Baroque Art and Architecture

INTRODUCTION Baroque Art and Architecture, the style dominating the art and architecture of Europe and certain European colonies in the Americas throughout the 1 !!s, and in some places, until 1"#!$ A num%er of its characteristics continue in the art and architecture of the first half of the 1&th century, although this period is generally termed rococo 'see Rococo (tyle) and corresponds roughly *ith +ing ,ouis -. of /rance$ 0anifestations of %aro1ue art appear in 2irtually e2ery country in Europe, *ith other important centers in the (panish and 3ortuguese settlements in the Americas and in other outposts$ The term baroque also defines periods in literature and music$

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DE/INITION

The origins of the *ord baroque are not clear$ It may ha2e %een deri2ed from the 3ortuguese barocco or the (panish barueco to indicate an irregularly shaped pearl$ The *ord itself does not accurately define or e2en appro4imate the meaning of the style to *hich it refers$ 5o*e2er, %y the end of the 1&th century baroque had entered the terminology of art criticism as an epithet le2eled against 1"th6century art, *hich many later critics regularly dismissed as too %i7arre or strange to merit serious study$ 8riters such as the 19th6century (*iss cultural historian :a;o% <urc;hardt considered this style the decadent end of the Renaissance= his student 5einrich 8>lfflin, in Principles of Art History '191#= translated 19?@), first pointed out the fundamental differences %et*een the art of the 1 th and 1"th centuries, stating that A%aro1ue is neither a rise nor a decline from classic, %ut a totally different art$B <aro1ue art encompasses 2ast regional distinctions$ It may seem confusing, for e4ample, to la%el t*o such different artists as Rem%randt and Cianloren7o <ernini as %aro1ue= yet despite differences, they shared certain %aro1ue elements, such as a preoccupation *ith the dramatic potential of light$

5istorical <ac;ground

Understanding the 2arious forms of %aro1ue art re1uires ;no*ledge of its historical conte4t$ The 1"th century could %e called the first modern age$ 5uman a*areness of the *orld *as continuously e4panding$ 0any scientific disco2eries influenced art= CalileoDs in2estigations of the planets, for e4ample, account for astronomical accuracy in many paintings of the time$ The assertion of the 3olish astronomer Copernicus that the planets did not re2ol2e around the earth *as *ritten %y 1#?!, pu%lished in 1#E?, and only fully accepted after 1 !!$ The reali7ation that the earth *as not at the center of the uni2erse coincided in art *ith the rise of pure landscape painting de2oid of human figures$ The acti2e trade and coloni7ation policies of many European nations accounted for numerous portrayals of places and peoples that *ere e4otic to Europeans$ Religion determined many aspects of %aro1ue art$ The Roman Catholic church *as a highly influential patron, and its Counter Reformation, a mo2ement to com%at the

spread of 3rotestantism, employed emotional, realistic, and dramatic art as a means of propagating the faith$ The simplicity sought %y 3rotestantism in countries such as the Netherlands and northern Cermany li;e*ise e4plains the se2erity of the architectural styles in those areas$ 3olitical situations also influenced art$ The a%solute monarchies of /rance and (pain prompted the creation of *or;s that reflected in their si7e and splendor the maFesty of their ;ings, ,ouis -I. and 3hilip I.$

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<aro1ue characteristics

Among the general characteristics of %aro1ue art is a sense of mo2ement, energy, and tension '*hether real or implied)$ (trong contrasts of light and shado* enhance the dramatic effects of many paintings and sculptures$ E2en %aro1ue %uildings, *ith their undulating *alls and decorati2e surface elements, imply motion$ Intense spirituality is often present in *or;s of %aro1ue art= in the Roman Catholic countries, for e4ample, scenes of ecstasies, martyrdoms, or miraculous apparitions are common$ Infinite space is often suggested in %aro1ue paintings or sculptures= throughout the Renaissance and into the %aro1ue period, painters sought a grander sense of space and truer depiction of perspecti2e in their *or;s$ Realism is another integral feature of %aro1ue art= the figures in paintings are not types %ut indi2iduals *ith their o*n personalities$ Artists of this time *ere concerned *ith the inner *or;ings of the mind and attempted to portray the passions of the soul on the faces they painted and sculpted$ The intensity and immediacy of %aro1ue art and its indi2idualism and detailG o%ser2ed in such things as the con2incing rendering of cloth and s;in te4turesGma;e it one of the most compelling periods of 8estern art$

