaties of Westphalia, Utrecht, and Rastadt in increasing the political fragmentation
by according sovereignty
to a
great
many
lay or ecclesiastical
225
which were
Principalities,
now bound
to the
Emperor by no more
by
and
The
result
was
a multiplication
tiny
a royal ostenta-
strove at
first
arts.
activity,
Each
ruler
idea, Louis
- hastened to
in France,
Germany was
centralization continued
situation in
where
by
rather than
by
the
life
was
as
of Parisian society
it
tended to acquire
art
art.
An
which was
built
by Georg Bahr on
a central ground-plan,
Germany
Revolution - and in
it is
in this part
more than
inspired
The
by
spite
still
shadow its
War
whole and
intact,
magnificent one,
it is
- of what the
art
German Baroque
art
true
kinds,
from
a flood
of
Italy
Italian artists
of
in, chiefly
welcomed
now
under Austrian
German Courts
artists,
whether
to the spirit
the
new-comers were
chiefly
of the
who had
to the
Germany
societies for
artists.
these
by German
French influence
is
that
The French
Germany were
who were
The
reflected in the
it is
archi-
those closest
often consulted
also
rule.
Mon-
etc.
ARCHITECTURE
In Austria the Imperial
Baroque
style
was
Italian artists
Hildebrandt (1668-1745).
these artists
there
were trained
Owing
in Italy;
fully
such
it,
as the
but
its
Carlones and
excellence
was
artists
title
von
to various circumstances,
von
both
his followers,
with
on movement. Already
its stress
(III.
181), Fischer
at the
Church of
of Frain
the Jesuits in
his
own
style
Karlskirche (171 6)
(designed
effects
the
artist's
whose
richness
227
181-182
The Church of the Jesuit College, Salzburg, and the interior of the dome of the
by Johann Fischer von Erlach. In the Karlskirche von Erlach made
too literal application of the models he borrowed from Rome, while in the Church
was meant
cadences
in
at the
was
main theme
sioned
him
is
to build his
Summer
makes
The garden
separating the
of Le Nostre. In
Hildebrandt also
One of the
who
228
two
is
that
principal
of the
(///.
184),
The impetus
to the rebuilding
at the
While
abbeys.
others
(77/.
183),
at St Florian
is
entirely his
work.
In Upper and Lower Austria and the Tyrol the monasteries were
rebuilt
is
festal
chamber, a theatre,
power within
whose
utility
between the
monarchy
existing
spiritual
power and
real,
the temporal
by Divine Right.
more chastened
style,
more
responsive to a harmonious
was
still
more firmly
Josef Mungennast
(d.
1741),
established in the
work of his
whose masterpieces
are the
cousin
Church
183-184 The Upper Belvedere, Vienna, by Lucas von Hildebrandt, and a section of the
South Front of the Palace of Sans Souci, Potsdam, by Georg Wenzeslaus von Knobeldorff,
two examples of the use of one of the principal motifs of German and Austrian Baroque
the atlas-caryatid, or atlantes, symbolizing strength.
85
Austria,
Imperial apartments.
it
is
still
not
Rococo, for Austria did not adopt the system of balanced asymmetrical motifs.
in various kinds
of marble
rooms
statues
and painted
ceilings.
or,
of
more
which were
By way of excep-
186
in
The
interior
woodwork and
/A
drawing from an increasing abundance of varied forms and ornamentation an essential unity, achieved
by bringing
all
the elements
of music - which
to those
at that
rhythm
ornamentation
in
its
is
counterpointing of asymmetrical
many
whole space
in
is
vibrant.
and
stucco
in gilded
The
lively
colours,
woodwork and
creative wealth
so great that
book of this
it is
size.
carried out
that
became
laboratories
possibilities
land,
work
in their
Austria,
own
district
who produced
and Swabia. In
their
religious
work
they were
Rome.
In
187
galleries,
etc.
This explains
wealth of ornamentation.
its
prodigious
as his inspiration
The King
of complex ground-
possibilities
who went
all
over Germany.
which
were added gardens that, even today, still have all their ornaments
- their statues, their temples, their systems of fountains, their openair
theatres,
their
'wetting-sports'.
exotic pavilions,
orangeries,
their
is
palaces built
at
their
laid
and
Potsdam
II
had pleasure-
Charlottenburg.
The
finest interiors
These, unfortunately, were for the most part destroyed in the Second
by Tiepolo on
the ceiling of
decorations of
its
work of Francois
who became
tion,
is
entirely
Cuvillies (1695-1768),
reconstituted.
who was
1739), a
and poetic decoration of the Amalienburg (1734hunting-pavilion in the gardens of the Palace at Nymphen-
woodwork, and
is
in them, in contrast to
what was
showed an
enchanting conceits
is
The
They are
Frenchman
the elegant
and
is
heavy than
usual in France,
In the Amalienburg,
in the
Reichenzimmern,
up again
fine embellishments
tenburg, on
less
and
in an endless chain
of the
interiors at
falters,
of melodies.
remained
intact. Collections
of
rooms decorated
in
mirrors,
modest space
(///.
stucco
that
186).
The most
at
of Frederick
II,
Sumptuous
the
had
woodwork
in gorgeousness
by
and
is
by
them
bombing and
is
the small
surpassed
opera house
reflected
to infinity.
woodwork and
Cuvillies,
interplay of
sister
of their
spatial
and ornamental
The
archi-
188)
and
Neu
of the palace-monasteries
century
beuren
is,
(///.
all
Germany
in the eighteenth
several architects
with
rebuilt in
The innumerable
statues,
ornamental motifs, and paintings in the church join together rhythmically in that symphonic unity to which the
name Gesamtkunstwerk.
The diverse tendencies of Germanic
the
architect
an
of genius, Balthasar
artillery officer
architecture converged in an
Neumann
(1687-1753). Beginning as
'
1 89
The Church of Ottobeuren, Swabia,
begun in 1736, was built by several architects and decorated by the best artists of
the time. The huge Benedictine monastery
of Ottobeuren, of which the church forms
a part, is a kind of summing-up of German
Rococo.
Germany
Worms
in the Rhineland,
all
Schonborns carried on
correspondence on
at
himself, he
1723
full
confidence, and
summoned
is
a palace
Neumann
Bruhl
(///.
churches.
beautiful
sent to Paris in
its
to Wiirzburg.
with
its
masses
outside ornamentation
of Cologne.
of these
is
He
Vierzehnheiligen (1743) in
236
The
distri-
German
The most
was
saints.
In
it
Neumann showed
Balthasar
superb
in contriving spaces
skill
to include the
melody of his
ellipses in a basilical
while
all
He managed
ground-plan, and
to the ornamentation
form of a
carriage.
Balthasar
Neumann, was
a chapel, the
German Rococo
genius,
theme proposed
to
most elegant
harmony.
and abruptly. There was little transition between the Rococo and the Neo-Classical - it can be perceived
art died late
begun
in 1769
movement
from
that
Prussia,
by
was
Monastery of St Blasien
in the
Black Forest,
to put an
where David
end
to
Baroque
Gilly,
art in
of French
Germany came
origin,
and K.G.
Langhans (1732-1808) reversed the tendency. The famous Brandenburger Tor in Berlin (178 8-1 791)
Greek
art,
which
it
was
possible to
the
Neumann, 1743-1748,
most sumptuous
in
is
Germany.
certainly
is
to Athens,
D. Le Roy's Ruines
J.
monuments de
la
Grece (1758).
SCULPTURE
The decoration of the churches required a great number of craftsmen
Germany received this technique from Italy and proceeded
to develop it with virtuosity. As already stated, Wessobrunn in
Bavaria was a nursery of these craftsmen. But indeed, in the Rococo
period, this art graduated out of the craft stage, since more and more
motifs with figures were required and a number of great artists
in stucco.
applied themselves to
Asam
(///.
it.
191); in Swabia,
at Altenburg).
age-church
up
at
Neu
in a frantic
Birnau
(HI. 192),
movement and
where
all
is
throwback
to the anguished
Wood-carving,
countries, enjoyed
statues
craft
new
traditional
German-speaking
the
in
(1 725-1 775).
