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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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(France)

*‘At Versailles, Le Vau showed his ability to deal with a building of imposing size. The simplicity of his forms and the rich, yet restrained, articulation of the garden facade, mark Versailles as his most accomplished building.

Le Nôtre's inventive disposition of ground, plant and water forms created a wide range of types of vista, terraces, gardens, and wooded areas that integrated palace and landscape into an environment ** emphasizing the delights of continuity and separation, of the infinite and the intimate.***

Upon Le Vau's death, Jules Hardouin-Mansart, grandnephew of Francois [Mansart], succeeded him and proved himself equal to Louis XIV's desires by more than trebling the size of the palace (1675-1708[ce]). Versailles became the palatial ideal to model throughout Europe & the Americas until the end of the 18th century.**** A succession of grand palaces was built, including the following: Castle Howard & Blenheim Palace by Sir John Vanbrugh in England;... [etc]

#

*(c[irca]1668[ce])

2048ms~|GR~1664[ce]

**(cf earlier [[Redbook9:198-200][19910428:0955l]{Utopian Landscapes}*[28th April 1991],] re Landscapes & Utopias around G~-R~-C)

***C (cf [#’[0]’)

****2048R~1792[ce]

# – ibid [Encyclopaedia Britannica 13:] 1017

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‘Holland. Seventeenth-century architecture in Holland, in contrast,* is marked by sobriety and restraint.... After the middle of the century, Dutch architecture exerted influence on architecture in France & England.’

**

*(ie v. Flanders)

[See last previous ts journal entry]

** – ibid [Encyclopaedia Britannica 13: 1016]

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‘Flanders. Roman Catholicism, political opposition to Spain, & the painter Peter Paul Rubens were all responsible for the astonishing full-blooded character of Flemish Baroque. Rubens' friends Jacques Francart (died 1651[ce]) & Pieter Huyssens created an influential northern centre for vigorous expansive Baroque architecture to which France, England & Germany turned.’

*

* – ibid [Encyclopaedia Britannica 13: 1016]

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‘In contrast to Bernini, Borromini preferred monochromatic interiors. Guarini tended to treat the structure monochromatically but employed richly coloured chapels, altars, & appointments.

Cortona's early design for the Villa del Pigneto, near Rome (before 1630[ce]),* derived from the ancient Hellenistic** temple complex at Palestrina, Italy, decisively altered villa design; and his SS Luca e Martina, Rome (1635[ce]), was the first church to develop fully high Baroque characteristics in which the movement towards plasticity, continuity & dramatic emphases begun by Maderno achieved fruition. His reworking of a square to include the facade of Sta Maria della Pace, Rome (1656[ce]), as an intrusive element is a cogent example of the Baroque insistence on participation of the work of art in its environment.’

***

*2048GGRE~1600|GR~1664CE

**c[irca]336BCE(-c[irca]1BCE)2048GR~384|GRR~320BCE

*** – ibid [Encyclopaedia Britannica 13:] 1016

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‘The works of Borromini and Guarini, both of who were from the north of Italy, are characterized by their inventive transformations* of the established vocabulary of space, light, and architectural elements in order to increase the content of their work work (Figure 73).**

Borromini's works, composed of fluid*** and active concave & convex masses & surfaces (S. Carlo alle Quattro Fontane, Rome (1634-61[ce]), contain] spaces that are intricate geometrically[-]derived irregular**** ovals, octagons# or hexagons (S. Ivo della Sapienza, Rome (1642-60[ce]). His late palace facade for the Callegia di Propaganda Fide (1646-67; College of the Propagation of the Faith) in Rome was a bold and rigorous essay that become a major source for Rococo architects in the early years of the succeeding century.

S. Lorenzo in Turin (1668[ce] and the Palazzo Carignano, Turin (1679[ce]), with their swelling curvilinear forms,#* terra-cotta construction, exposed structural members, and intricate spatial compositions, show Guarini's relation to Borromini as well as significant developments in the relationship between structure and light.

#**

*R~

**[Illustration not reproduced in ms]

***

****{Irregular NB}

[Underlining in text added later]

#

#*

#** – ibid [Encyclopaedia Britannica 13:] 1016

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‘Italy. The four great masters of the Baroque in Italy were Gian Lorenzo Bernini (died 1680), Francesco Borromini (died 1667[ce]), Pietro da Cortona (died 1669[ce]), and Guarino Guarini (died 1683[ce]). Bernini, also a brilliant sculptor, designed both the baldachin (an ornamental canopy-like structure) with bronze spiral columns* over the grave of St. Peter (1624[ce]) and the vast enclosing colonnade (1656[ce]) that forms the square of St. Peter's....’

**

*

**– ibid [Encyclopaedia Britannica 13:] 1016

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→ near Cologne, B. Neymann, 1740[ce]) or to flood the space with a cool diffuse light (Pilgrimage Church, Wies, Germany, D. Zimmerman, 1745[ce].’*

**

*[Text continues from photocopy]

**– ibid [Encyclopaedia Britannica 13:] 1015-1016

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*

**

*[Marginal note:]

?cf earlier [] re Geometric styles

(A~-J~?)

**– ibid [Encyclopaedia Britannica 13:] 1015(-1016)

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