Early %aro1ue styles

The roots of %aro1ue styles are found in the art of Italy, and especially in that of Rome in the late 1 th century$ A desire for greater clarity and simplification inspired a num%er of artists in their reaction against the anticlassical 0annerist style, *ith its su%Fecti2e emphasis on distortion, asymmetry, %i7arre Fu4tapositions, and %iting colors$ Anni%ale Carracci and 0ichelangelo 0erisi, called Cara2aggio, *ere the t*o artists in the forefront of the early %aro1ue$ Cara2aggioDs art is influenced %y naturalism and the grand humanism of 0ichelangelo and the 5igh Renaissance$ 5is paintings often include types dra*n from e2eryday life engaged in completely %elie2a%le acti2ities, as *ell as heroic and tender depictions of religious and mythological su%Fects$ The school that de2eloped around Carracci, on the other hand, attempted to rid art of its mannered complications %y returning to the 5igh Renaissance principles of clarity, monumentality, and %alance$ This %aro1ue classicism remained important throughout the century$ A third %aro1ue style de2eloped in Rome a%out 1 ?!, the so6called high %aro1ue= it is generally considered the most characteristic mode of 1"th6century art, *ith its e4u%erance, emotionalism, theatricality, and unrestrained energy$

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<AROHUE ART IN ITA,I

In Italy painting, sculpture, and architecture e2ol2ed from 0annerism to an early %aro1ue mode$ This change follo*ed the Council of TrentDs call in 1# ? for art that *ould instruct and culti2ate piety through simplicity$

Italian <aro1ue 3ainting

(ome of the first and most influential artists to underta;e a systematic reform of the 0annerist style *ere of the Carracci family$ Anni%ale, his %rother Agostino, and their cousin ,udo2ico *ere <olognese artists *ho had an enormous impact on the art of the %aro1ueDs greatest center, Rome$ Anni%ale arri2ed there in 1#9#$ 5a2ing already %ecome famous for his frescoes in <ologna, he *as commissioned to e4ecute the ceiling painting '1#9"61 !!) in the Calleria of RomeDs /arnese 3alace, his most significant *or; and a ;ey monument in the de2elopment of the classical or ideal, %aro1ue manner, of *hich Anni%ale *as the chief initiator$ This style appealed to such artists as Cuido Reni, Domenico Jampieri, called Domenichino, and /rancesco Al%ani, *ho *ere trained %y the Carracci at their *or;shop in <ologna$ Other %aro1ue classicists, such as the /rench painters Nicolas 3oussin and Claude ,orrain, came from a%road to *or; in Rome$ Also dra*n to Rome *as Cara2aggio, *ho %ecame the principal ri2al of Anni%ale$ 8or;s such as the Calling and the Martyrdom of Saint Matthew '1#99K61 !!, (an ,uigi dei /rancesi, Rome) found sympathetic response, and Cara2aggio came to %e the guiding spirit %ehind an entire school of %aro1ue naturalists$ Naturalism *as spread throughout Italy in the first t*o decades of the 1"th century %y such nati2e painters as Ora7io Centileschi and his daughter Artemisia, <artolomeo 0anfredi, and Caracciolo, called <attistello, and later %y foreigners *or;ing in Italy, including the /rench painter .alentin de <oulogne, Cerrit 2an 5onthorst from the Netherlands, and the (paniard :usepe de Ri%era$ Although of lesser importance in Italy after a%out 1 ?!, %aro1ue naturalism continued to ha2e an enormous impact throughout the rest of the century in all parts of Europe$ Another turning point in the history of %aro1ue painting too; place in the late 1 @!s$ 0any artists attempted to introduce greater li2eliness and drama into their *or;s to create illusions of limitless space 'illusionism)$ /rom 1 @# to 1 @" Cio2anni ,anfranco painted the enormous dome of the church of (antD Andrea della .alle in Rome *ith his Assumption of the Virgin. Although this fresco *as inspired %y CorreggioDs Renaissance ceilings in 3arma, it 2irtually o2er*helmed contemporary spectators *ith its e4u%erant illusionistic effects and %ecame one of the first high %aro1ue masterpieces$ ,anfrancoDs *or; in Rome '1 1?61 ?!) and in Naples '1 ?E61 E ) *as fundamental to the de2elopment of illusionism in Italy$ The illusionistic ceiling fresco *as a particularly important medium for high %aro1ue painters$ 3ietro <errettini, called 3ietro da Cortona, de2eloped it to an e4traordinary degree in *or;s such as the ceiling '1 ??61 ?9) of the gran salone of RomeDs <ar%erini 3alace$ /rom 1 " to 1 "9 Cio2anni <attista Caulli, also called <aciccio, painted Adoration of the Name of esus on the ceiling of the CesL Church in Rome$ /rom 1 91 to 1 9E Andrea 3o77o painted !he "ntrance of Saint #gnatius into Paradise for the ceiling of (antD Igna7io, Rome, *ith the same theatricality, drama, and emotion that had characteri7ed high %aro1ue painting throughout the century$

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Italian <aro1ue (culpture

Anti60annerism in Italian sculpture is first seen in Saint Cecilia '1 !!, (anta Cecilia in Traste2ere, Rome) %y (tefano 0aderno$ Its simple cur2ing lines represent a dramatic departure from the more pronounced contortions of earlier *or;s$ It *as Cianloren7o <ernini, ho*e2er, *ho dominated %aro1ue sculpture in Rome$ Among his early o2er6 life6si7e group sculptures, Abduction of Proserpina '1 @161 @@) and Apollo and