Stone and
Many
were
artists
producing
foreigners. Frederick
imported to Berlin
(besides
by
the
most
Among
the native
Schliiter
artists,
(1664-17 14) in
statues
carried out
from 171 7
decorative painter.
equestrian statues
Virgin,
to 1725
finest
<r
Wt
192
Josef
Anton Feuchtmayer.
detail
Providence, by
193
the original in lead,
Georg Raphael Donner, from the Fountain of the Mehlmarkt, Vienna in the Austrian Baroque Museum, Vienna.
cast in 1700.
Louis
XIV
For
it
gave an entirely
new
He may
anti-Baroque
character to that
Giulani.
now
was
Neu
it.
PAINTING
The museums have
distorted
Italian
who ought
(///.
193).
240
of the
spirit,
a pupil
we
see there
it
and even
astray.
Thus
commonly
it is
School
as
by
mediocre. They
is
stated
German
mention
look up, and to absorb the forms and colours displayed on the
church
ceilings.
fault
is
of loss
certain coefficient
harms
is
its
The Germanic
artists
what was
learned
to be learned
from the
known as
from the
it
had discovered
Italians,
set
Having
they carried
onwards, one
painting free
from the
on the
walls,
by
the perspective
it
may
at first horizontally,
'linear'
highest degree.
its
fifteenth century
was achieved
diffused.
artists
on
painting
its
effect
on
walls,
made
first it
a perspective
summit of the
who had
At
converging to
visual cone.
It
ceiling
a single point
depended for
human
figures delivered
came
the church.
its
field
set
whirling
these researches
who,
number of vanishing
it
swirling
move-
And
indeed
it
was
their
of
found
grand
241
<.*
^*Miky^
jT
1
jM
if
\\
s
fl^^^
1'
>*
mSpK
The
Bergmiiller,
from
from which
out an
and of diagonal
194
frescoes
axis,
staircases
this detail
is
spatial vision.
plav for
full
The
painters
to this art
who.
Germanic
in the
with greater or
less felicity,
well
known,
for their
work
acquiring an extraordinary
were
legion.
little
They
are
still
not
reproduced, and
artists are
in
Among
Hohenburg
artists
whom
(or
the out-
in
Austria,
Paul Troger,
(///.
195),
who were
closer to the
them -
242
the technique
came
to
touched Austria
He was
bounds of the
in bursting the
of the
which
that artist
ceilings his
had
atmosphere
all
denz.
Nowhere
else
Grand
No
such artisans
by
origin,
images and
interlopers
as
and
by
effigies
laboured
around him.
at the
who
Court of Berlin
artists
is
who
created
ceilings.
Goetzen (Tyrol),
to supply the
feel
who
Staircase
F\fT
I
Parish
Church of
MINOR ARTS
German eighteenth-century furniture was an imitation of the French,
its forms were heavier and much less well balanced. In fact
the German Courts imported a great deal of their furniture from
France. They also imported tapestry, since none was woven in
Germany at the time.
On the other hand, Germany produced some good goldsmiths and
but
and gave
powerful impulse
silver-
smiths did not attain the perfection of the French, they achieved
Rococo forms
that
who worked
Melchior Dinglinger,
at the
and
sixty-five figures.
from China
to
into the
West
effectively.
But
factory to exploit
ware but
it.
by an
at
highest standard
near
Munich
of Meissen.
its
then
Nymphenburg,
The
244
Ludwigsburg,
success.
Italian, Bustelli.
Chinese
at
official,
were
set
at Frankenthal,
up
in Vienna,
and
in Berlin.
statuettes
have
a refinement
factory,
first
in
II
was
and Augustus
politically
III,
successive
The
who were
architect
this route,
it
from
this
Court
way
the
Augustus Poniatowski,
Saxony.
famous
in Europe.
Wishing
of French works of
(///.
196),
in style
art.
- a proof that
unknown
Warsaw, he
artistic
in Poland. Neo-Classicism
also
not
who
It
arts.
There was
of various
was the
nationalities
Swiss-Italian
basilical
city
being built - St
- Germans,
Domenico
church whose
new
Dutchmen, and
Tressini
(1670-1734)
ground-plan with
its
dome
at the western
245
was
crossing
entirely
opposed to Orthodox
Amsterdam, with
its
many
when
St Petersburg
The
traditions.
was based on
first
that
of
canals;
Even before
his
Versailles
visited Paris
grandeur.
He
and
Versailles,
their
scale
at
he
and
plan that
recalls Versailles.
The
on
the shore
The
seeds
He had
inspiration
Italian
Bartolommeo
Rastrelli (1700-1771),
his principal
In St Petersburg
Her
recalls the
a closed Italian
(now Pushkin),
Selo
to the south
on
the gardens.
Summer
Palace at Tsarkoie-
of St Petersburg, he showed
[III.
lgj).
long, giving
This palace
hundred and
fifty
open
lies
in
yards
woodsmall room
in
War.
It
made
architecture
built for
Convent on
had palaces
em-
monumental
Smolny
on the Neva
their stucco
this
gave the
a cheerful atmosphere.
247
Baroque
of the Fine
Arts,
la
who
Mothe,
in a style
from France.
its
Frenchman.
was
It
Statutes
Frenchman, Vallin
movement towards
Its
In general the
Catherine
artists
in 1764;
II
to house
Rastrelli.
Classicism
was reinforced by
who was one of the greatest art patrons of the eighBy the quality and the quantity of the collections
II,
teenth century.
by her
she acquired
artistic enterprises
company of philosophers,
Court of
St Petersburg in
As
la
of her
Mothe
to build,
on
much larger
building, and
this,
collections
the
at
Tsarkoie-Selo
is
also Neo-Classical.
(c.
the
Summer
Adam
style
Cameron
an annexe to
Pavilion.
Won
European
spirit.
Neo-Classical
Academy of
work in the
style, for
to
It
Napoleon hoped
to give to Paris.
it
an
were due
1744 he raised
of the
in imitation
of the
architect. In
statue
Nicolas-Francois Gillet,
The
is
it
came about
was the
of an equestrian
bronze to Peter
Catherine
II
the Great.
raising
statue in
A large
and
this
made
it
The
Interior
in
in the Vatican
Raphael's frescoes
ject
all
out. Clerisseau,
with
she asked
him
which included
studies
and bought up
MINOR ARTS
With remarkable
Rastrelli,
who was
Winter
of
new
by
the
is
why,
in spite
Museum
of
still
199
trian
The
eques-
statue
in
The
of the
rearing; horse
is
assured
devices -
balance
by various
by the tail,
***
Xr
in the
in
the
Low
Countries
first
Dues de Brabant
Guimard,
(III.
200)
laid
out by Barnabe
itself perfectly
the
Church of
Dame
of Hanswyck
drowned
**m
Antwerp produced
whole
of minor
series
One
who
down
adapted
fine decorative
style
painters,
faithful to
- which, in architecture,
the
XIV
sober
houses were
a delicate
still
built
rich burghers'
The
is
worth mentioning; he
201
new
spirit,
Hogarth was
to
and composed
do
England
in
of pictures
series
(III.
202).
<6l
1
wit
1!
IB
Ml IB
11
listub
h 11
202
all fell
to talking'),
In contrast, the
silversmiths
series
produced
Delft pottery
lies
lambrequin decoration,
now
fine
Rococo
pieces
in
style
of
still
its
appear-
The Hague.
253
on
in
Scandinavia
direction,
The
these
Frenchmen
203-204 The equestrian statue of Frederick V by Joseph Saly, 1768, Amalier,borg Square,
Copenhagen, was inspired by Bouchardon's equestrian statue of Louis XV in Paris. The
portrait of the King, National Museum, Stockholm, is by Gustav Pilo, whose painting is
sometimes reminiscent of Goya.
205
Lady
The
with
by Alexandre
National Mus-
the Veil,
Roslin,
come
to
women
grace of the
of the eigh-
teenth
century
quettish
shows
it
certain
Venetian influence.
of Frederick
(///.
203).
The
at the
in
Denmark, was
Academy
in
in
Copenhagen
[III.
to
204).
make
its
way
at the
widow of
near Stockholm, built for her after the manner of Versailles by her
architect
255
and designed
style for
Drottningsholm.
He
went on
(i 697-1
the practice of the arts over a long period. Tessin brought over
from France
smiths,
and
by the
silversmiths.
disasters
team of
statues
artists
of
Edme Bouchardon
(the
many important
and
still
more
Swedish
artists
went
to France to
of French
art collections.
settled
which
The 'Gustavian
style'
is
his pictures
lost a certain
(///.
