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*

**

*[Marginal notes above:]

NB

R~	←	|	→	s~
		|

[The century referred to is the 18^th century ce]

**– ibid [Encyclopaedia Britannica 13:] 1022(-1023)

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*

*– ibid [Encyclopaedia Britannica 13:] 1022(-1023)

[Source text continues in next ts journal entry]

[It is not completely clear whether this extract re Brazilian Rococo was specifically intended to be included in the ms or was just a part of the same photocopied page. Three lines of preceding detached text referring to a specific building and its designer have been excluded from the ts.]

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‘So far as is known, no single new structural technique or architectural form was invented in the North American colonies.’

*

**

‘Spanish colonial architecture came to an abrupt end with the triumph of Neoclassicism.(1800[ce]).’

***

* – ibid [Encyclopaedia Britannica 13:] 1019

**cf earlier [] re bridging cycles

[This marginal note is written alongside the source attribution to the 1st extract, although it seems more likely to apply to the 2nd]

***– ibid [Encyclopaedia Britannica 13:] 1021

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‘Russia. The Baroque appeared in Russia towards the end of the 17th century. The Russians imaginatively transformed its modes into a clearly expressed national style that became known as the Naryshkin Baroque, a delightful example of which is the Church of the Intercession of the Virgin at Fili (1693[ce]) on the estate of Boyarin Naryshkin, whose name had become identified with this phase of the Russian Baroque.

‘Western Europeans brought the prevailing Baroque styles characteristic of their own countries, but the very different artistic and physical settings of St Petersburg produced a new expression, embodying Russia's peculiar sense of form, scale, colour, and choice of materials. The transformed Baroque eventually spread all over Russia and, with its vast register of variations, developed many regional idioms.’

*

‘The Rococo in Russia flourished in St Petersburg under the protection of Peter I & Elizabeth.’

*

The point of this is to emphasize that C[ircles] A[nalysis] and S[ynthesis] describes broad movements & principles, subject to local expression (or interference).

* – ibid [Encyclopaedia Britannica 13: 1019]

**[Emphasis presumably ref ts journal entry before last previous ts journal entry]

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‘In the north, in Berlin, G.W. von Knobelsdorff alternated between Rococo (Potsdam & Sanssouci, 1745) and neo-Palladian classicism (Berlin, Opera House, 1741).'

*

{A man of his times.}

* – ibid [Encyclopaedia Britannica 13:] 1019

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‘Central Europe. A stable political situation in central Europe and the vision of Rudolf II in Prague in the late 16th and early 17th centuries [ce] created an intellectual climate that encouraged the adoption of new baroque ideas. The Thirty Years' War & the defense against the encroachments of the expanding French & Ottoman empires, however, absorbed all the energies of central Europe. The fully developed Baroque style appeared in Germany, Austria, Bohemia, and Poland after 1680[ce] but flourished only after the end of the debilitating War of the Spanish Succession (1714[ce]).’

*

This simply makes the point that G~-type manifestations – and particularly J~- type manifestations to the extent that they depend more upon economic patronage – are affected by M~- type events, presumably mostly via economic conditions (eg patronage or destruction) around A~.

* – ibid [Encyclopaedia Britannica 13:] 1018

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*– I only added this* because I used to go and sit here (in a side chapel, usually) sometimes, escaping from utter misery at [the Accountants]** – also to a church tucked away on the north side of Fleet St[reet]/The Strand, near the entrance to Fetter Lane <910512>

*[Illustration ‘Fig 77: West facade of St. Paul’s Cathedral, London, by Sir Christopher Wren. 1675-1711’ *** is photocopied in ms but is not reproduced in ts. See ts journal entry before last previous.]

**[In the late 1970s/early 1980s. See refererences in earlier volumes of this journal, []]

*** – E[ncyclopaedia] B[ritannica] 13:1018

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(England [continued])

‘In most of England... during the early 18th century, attention was focussed on Palladio & on developments stemming from the classical High Renaissance in Italy. The prismatic simplicity & harmony of Palladio's isolated villas made them apt models for English country houses, as were his urban buildings for public & private structures in London & elsewhere.’

*

* – ibid [Encyclopaedia Britannica 13:] 1018

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(England)

‘Sir Christopher Wren, in St. Stephen's, Walbrook, London (1872[ce]), with its multiple changing views and spatial & structural complexity, presents English Baroque in its characteristic restrained but intricate form.

Wren's greatest achievement, St. Paul's Cathedral, London (1675-1711), owes much to French & Italian examples of the Baroque period, but the plan shows a remarkable adaptation of the traditional English cathedral plan to Baroque spatial uses (Figure 77).*

**

*[Illustration ‘Fig 77: West facade of St. Paul’s Cathedral, London, by Sir Christopher Wren. 1675-1711’ is photocopied in ms but is not reproduced in ts. See ts journal entry after next.]

**– ibid [Encyclopaedia Britannica 13:] 1018

[Part of single paragraph in source text]

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[France, continued (3)]

‘By the third quarter of the 18th century* [ce] in France the Rococo was finished. Late Baroque classical architecture of the type exemplified by the works of Ange-Jacques Gabriel was overwhelmingly dominant. His designs rejected previous freedom & asymmetry & withdrew from the work of Francois Mansart & Jules Hardouin-Mansart in creating a conservative & highly sophisticated architecture that for elegance & convenience has yet to be equalled. Gabriel's gracefully precise Petit Trianon (1762[ce]) at Versailles is his finest work, the high point of late Baroque classical architecture & perhaps the most accomplished building in France in the 18th century [ce] (Figure 76).**

***

*2048s~|R~1792[ce]

64m~|G~1776[ce]

**[Illustration not reproduced in ms]

***– ibid [Encyclopaedia Britannica 13:] 1017-1018

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[France, continued]

‘T. Hardouin-Mansart's Dôme des Invalides, Paris (c. 1675[ce]),* is generally agreed to be unquestionably the finest church of the last half of the 17th century [ce] in France (Figure 75).

The correctness and precision of its form, ** the harmony and balance of its spaces, and the soaring*** figure of its dome make it a landmark not only of the Paris skyline but of European Baroque architecture.****

‘After Nicolas Pineau returned to France from Russia, he, with Gilles-Marie Oppenordt & Juste-Aurèle Meissonier, with their increasing concern for asymmetry,# created the full Rococo. Meissonier & Oppenordt should be noted too for their exquisite, imaginative architectural designs, unfortunately never built (e.g. facade of Saint-Sulpice, Paris, 1726[ce],#** by Meissonier).

#**

*2048ms~|GR~1664[ce]

64r~|S~1672[ce]

**s~

***↑

[A slightly curved “(”-shaped” arrow in ms, possibly intended as a diagram rather than an indicator]

****{illus[tration], [[Redbook9:331][19910511:1000bb]{‘The Baroque’ [Extracts from source text with ms notes][continued (28)]}[11th May 1991],] 331}

[not included here in ts]

#NB c[irca] R~?

#*2048GRR~|

64C1728[ce]

#**– ibid [Encyclopaedia Britannica 13:] 1017(-1018)

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