205).
long time in
never
he became
twice, in 1771
down in France,
Italy
who had
to the
studied for a
King of France,
Haga,
interrupted
256
the
as a royal
by
III.
residence at
institution
Great Britain
in
could boast of
it),
What made
was the
talking to
The
George
who
could only
them
first
in Latin.
When
George
III,
his Ministers
who was
of government,
it
by
completely
was too
late.
Partly for these reasons, and partly because of the grossness of the
first
two Hanoverian
kings, the
arts.
owed nothing
society,
privileges
of birth
were admitted
to
it
and recognized
as the equals
of the provincial
the waters, and
cities,
life
of the nobles.
An
arbiter
of elegance.
full
as
meeting-places, though
French
art,
that
it
life.
common with
In France, at the
death of Louis XIV, the Court lost control over manners and minds,
though
it
which
is
of
to be
in
England
it
tended
essential unity
within that
full
play of party
strife
ARCHITECTURE
Eighteenth-century England went through a fever of architectural
experiment. Books on the theory and practice of architecture, also
specialist reviews,
period.
Members of the
Pembroke, and
aristocracy, such as
this
Sir
a revival
of the tradition
architecture -
- was
also to
have
When
in
Surveyor-General of the
four years to
to that
live),
he
Works
of his predecessor.
(in place
upon
He found
of Wren,
who had
a Classicist course,
support in a whole
still
opposed
new move-
outstanding model
the plates
of his Quattro
a translation, in
Libri
London
were re-engraved
in 171 7
by Giacomo
206
Mereworth
directly inspired
Castle,
by
Palladio's Villa
England.
new
of the
aesthetic
known
as Palladianism.
Roman
taste
of Wren with
architecture
London).
By
(as
in the
from
the examples
of
St Martin-in-the-Fields,
Rotonda
derivation
and
Wanstead House
Villa
its
Church of
it
(III.
206),
became general
in 1723. Palladianism
Holkham
Hall;
its
is
most
characteristic
later.
a severe style,
2oy
The Royal Crescent, Bath, was laid out by John Wood II almost entirely in the
manner between 1767 and 1775. The city of Bath has been called 'the English
Palladian
Vicenza'.
Burlington's example.
He
in 1749). Their
(in the
(1697-1767), Isaac
(who died
The
Ware (who
in 1765) also
first
died in
belong to
(171 8-1788)
style
now
1766),
Sir
Robert Taylor
creative.
The outstanding
The
achieve-
to
1754) and
by
(///.
much
success in
207).
inspiration
Greek and
Italy,
Roman
and were
at that
Adam
Chambers (1723-1796),
brothers,
the author of
The Music Room, 20 Portman Square, London, is one of the purest examples of
Neo-Grecian decoration. It was carried out in stucco to designs by Robert Adam,
208
1775-1777.
Treatise on
Civil Architecture
in
Adam
London. Robert
met
(1759)
who
from 1754
visit to Italy
Clerisseau,
who was
to 1758, in the
producing
body
a large
made
of a
The most
House.
expressive
He
style far
more
is
undoubtedly Sion
by
ducing into
it
supple
intro-
on antiquity and
so
harmonizing
it
The
interiors
generation had, in
fact,
(///.
208).
chinoiserie,
and
staircase.
Chambers
a revival ogrotteschi in
James Gandon)
the second
Adam
style.
who
followed
his principles,
free
form.
as
closer to the
Romantic period.
&T*.
And
yet,
as if to
principles, the
brought with
it
of the Gothic
a revival
ceased to be used, to
buildings.
some
style,
The promoters of
Gothic in
became
The new
common
taste
architecture.
The
Sir
Twickenham,
built
and decorated
libraries
and
in
galleries
as
it
went
from
known
less
that
of
as 'English'
Rococo
style
on
- that 'French
their guard.
style' against
The most
whose seduc-
curious fact
were
is
that
also the
like
^1
'*
&--)i-ii,-*:
View ofSnowdon, by Richard Wilson, Walker Art Gallery, Liverpool. Wilson looked
the British Isles through the golden haze of Claude Lorraine.
209
210
at
Chiswick were
and were
full
set in
of streams, pools,
valleys, cascades,
a great variety
at
replaced the garden in the French style or was laid out next to
gardens.
in
producing tombs,
eighteenth-century
busts,
Britain
and ornamental
it.
were
statues
for
Frenchman, L.F.
Roubiliac (1702/5-1762).
Shortly After the Marriage, by William Hogarth, National Gallery, London.
from one of Hogarth's celebrated moralizing series, 'Marriage a la Mode'.
211
picture
from the
painters
were
now
Low
added to
Mercier) came to
these,
work
in
and Frenchmen
had studied
in Italy all
(Watteau, Philippe
also
Sir
Dome
But
of St
(1697-1764).
in
Paul's.
He
In England,
since the
was Hogarth
moral message.
free, there
a great
had been
advance in
satirical
series
Progress
and Marriage
a la
later
invented literary painting, but that he was the pioneer of the British
by
that
was
create a style
direction
to
were destined
this,
at the
of naturalness.
Sir
Joshua Reynolds
(1
Italy. In
moved
in the
725-1 792)
and
temperamental painter
who
of the masters,
especially
life
[III.
212).
a lecture
He was
also
expounding
manner he painted
the
sitter's
first
fond of discussing
When
his sitters
art,
III
on 17 DecemBaroque
President). In the
character.
effort
all
and
naive,
more spontaneous,
He
less
aristocratic
216) or a
pieces', started in
Dutch.
and
He
as 'conversation
loved to place
- and indeed
212
The Death of Dido, by Sir Joshua Reynolds, Buckingham Palace, London. The dramatic
element in many of Reynolds's pictures marks the transition between Baroque eloquence
and Romantic sentiment. (Reproduced by gracious permission of H.M. the Queen.)
P*
^Pf
%
1
""v;^
JBPlRi^J*4.jhsH^HI^I
during
his
Rubens and
leads
on
to Constable
him
in the
(///.
213). Less
women who
sat
for
later in painting;
it
marks the
art
its
appearance
of Romney (1734-1802).
He began
by being a history painter; the naturalness, enthusiasm, and movement which turned the studies of Reynolds and Gainsborough into
living portraits became softened, in Romney, into a sentimental
pose
(III.
214).
Hoppner
fat,
relief
a superb handling,
267
chante,
sentimental expressiveness
com-
with a Neo-Classical
treatment, with which it contrasts, brings many of Romney's
pictures close to those of Greuze
bined
foundation,
member of
introduced
the
who
lived in
the Royal
fantastic
landscape.
his
England for
Academy from
Welshman,
Lorraine to seek out the places in Italy that had inspired that
When
own
artist.
country in
delicate
its
his
[III.
20g).
Watercolour paint-
wash drawing,
method used
- became in
on
its
own,
practised for
its
own
(as,
a genre
artists
on
for instance, in
work of A. Cozens, 171 5-1 78 5, and his son John Robert Cozens).
The influence of the stage was considerable in English society, and
the great actor Garrick was fond of the company of painters. At the
the
268
(1 724-1
and produced
in 1766
806),
pub-
real portraits
of
The
genre in
history painting
Yet
David
were
least
happy was
it
West
who
(1723-
enjoyed
in the conception
history, based
painters
of
a painting as
upon thorough
a scene
from
Classical
archaeological research.
MINOR ARTS
The
clearly
the
styles
first
Against
this rather
its
furniture.
condemning
it.
when,
Thomas
in France,
Rococo
Cochin was
possibilities
culmi-
gate
the English
Rococo forms
in Portugal,
name
Spain,
Italy,
for a style.
and
England
269
made
great use
when he
Adam
Robert
the
last detail,
composed
was
and he employed
ensembles in
it
style
style
view
Adam
available.
by
Round about
of solid
side chair
duran Mahogany,
classical.
c.
silver
this
time
that,
silver
as
most extravagant
Thomas
style in furniture,
'Sheffield plate'.
aristo-
with
and arab-
by means of
shapes of his rooms
his walls
to
he brought stucco
it
With
Italy.
he gave rhythm to
light colours
He
drawing from
dominant.
of building and
long study in
columns or
from
extracted.
elaborate care he
213),
(///.
rocaille
forms
(///.
216).
^21
Ph
^H
216
217
Silver
c.
rocaille
form of decoration.
is
Neo-Classical in
style. It
These were
at
217).
the oval,
was
who made
even in France.
Before the Neo-Classical reform, pottery in England had been
subject to the
Delft,
which made
factories Chelsea
it
came
nearest to Meissen.
It
Of the
porcelain
was Wedgwood's
fine
271
founded
a factory
Etruscan
in the
218
to be
success,
Wedgwood
relief,
Wedgwood's
European market.
On
the
Wedgwood
who
as his
model.
Bibliography
This bibliography has been prepared as a guide for further reading on subjects covered by the book. For
this reason a number of short comments have been included to assist the reader who finds such
direction welcome. General works in English on the Baroque and Rococo are rare and many of the
most useful studies in French, German, Italian and Spanish have not been translated.
wittkower,
General Works
Italy
Bernini,
friedlaender, w. Caravaggio
Studies, Princeton, 1955. The
V Information d'His-
article in
Jan.-Feb. 1962,
pp. 19-33. An excellent study
on the origin of the word and
the evolution of the concept
toire de Vart,
of Baroque
castelli,
and
e.
others. Retorica
Con-
Internazionale di
Studi
e Barocco,
gresso
art.
Rome,
Umanistici,
1955.
on
the
of
New
Consult for
historical background of the
early part of the period.
documenand biblio-
graphy.
text
Almost
and bibliography.
tion,
given to Neo-Classicism.
lees-milne,
j.
Baroque Europe,
London,
1962. Should be
consulted for its illustrations.
Many
illustrations.
tapie, v.
Lyon,
Carauage,
L.
London,
r.
gether
historic
i960.
several
Brings
interest,
to-
of
grouped
studies
XVIIIth
in
London,
I959-
mahon,
much
Introduction,
docu-
tallucchini,
r.
La
pittura vene-
1955.
Essential
catalogue
raisonne
of Bernini's sculp-
ture.
America
ANGULO
to
Barcelona, 1945-.
study of art in
date,
An exhaustive
South America.
baird, j. a. The Churches of
Mexico, 1530-1810, Berkeley,
1962.
bazin,
V Alcijadinho
g.
baroque
sculpture
au
et
la
bresil,
Paris, 1963.
bazin, g.
baroque
V architecture
au
bresil,
religieuse
vols.,
Paris, 1956-58.
GOMEZ-MORENO, M. E. Escultlira
del Sigh XVII, Barcelona,
1963. An exhaustive study on
with
sculpture
important
bibliographies.
kubler,
g.
Spain
and
in
and their American
Dominions, 1500-1800, Har-
Architecture
Portugal
mondsworth,
pane,
R.
Bernini
architetto,
Venice, 1953. Should be con-
1959.
The most
kubler,
Sighs
ture, bibliography.
wittkower,
London,
1961.
levey, M. Painting
Century
Venice,
certainly be consulted.
highet,
a thousand
comprehensive
Barock,
of the
Baroque,
jullian,
includes
subject;
original research,
tation, illustration
illustrations,
1952.
Sculptor
1961.
penetrating symposium.
friedrich, c. j. The Age
the Baroque 1610-1660,
York,
best
Roman
Gian Lorenzo
r.
the
R.
in
tecture
Harmondsworth, 1958.
Covers most of the period
1730,
illustrations
turies.
essay
sulted.
Full
bibliography,
and
on Bernini.
important
Arquitectura
g.
XVII y XVIII,
de
los
Barce-
lona, 1957.
j. Baroque in Spain
and Portugal and its antecedents,
London, i960. Should be
used with caution.
lees-milne,
lopez-rey,
j.
Velazquez.
A cata-
of his
oeuvre
introductory
study,
logue
raisonne
with
an
London, 1963.
Essential for
273
lozoya, Marquis
193 1-
Barcelona,
minor
to date,
5 vols,
art hispanico,
For
the
e.
Southern Netherlands
fierens,
V Art en
p.
Moyen Age
Belgique du
a nos jours,
2nd
of illustrations.
arts.
wethey,
to
1800,
Harmonds-
Brussels,
siecle,
1956.
Thorough study of
still-life
Erlach,
Bernard
Vienna,
Die
Barocke
1956
h.
Freskomalerie
Germanic Countries
Munich, 195 1.
Poland and Russia
bourke,
ANGYAL,
Baroque
of Central Europe,
Churches
j.
London,
manual of
very full
1958.
religious architecture in all
the Germanic regions. Lists of
the
and
Deutschland,
in
Die
A.
1961.
general study by a
Hungarian professor is one of
the few works on Baroque
the Slav countries
art in
written in a language of
This
g.
schen
German
art.
Hamilton,
h.
g.
Architecture
Bibliography
architecture.
and many
reau,
l.
illustrations.
Vart
russe. Paris,
painting.
feulner,
hairs, M.
L.
de fleurs
Brussels,
XVIteme
au
van,
Rubens,
short but
Brussels, 1952.
useful introduction to the
painter. Bibliography.
puyvelde,
l.
XVlteme siecle,
Brussels, 1953.
United Provinces
bergstrom,
Painting
Dutch
i.
Still-Life
Seventeenth
the
in
English
Century.
edition,
1956. Should be
consulted. Illustrations and
bibliography.
London,
GELDER,
VAN,
H.
E.
Guide
to
An
excellent introduction to
P. T.
A.Johannes Ver-
meer,
Painter
recht,
1950.
of Delft, Utexhaustive
An
vermeulen,
Handbocck
tot de Geschiedenis der Nederlandsche Bouwkunst, 4 vols.,
274
f.
a.
j.
a. Bayerisches
Rokoko,
Munich, 1923.
siecle,
1955. Should be
consulted for flower painting
period.
of the
Slawische
Leipzig,
Barockwelt,
Western Europe.
decker, h. Barockplastik in den
Alpenldndem, Vienna, 1943.
dehio,
e.
von
Fischer
tintelnot,
bibliography.
greindl,
sedlmayr, H. Johann
Munich, 1962.
talbot
rice,
t.
1945.
Concise
Lon-
France
adhemar,
grimschitz, B.Johann Lucas von
Hildebrandt, Vienna, 1959.
LANDOLT, H.,
Schweizer
and SEEGER,
T.
Barockkirchen,
Frauenfeld, 1948.
lieb, N.,
architects,
whose work
is
and
N.,
HIRMER,
M.
tions
h. Watteau, sa
son oeuvre, Paris, 1950.
blunt,
vie,
a.
1500
France,
1700,
to
in
Harbest
illustrations
and biblio-
graphy.
bazin,
and
g.,
Catalogue de
Vexposition Nicholas Poussin,
2nd edition, Paris, i960.
blunt,
a.,
sterling,
c.
Important
documentary
powell,
From Baroque to
London, 1959. A
study of the development
of Baroque architecture in
Austria and Germany.
n.
Rococo,
SCHOENBERGER,
A.
IgnaZ
Giinther, Munich, 1954. Contains a catalogue raisonne of
the sculptor's work.
dacier,
siecle:
E.
Vart au XVIIIeme
XV,
of Mauricheau-Beauprc and
Reau listed below.
florisoone,
francaise.
m. La peinture
Le XVIIIeme siecle,
Paris, 1948.
MAURICHEAU-BEAUPRE, C. L 'art
an XVIIeme siecle en France,
Parts I and II, Paris, 1952.
reau,
L'art au
l.
en France.
XVIIIeme
Style Louis
siecle
XVI,
EDWARDS,
and RAMSEY, L. G. G.
Connoisseur Period
R.
editors.
London,
for
the
1961.
minor
New
Haven,
196 1.
With
raisonne
verlet,
p. Versailles,
Paris, 1961.
mercer,
Painting
in
whole period,
1790,
full biblio-
graphy.
and mtllar,
wfflNNEY, m.
English
Art
Oxford,
1957.
o.
625-1 71 4,
Exhaustive
well
illustrated, but with far too few
examples from the decorative
e.
arts.
English
e.
period, bibliography.
1837,
in
Har1953. Covers
to
catalogue
Decorative
England,
1537-
Sir
sekler,
summerson,
Britain,
j.
1530
Architecture
to
1830,
mondsworth, 1953.
Scandinavia
paulsson,
tecture:
England
croft-murray,
the
Painting
e.
1330
monds worth,
Britain,
bibliography,
Paris, 1952.
raine,
waterhouse,
in
Har-
T.
Scandinavian Archi-
l.
Histoire de
V expansion
275
List of Illustrations
The author and
Rome, from
St Peter's,
air.
marble
Photo:
stucco.
Anderson.
S.
S.
14 St Veronica by F. Mochi,
1629-40. Marble. St Peter's,
Rome. Photo:
Alinari.
Rome, by Borromini,
1
Rome, by Carlo
St Susanna
by F. Duquesnoy,
of whole:
129JX137.
S.
Carlo
tane,
alle
Quattro Fon-
Rome, by Borromini,
Hesperides
18
Photo:
Rome.
to
Paris
Mansell-
Guarini,
Turin,
1668-87.
G.
Photo:
Alinari.
11
Nave of
St Peter's,
Rome.
276
Sala
Pitti,
della
by
Cook
Bernardo
Strozzi,
vas.
28 Melancholy by D.
on
19
Palazzo
Stufa,
Hudson
S.
by
27 The
and
Galleria
23 Liberation of St Peter by
Caracciolo, 1608-9. Oil on
canvas,
146x81 \. Chiesa
del Monte della
Misericordia,
Naples.
Photo:
Mansell-Alinari.
Archives.
Lorenzo,
88|Xi26.
26
Thames
of the dome,
Pallavicini-Rospi-
by Anni-
1 600-1. Oil on
canvas, 90JX68I. S. Maria
del Popolo, Rome. Photo:
Alinari.
10 Interior
and individuals
597-1 605.
Fresco detail from the Galleria Farnese, Palazzo Farnese, Rome. Photo: Alinari.
Carracci,
Caravaggio,
by G. Zimbalo and
others.
gliosi,
later
Palazzo
S.
Photo: Scala.
bale
8
institutions,
vas,
13
Alinari.
1642-50. Redrawn.
Vittoria,
Petri,
12 Ecstasy of St
Teresa by
Bernini, 1645-52. Marble.
enza,
bodies,
Bronze,
and
4 Plan of
official
Rome, by Ber-
1656-66.
nini,
the
Photo: Mansell-Alinari.
St Peter's,
many
canvas,
Louvre,
Giraudon.
29 St Francis
Villani.
Oil
5o|.
Photo:
Paris.
in
Morazzone
chelli).
Fetti.
66
Oil
by II
Mazzuc-
Ecstasy
(F.
on
canvas.
Milan.
Photo: Mansell-Aiinari.
Castello
Sforzesco,
9i|XH5f.
vas,
Pitti,
Palazzo
Formerly
galerie,
I55|xn6.
vas,
Medici
Gallery,
Louvre,
Photo: Bulloz.
50 Helene
Children
Paris.
GemaldeDresden.
Photo
in
Bulloz.
Museum.
32 The Destruction of Sodom by
Monsu Desiderio. Oil on
canvas. Collection of the
Princess
Sanfelice
gnoli,
Naples.
Gabinetto
Nazionale.
di
Ba-
Photo:
Fotographico
42^x67!.
33 Christ Expelling the
Money
Alinari.
Madrid, c. 1640, by P. de
Torre. Photo: Mas.
la
Mas.
Photo:
Mas.
Paris.
Woman
Cooking Eggs by
1620. Oil on
canvas, 39x46. Courtesy of
the Trustees of the National
Gallery of Scotland, Edinburgh. Photo: Thames and
44 Old
Velazquez,
Hudson
53
c.
Vrouwekerk (Mon-
Antwerp.
Copyright A.C.L.,
taigu),
Photo:
Brussels.
Artist's
Family by
J.
B.
on
canvas,
66^X1145.
Musees Royaux des BeauxArts, Brussels.
55
47 Battle of
Rubens,
Vienna.
the
Amazons by
161 8. Oil on
47fx65i. Alte Pina-
kothek,
Thames
Photo:
c.
Munich. Photo:
and
Hudson
Fyt. Oil
Museum,
Museum.
Photocopy-
del
wood,
Photo: Giraudon.
Archives.
46 The
36 Granada Cathedral, facade
designed by Alonso Cano,
c. 1667. Photo: Mas.
Prado.
Grusset
51 Portrait
of fean
Richardot and his son by Van
Photo: Museum.
Archives.
38 Pieta
by G. Fernandez
in
wood polychrome,
Life-size.
detail.
Museum.
161 7,
Valladolid
Photo:
Martin
Hiirlimann.
Cross
wood
Mas.
Thames
and
Hudson
Archives.
by
58
in a GarFlowers
by D.
Oil on copper,
Gemaldegalerie,
3 1\ x 24.
Dresden. Photo: Museum.
land
of
Seghers.
277
Am-
Rijksprentenkabinet,
sterdam. From Dutch
ings
and
Prints,
DrawThames and
77 View of
Amsterdam
at Emmaus by
Rembrandt, 1648. Oil on
canvas, i6X23f. Louvre,
Paris. Photo: Thames and
don. Photo:
69 The Supper
61
The Tower of
St
Charles
Hudson
God
Father by Artus
c. 1682. Marble.
the rood screen of
From
II,
Museum.
141IX172J. Rijksmuseum,
Amsterdam. Photo: Thames
and Hudson Archives.
79
H.
F.
1702.
Verbruggen, 1699Copyright
Photo:
on
canvas,
museum,
A.C.L., Brussels.
54IX48.
H.
de
Photo:
Keyser, c.
Rijksdient
1620.
81
Rijks-
Amsterdam.
v.d.
Monumentenzorg.
65
The
Mauritshuis,
don. Photo:
The
Monumentenzorg.
Amsterdam.
Photo:
Dutch
Polyheight 42.
By
courtesy of the Victoria and
Albert Museum, London.
Tile Picture.
Photo: Museum.
84 Design
for
Engraving
75
Young
Ceremonial
Doorway by W.
Woman
Standing at
by J. Vermeer, c.
Oil on canvas, 2o|X
tura,
Dietterlin.
from
Architec-
1594.
a Virginal
Archives.
278
Photo: Museum.
Museum.
Archives.
Museum.
Governors of the
Haarlem
Almshouses
by
Franz Hals, 1664. Oil on
canvas, 67x98^. Franz Hals
Women
Photo:
chrome,
1670.
67
Rijksmuseum,
iof.
83
Rijksmuseum, Amsterdam.
Photo: Museum.
Amsterdam.
Museum.
Photo: Museum.
64 The Westerkerk, Amsterdam, built from a plan by
Photo: Museum.
71 Self-Portrait by Rembrandt,
1668. Oil on canvas,
c.
32JX25I. Wallraf-Richartz
The
c.
&X
canvas,
the
Quellin
on wood, 23
Watch or The
Company of Captain Franz
Banning Cocq by Rem-
A.C.L., Brussels.
62
1636. Oil
on
Museum.
Haarlem by P. Saeredam,
Archives.
J.
70 The Night
by
van der
Heyden. Oil on wood,
i6X22|. By courtesy of the
Wallace Collection, Lon-
Hudson.
Westerkerk,
the
Gallery,
Thames
London. Photo:
and
Hudson
85
The
Palace of Wallenstein,
or Waldstein, Prague. Built
by A. Spezza and others,
1623-29. Photo: Bildarchiv
Foto Marburg.
86 Church
of the Theatines,
Munich. Built 1663-90 by
A. Barelli, E. Zuccalli and
Photo:
Foto Marburg.
others.
Bildarchiv
97
view of
Aerial
The Chateau
Versailles.
was
built
Pinakothek, Munich.
Photo: Museum.
by A. Le Nostre, begun
Berckheim,
Giraudon.
in
French
Photo:
1667.
Photo:
Government Tourist
88 Interior of the Jesuit Church
of St Peter and St Paul,
Cracow. Built by G. TreFrom
vano,
1605-9.
Sztuka Sakralna WjPohce
Office.
98
decorated by C. Le Brun.
1678. Photo: John
Architektura.
St Sebastian Attended by St
Irene
on
by G. de La Tour. Oil
Church of
canvas.
The Gardens of
Thames
Versailles,
:
Mar-
Archives.
Archives.
N.
Poussin,
canvas,
Paris.
Photographiques, Paris.
92 The Chapel of the Sorbonne, Paris, by J. Le
Merrier,
Photo:
1629.
Giraudon.
1 01
Gardens
of
Versailles.
Photo: Giraudon.
1630. Oil
on
Archives.
Leningrad.
Hermitage,
Photo: Museum.
of Louis XIV by F.
Girardon, c. 1669. Bronze.
Louvre,
Paris.
Photo:
Giraudon.
36fX47i- Louvre,
Photo: Giraudon.
statue
graphiques, Paris.
Giraudon.
106 Death of St Bruno by E. Le
Sueur, c. 1647. Oil on canvas,
76x51^ Louvre,
Paris.
107
Model
c.
X 94J. Louvre,
P.
Paris.
Photo-
by
1671-83. Marble,
1 06 J. Louvre, Paris.
Photo: Giraudon.
93 Chateau of Maisons-Laffitte
by F. Mansart, 1642-50.
Crotona,
of
Puget,
height
103
Archives
Milo
65
Hudson
Hudson
and
Hiirhmann.
in
100
Photo:
France.
Broglie,
99
the U.S.S.R.
no
Begun
Webb.
Photo:
Photo: Bulloz.
Ex
65
x 90J.
Louvre,
Hudson
Archives.
Claude
Rome by
Lorraine.
Wash
XIV by
Oil
H. Rigaud,
canvas,
on
109IX74I. Louvre,
Photo: Thames and
son Archives.
Paris.
Hud-
279
Louis XIV
Visiting
the
Gobelins Factory. Gobelins
Tapestry designed by C.
Le Brun, c. 1665. Gobelins
n8
129 James
Stuart,
Duke
of
Photo:
Oil
on canvas,
1639.
85 X 5o. By permission of
the Metropolitan Museum
Museum,
Paris.
Giraudon.
of Art,
New
York. Gift of
io8x64.
son Archives.
Museum,
120 Rouen Pottery Dish with
lambrequin
decoration.
Tweedy.
Trianon.
Louvre,
Photo: Giraudon.
Paris.
The
Queen's
House,
Greenwich, by Inigo Jones,
Photo:
161 5-16.
Royal
122
Commission on
Monuments.
123
Willaume.
mark
1 700-1. Height,
courtesy of the
Victoria
and
Albert
8.
Historical
1752.
Mansell-Alinari.
1940).
Paul's,
London,
by
Dome
and ColonGreenwich,
by
Wren, after 171 6. Photo:
Ministry of Works.
126 Eastern
nade,
Sir
John Vanbrugh.
1699-1712. Photo:
Copyright Country Life.
Built
128
Endym ion
Dobson,
c.
1643. Oil on
59X50. By cour-
the Ascension,
by
Canaletto. Aldo
Crespi Collection, Milan.
Venice,
Hud-
141 Nobleman with the ThreeCornered Hat by V. Ghislandi, c. 1740. Oil on canvas,
Poldi42jX34i.
Pezzoli Museum, Milan.
Photo: Mansell-Alinari.
142 The
of the Rosary
1737-39.
Fresco,
ceiling
of the
Chiesa dei Gesuati, Venice.
by
Institution
Tiepolo,
Photo: Alinari.
143 Charles
HI
Visits
Benedict
by G.
on can-
the Quirinale
vas,
Photo: Scala.
144 The
Rio
Venice,
by
dei
F.
Mendicant i,
Guardi. Oil
136
Disinganno by Francesco
Queirolo. Marble. Capella
Sansevero, Naples. Photo:
Mansell-Alinari.
7/
The
Extreme Unction by
Giuseppe Maria Crespi.
Gallery,
Tate
London.
Photo: Thames and Hudson Archives.
canvas,
280
Porter by William
Photo:
Photo: Scala.
135
by
Photo:
Capodimonte
Naples.
Scala.
XIV at
London, by Wren,
1670-84. Photo: A. F.
Kersting (before bombing
125 St
for
By
Street,
gilt, by David
London hall-
Hud-
style
137 The
de
148 Place
Carriere,
la
Completed by
Nancy.
Here de Corny, 1753-55.
und Garten,
Photo: Giraudon.
Gallery.
Government
Berlin. Photo:
of Venus)
1717. Oil
Tourist
on
Hudson
and
Archives.
150
The
Place de
by
Paris,
Concorde,
la
Gabriel,
J.-A.
160 he
Martin
Photo:
Hurlimann.
1753-65.
151
by J.
devant
la
169
Photo:
Giraudon.
153
The
'Hameau',
Petit
Trianon, Versailles, by R.
Mique,
Photo:
1780.
Giraudon.
of the
154 Bust
Regent
by
Schlosser
reaux.
und
Garten,
Berlin.
Photo:
Thames
and
Hudson
Photo: Giraudon.
Paris.
163
Louvre,
Paris.
Madame
Gulbenkian
Museum.
Photo:
on
Louvre,
Photo: Giraudon.
paper,
Paris.
165
Still
Life with a Jar of
Pickled Olives by J. B. S.
Photo: Giraudon.
Pastel
the
Gersaint)
picture
by
Luis,
Seville,
by
Leonardo,
Mathias and
Jose da Figueroa, 1699173 1. Facade and two bell
towers. Photo: Mas.
172
68fX50|.
in
Doorway of
the Palace of
the Marquis of Dos Aguas,
Vergara,
Valencia,
by
Toledo
173 Transparente,
Cathedral, by N. Tome,
1721-32. Photo: Mas.
Founda-
Lisbon.
Foundation.
157
171 San
Victoire as an Alle-
Water by J. M.
Oil on canvas,
41 J X 54i. Museum of Sao
Paulo,
Brazil.
Photo:
1752.
the
Photo: Giraudon.
of
Nattier.
F.
Ornaments
gory
Giraudon.
155 Cupid Making a Bow out of
the Club of Hercules by
E. Bouchardon. Marble.
1739
162
in
Chambre de Roi,
Versailles, by A. R. Gaud-
for the
Archives.
Commode made
(The Quadrille
in front of the Beech
Grove) by N. Lancret.
Staatliche
Moulinet
charmille
Church of Ste-Genevieve,
now
by
Francois-Thomas Germain,
1757. Height 1 if. Museu
Nacionale de Arte Antiga,
Lisbon. Photo: Museum.
canvas, 5of X
Thames
Office.
Don
dealer
Watteau,
174
Mas.
Duchess of Alba by
Goya, 1795. Oil on canvas,
76^X51. Collection of the
Duke of Alba, Madrid.
Photo: Thames and Hudson Archives.
175 The
28l
187 Central
177 Church of Sao Pedro dos
Oporto, by N.
Nazzoni, 1732-48. Photo:
the Author.
Clerigos,
picture
(azulejos),
178 Tile
1740-50. From the Cloister
of Sao Vicente de Fora.
Museu Nacionale de Arte
Antiga,
Lisbon.
Photo:
Mas.
Prophet
Isaiah
by
Aleijadinho, c. 1800. Soap-
180 The
stone.
Terrace
of
181
Munich.
Photo: Mas.
Church of
191
has
do
Campo,
Brazil.
of the Dome,
Karlskirche, Vienna, byj. F.
von Erlach, 1716. Photo:
von HildeAnton
Vienna, Thames
Vienna by
brandt.
Macku,
and Hudson.
184 Detail of the South Front,
Palace of Sans Souci, Potsdam, by von Knobelsdorff.
Photo: Bildarchiv
Foto Marburg.
Photo: Wiirttemberg
Archives, Stuttgart.
by
193 Providence
Raphael
Donner,
by Rastrelli.
Selo (Pushkin),
Photo: Gassilov.
198 Interior of the Hermitage
Theatre,
Leningrad,
by
G.
Quarenghi.
Photo:
National Museum of the
Hermitage.
199 Equestrian statue of Peter
the Great, Leningrad, by
Falconet, 1766-78. Bronze.
Photo: Thames and Hudson Archives.
by D. Marot,
The Hague,
Rijksdienst
1734. Photo:
v.d.
Monu-
mentenzorg.
202
Loquebantur Omnes'
so they
all fell
(and
to talking)
L.
Photo:
London.
182 Interior
Anton Macku,
Vienna,
Thames and Hudson.
1727. Photo:
the
Munich.
Hirmer
Foto Archiv, Munich.
Mas.
179 Portal of the Church of
San
Lorenzo,
Potosi,
Boh via, 1728-44. Photo:
Georg
from
Mehlmarkt Fountain,
Vienna,
Original,
1738.
lead.
Austrian
Baroque
Museum, Vienna. Photo:
Reclamjun. Verlag, Stuttthe
gart.
of a
set
of six. Mauritshuis,
Photo:
The
Hague.
Museum.
203 Equestrian
Frederick
of
statue
by
J.
Saly,
National
Travel
Association of Denmark.
282
Bergmtiller,
Steingaden.
Bruckmann
Munich.
Church
of
Photo:
F.
Verlag,
V by C. G. Pilo.
Oil on canvas, 33jX26f.
National Museum, Stockholm. Photo: Museum.
204 Frederick
Hudson
Archives.
From
the south-west.
by Robert
Adam
Hudson
Archives.
lery,
Thames
London.
and
Photo:
Hudson
Archives.
1 78 1.
Oil on canvas,
55iX94h Reproduced by
permission
of
gracious
H.M. the Queen. Photo:
A. C. Cooper.
213 The
Cornard
or
Forest
Wood by Gainsborough,
on canBy courtesy of
Museum.
By
for the
77.
chair of Cuban or
Honduran mahogany, c.
1740. 39x26^x32^. By
215 Side
61.
Museum.
217 The Richmond Cup. Silver
Gilt. Designed by Robert
Adam and made by D.
Smith, 1770. Height 19.
Lent by His Grace the
Marquess of Zetland to the
Bowes Museum, Barnard
Castle, Durham. Reproduced
with
the
kind
permission of the owner
and the museum. Photo:
Museum.
Gallery.
Walk
by
1786.
Oil
By
93 X 70^.
courtesy of the Trustees of
on
canvas,
1786.
Oil
as
Bac-
by Romney,
on canvas,
I9xi5f. By courtesy of
the Trustees of the Tate
Gallery, London. Photo:
Gallery.
283
Index
Italic titles indicate
works of
art
and publications,
italic figures
Academia de San Fernan- Augustus the Strong, 230, Bosschaert, Ambrosius the Carnevales, family
do, 216
Accademia
degli
Incam-
minati, 33
Adam,
270, 271
of, 193
Aguillon, Francois, 77
Albano, 35
Alberoni, 219
Albert, Archduke, 63, 77
(Antonio
Aleijadinho
Francisco Lisboa), 223-4
Adams, family
233, 244
Aved, Jacques, 200-1
Azulejos, 222, 222
.,
242
of the
Virgin
Audran, Claude
Audran, Claude
Augustus I, 245
Augustus II, 245
284
93, 99
Bordeaux; Grand Theatre,
191; Place de la Bourse,
II,
149
187
107
of,
Elder, 75, 76
Bottger, 244
Borovikovsky, Vladimir,
249
Borromini, Francisco, 17,
17, 19, 19, 20
Caracciolo,
Giovanni (II
38
Caravaggio, 28-31,
29, 32,
Carlones, family
227
of,
107,
Cerquozzi, Michelangelo,
36
Ceruti, Giacomo, 174
Chalgrin, 191
Chambers, Sir William,
260, 262
Champaigne, Philippe
de,
148
Chancellor
Siguier
(Le
Brun), 145
Chardin,
Jean-Baptiste
Simeon, 195, 196, 201-4,
204
Charles
of England, 69,
Charles
164
Charles
II
of England, 153,
III
of Spain, 211,
216
of the Two
219
Charles IV of Spain, 218
Charles VII of the Two
Charles
III
Sicilies,
256
Charlottenburg, 233
Chasses
Louis
de
(Oudry), 198
Thomas,
Chippendale,
XV
269, 270
Christina of Sweden, 10
Churriguera, Alberto, 212
Churriguera, Joaquin, 212
268
Clerisseau, 191, 250, 261
Clodion, Claude-Michel,
195
Cobergher, Wenceslas, 77
Cochin, 269
Dobson, William,
Codde,
Dolci, Carlo, 39
Pieter, 96,
99
Coello, Claudio, 62
Domenichino,
162,
165
39, 135
Frederiksborg, 106
Fuga, Ferdinando, 169
Elizabeth,
Empress
Russia, 246, 248
Giuseppe
Crespi,
Maria,
El Greco, 49
Elsheimer,
108, 142
Gabriel,
Adam,
of
13, 108,
Jacques-Ange,
189-90, 190
(2)
Gainsborough,
Thomas,
Alessandro, 168
Garrick, David, 269
Gaudon, James, 261
Gaudreaux, 209, 210
Galilei,
Eltham Lodge,
Cromwell, 153
Giulani, 240
157, 157
Gaulli,
231, 233
Czechowitz, Simon, 245
35, 39
Gentileschi, Orazio, 36, 37,
Cuvillies,
Francois,
230,
220
228
Falconet,
Jean-Baptiste,
Giovanni
Battista,
37
Gentleman
and
CabinetMaker's Director,
The
(Chippendale), 269
Geoffrin, Madame, 245
George I of England, 257
George III of England,
257, 266
Gerbier, Sir Balthazar, 154
Germain,
Francois-
106
Dinglinger, Johann Melchior,
244
Diogenes, Louvre
sin),
140
(Pous-
128, 129,
249
Glory
St
Ignatius
of
(Pozzo), 39, 40, 41
Goa, 223
Gobelins, Hotel des, 48,
114, 148-9, 149, 219
Goetzen (Tyrol), 243
Gondouin, 191
Goujon, Jean, 125
Governors of the Haarlem
Alms-houses (Hals), 87
Goya, Francisco, 174, 179,
217-18, 217, 218
Goyen, Jan van, 96
Gran, Daniel, 242
204
254-5
Duquesnoy, Francisco or Frederick Henry, StadFrancois, 27, 28, 28, 79
houlder of Holland, 82,
Duyster, W. C, 96
Granada, 50, 51
84
Dyck, Sir Anthony van, Frederick II of Prussia, 10; Greuze, 204, 205, 265, 268
Guardi, Francesco, 177,
233,238
13, 43, 68, 70, 72, 162,
173, 174
Cressent, Charles, 209
43
Dou, Gerard,
Cracow,
109, 110
Crayer, Caspar de, 72
Crespi, Daniele, 43, 44
Flegel,
213
Gillet,
Fire of
Fischer
London,
von
Johann,
(2),
229
227,
153, 156
Erlach,
228, 228
Nicolas-Francois,
181
Gustavus
III,
256
Hawksmoor,
Nicholas,
161
H5, 130
Hepplewhite, George, 270
Here, 188, 189
Hernandez, see Fernandez
Herrera,
Francisco
the
Elder, 56
David, 237
Hesius, Guillaume, 78, 79
Giordano, Luca, 46, 47, 47 Heyden, Jan van der, 97,
Girard, Claude, 228
97
249
Gilly,
285
Hildcbrandt,
227-9, 229
Lucas
von,
Hobbema, Meindert, 96
Hogarth,
William,
269
252,
264, 265-6,
Hohenburg (Altomonte),
Larcheveque, 256
Largilierre,
Nicolas de,
198-200
La Rosalba, 201
Lastman, Pieter, 88
La Tour, Georges de, 132,
US
242
(Dome);
St Matos, Francisco Viera
Walbrook,
222
265
Jabach Family
(Le Brun),
Janssens,
Abraham, 72
Lemoyne, family
Janssens, Jan, 72
254
of,
193;
Jones,
Jones
135
Le Nostre,
Leone, 51
Julius
216, 216
Kalf,
Willem, 99
Kandler, 244
Keller Family, 130
Kent, William, 259, 260,
262, 269
George
Andre,
118,
Le Vau,
131,
126
Levitsky, Dimitri, 249
Lisbon, 221; Sao Vincente
de Fora, 222
Liss,
Livre de Verite
Lorraine), 144
217
286
St
Antholin's,
Maderno, Carlo,
14, 19, 19, 24,
12,
14,
25
216,
219,
220;
S.
Malines:
(Claude
Notre-Dame of
156;
St
Mazo, Bautista
Meissonier, 187
Mengs,
259; St
Cathedral, 158-9,
Anton
Style,
Mansart,
Francois,
Raphael,
183, 241
Mereworth
259
Merlini,
Castle,
259,
Domenico, 245,
246
Metamorphoses (Ovid), 3 1,
136, 139
Metsu, Gabriel, 99-100,
1 00
Moreau
Moscow, no, in
Mothe, Vallin de la, 248
Moustiers Potteries, 150
Mungennast,
Munich:
(Theatre,
Theatines,
107, 107
Josef,
220
116,
Hardouin,
229
Residenz,
230), 233-4;
Church
de,
of,
174,
178
Murillo, Bartolome Estaban, 56, 59, 59, 60
Mytens, Daniel, 164
Johann
233-4
Nancy, 189, 189
Nahl,
August,
Naryshkin Style, 1 1
116
Martyrdom of St Matthew Natoire, Charles, 197
Paul's
(Caravaggio), 29
Nattier, Jean-Marc, 200,
del, 62, 62
Mazzoni, Sebastiano, 39
Meissen Factory, 244, 271
Mura, Francesco
80, 80 (Pulpit)
Manfredi, Bartolomeo, 35
117, 118
Mansart, Jules
192
Johann, 39
Lanfranco, 35, 39
Langhans, K. G., 237
Laocoon, the, 24
Louvain, 78, 79
Ludovice, 220
Lutma, Johannes, 102
Jean-Baptiste, 193
Jesuits, see
Joao
Louis
145
Jacob, Georges, 210
Jansenism, 132
de,
Stephen's,
159,
202
Nazzoni,
Nicolas,
238,
Philip
Philip
249
240
Neumann,
Balthasar, 234,
236, 237
Night
Watch,
The (Rem-
brandt), 88, 90
Nome,
Francesco de, 46
Racine, 24
Raeburn, 267
Rainaldi, Carlo, 20, 167
of Spain, 49, 51
III of Spain, 49
Raising
the
Cross
of
Philip IV of Spain, 49, 5 1,
(Rubens), 65
Ramsey, Allan, 265
59
Philip V of Spain, 49, 168, Rape of the Sabines (Pietro
da Cortona), 64, 67
21 1, 215, 219
Piazzetta, Giovanni Bat- Rastrelli,
Bartolommeo,
tista, 174
246-8, 247, 250
Pietro da Cortona (Berret- Rastrelli, Carlo, 249
tini), 20, 35-7, 40, 64, Ravesteyn, Jan, 92
Rembrandt van Ryn, 81,
67, 167
220,
221, 221
214
Nymphenburg,
Palace of
(Amalienburg),
233;
Porcelain Factory, 244
Obestal, van, 79
II
Piffetti, Pietro,
183
Reni,
195, 195
Pilo, Gustaf, 254,
Reni
Reynolds, Sir Joshua, 265,
255
tista,
180
207, 208
Marco, 178-80
Ricci,
Sebastiano,
Pacheco, 59
Porta, Giacomo della, 16
Post, Franz, 149
Palermo, 170; Oratory of Post, Pieter, 82, 84, 155
S. Lorenzo, 172, 172
Pot, Hendrick, 96, 99
Rigaud,
Palladianism,
161, 259-60
Robillion,
258-60
206
139, 140, 141, 145
Paris, 115-25; Hotel Lam- Pozzo, Cassiano del, 35,
bert,
145; Hotel des
139
Invalides, 124-5; Hotel Pozzo, Padre Andrea, 39,
Soubise,
187,
188;
41, 67, 177, 179, 214
Louvre,
1 19-21, , 120,
Prague, 105, 107, 225, 228;
189; Pantheon (Eglise
Wallenstein Palace, 106,
180, 182,
Ste-Genevieve), 190-1,
Place
Dauphine,
191;
115; Place de la Concorde, 189, 190; Place des
Vosges, 115; Place Ven125,
(des
Victoires),
129;
Sorbonne
Jacob,
229,
230
Pratt, Sir
Preti, Mattia,
Tulp's Anatomy
Lesson (Rembrandt), 88
Puebla School of Painting,
Mexico, 223
Puget, Pierre, 126-7, 127
Professor
Prado (Poussin),
136
Pater, Jean-Baptiste, 197
106
Prandtauer,
Bernardo Simon
de, 54
Perroneau, Jean-Baptiste,
201
Pesne, Antoine, 241, 243
Rudolph
105
Ruines
II,
des
Emperor,
plus
beaux
monuments de la Grece
(Le Roy), 238
Ruisdael, Jacob van, 94, 96,
267
96
174,
271
Hyacinthe,
71,
248
Jean-Baptiste,
221
Rodriguez, Ventura, 216
Rohr, 238, 239 (Assumption
of the Virgin)
Roldan, Pedro, 53, 54, 55
Rome, 11-21, 167-8; St
Peter's, 12-15, (Baldacchino, 13), 14, (Cathedra Petri, 13, 15), (Nave,
12-13, 25), 161; Caffe
Haus, Villa Albani, 168;
Galleria Farnese, Palazzo
Farnese, 16, 18, 28, 313,
145; Lateran, 168;
Palazzo Barberini, 17,
18, 37; S. Carlo alle
Quattro Fontane, 19,
20; S. Carlo al Corso,
20;
S.
S.
Ivo della
Francesi,
249
Quattro
Maria
Sapienza,
(Palladio),
154, 258
26;
28;
Santa
Popolo,
Susanna,
32;
19,
19;
Trinita
dei
(Stairway), 168;
213
Salamanca: City Hall, 213;
Plaza Mayor, 213; San
Esteban, 212, 212 (High
Sala, Ignacio,
Libri
13,
130,
131
dome
Cardinal,
232
158,
178-80
Richelieu,
154,
Rouen
56, 57
Plateresque style, 21
Polotsk, 112, 112
Polyphemus, Landscape with
Pompadour, Madame
255,
256
166
Platel, Pierre,
Alexander,
Roslin,
Santa
Santa
Monti
Altar)
Salvi, Nicola, 168
Salzillo,
172
Sanctis, Francisco de, 168
Schooten, 98
Schwetzingen, 233
Seghers, Daniel, 75, 76
Seghers, Gerard, 72
Seghers, Hercules, 88, 89
Domingos
Sequeira,
Antonio
de,
222
des
Horaces
Serment
Fountain, 168
(David), 206
Romney, George, 267, 268 Serodine, Giovanni, 36
Rosa, Salvator, 45, 45, Serpotta, Giacomo, 172,
172
173
Trevi
287
Seven
The Tiepolo,
Sacraments,
(Poussin), 139
S.
Salvador,
To-
214;
Gian
Vedute
Ideate
(Pannini), Vivien, Joseph, 201
182
Voltaire, 10, 202
Velazquez, Diego Rod- Vos, Cornells de, 72
Toledo, 214, 215, 215
riguez de Silva, 49, 59- Vos, Paul de, 73
Tome, Narciso, 214, 213
Vouet, Simon, 13, 130,
62, 60, 61, 93, 218
Torre, Pedro de la, 50, 30
Velde, Willem van der,
131, 136, 145, 148
Tournier, Robert, 132
the Elder, 97
Traversi, Gaspare, 174
Velde, Willem van der,
Treatise on Civil ArchiWallenstein, 107
the Younger, 97
Gesuiti Walpole, Sir Horace, 258,
tecture (Chambers), 260
Venice,
167;
Treatise of Japanning and
Church, 168; Palazzo
262
Battista,
170
Louis de, 245
Silvestre,
250
235
Stockholm, 255-6
Stodtz, 193
Stone, Nicholas, 162-4
Stowe, 260
Strawberry Hill, 262
Strozzi, Bernardo, 39, 42,
42,43
Stubbs, George, 269
Stupinigi, Palace of, 170
Sublet des Noyers, 131
Subleyras, Pierre, 182
della,
Basilica
Superga,
Twickenham, 262
David
Terbrugghen,
II,
13,
74, 74
35, 86,
101
Tessin,
Count Karl
Gustaf,
256
Nicodemus
Tessin,
Elder, 255
Nicodemus
Tessin,
the
the
Younger, 255-6
Thirty
225
Years
War,
107,
265
Thulden,
72
288
Theodore van,
20,
21;
Salute
Church, 167
cois, 80, So
Verdura,
Don
Jusepe de
Kinsky
Schon-
Art
Baroque
and Rococo Art
by
GERMAIN BAZIN
centuries
expression,
when
forms best
artistic
volume on
own
Museum in Paris,
Bazin,
the
styles
has
European
this
shown
in
hundreds of
faithful
life,
and M. Bazin
remarkable
totality:
as well as
and jewelry
are discussed
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and
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Italian,
and derivatives
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and
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their counterparts
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