$aphne '1 @@61 @E, %oth Calleria <orghese, Rome) display his 2irtuosity in the handling of mar%le, creating effects of realistic dramatic tension, strong light6and6dar; contrasts, and the illusion of 2ariegated colors$ 5is "cstasy of Saint !heresa '1 E#6 1 #@, Cornaro Chapel, (anta 0aria della .ittoria, Rome) epitomi7es the highly charged theatricality that is a hallmar; of the %aro1ue$ <ernini *as the fa2orite artist of the popes, for *hom he did highly am%itious *or;s in the .atican$ The huge %aldachin, a pillared canopy '1 @E61 ??), a%o2e the high altar in (aint 3eterDs Church, as *ell as the Cathedra 3etri 'Chair of (aint 3eter, 1 #"61 ) in the apse of the church, attest in their colossal si7e and precious materials 'including mar%le and gilded %ron7e) to the sumptuous splendor of Roman Catholicism$ <ernini also e4celled in portraiture, as may %e seen in such e4amples as Costan%a &uonarelli '1 ?#K, <argello, /lorence) and Pope #nnocent ' '1 E"K, 3ala77o Doria63amphili, Rome)$ 5is only ri2al in this genre *as the sculptor Alessandro Algardi$ /ountains *ere among the principal types of %aro1ue pu%lic monuments, and those %y <ernini are among the most outstanding e4amples$ (ountain of the (our )i*ers '1 E&6 1 #1) in RomeDs 3ia77a Na2ona startles the 2ie*er *ith its mammoth statues and o%elis; %alanced almost precariously on ledges from *hich gush dramatic cascades of *ater$ <ernini *as also an important and influential architect= in addition to the 2ast colonnade '%egun 1 # ) em%racing (aint 3eterDs (1uare, he designed such churches as (antD Andrea al Huirinale '1 #&61 "!) in Rome$

Italian <aro1ue Architecture

Among the first maFor architects of the early %aro1ue *as Carlo 0aderno, *ho is ;no*n principally for his *or; on (aint 3eterDs$ <et*een 1 ! and 1 1@ he %uilt the na2e e4tension and facade of this structure, %egun appro4imately 1!! years earlier %y Donato <ramante$ Aside from <ernini, the maFor architects of the Roman %aro1ue *ere /rancesco <orromini and, to a lesser e4tent, Carlo Rainaldi$ Together they designed (antD Agnese '%egun 1 #@) in 3ia77a Na2ona$ The elegantly undulating facade of <orrominiDs (an Carlo alle Huattro /ontane '1 #61 ") in Rome, *ith its con2e4 and conca2e rhythms echoing those of the interior, might %e called the 1uintessence of Italian %aro1ue architecture$ <uilding acti2ity also occurred in centers outside Rome during the early decades of the 1"th century$ /rancesco 0aria Ricchino, in 0ilan, and <aldassare ,onghena, in .enice, %oth designed central6plan churches$ ,onghenaDs (anta 0aria della (alute '%egun 1 ?1) has %een noted for its e4tra2agantly ornate e4terior and its super% site at the entrance to the Crand Canal$ Especially theatrical is the *or; of Cuarino Cuarini in Turin$ 5is Cappella della (anta (indone 'Chapel of the 5oly (hroud, 1 "69E) astounds the o%ser2er *ith its intricate geometric forms deri2ed from Islamic %uildings in the unusually high dome$ Although he is ac;no*ledged as one of the great (panish painters, the influence of El CrecoDs 0annerism *as fairly slight in (pain$ The early appearance of a naturalistic %aro1ue style *as due to an influence from Italy$

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<AROHUE ART IN (3AIN

(panish <aro1ue 3ainting

.incente Carducho, a /lorentine artist, *as influential in esta%lishing a Counter

Reformation anti60annerist painting style in central (pain$ :uan (anche7 Cotan and :uan 2an der 5amen *ere %oth e4pert at painting realistic still lifes that com%ine an influence from the Netherlands *ith that of Cara2aggio$ In .alencia, a naturalistic %aro1ue mode is o%ser2ed in the *or; of /rancisco Ri%alta, inspired %y the art of %oth the Italian 5igh Renaissance painter Titian and :usepe de Ri%era$ (e2ille and 0adrid %ecame the t*o greatest centers of (panish %aro1ue art$ /or e4ample, early in the 1"th century, %aro1ue characteristics emerged in the paintings of :uan de las Roelas, /rancisco 3acheco, and /rancisco de 5errera the Elder$ In his early *or;, /rancisco de Jur%arMn, *ho settled in (e2ille in 1 @9, deri2ed some of his inspiration from /lemish prints, %ut his most impressi2e %aro1ue compositions are deeply mo2ing for their direct and realistic approach to religious su%Fect matter$ Jur%arMn *or;ed almost e4clusi2ely for con2ents and monasteries$ ,ate in his life his style *as touched %y the softening influence of <artolomN Este%an 0urillo$ 8or;s %y Cara2aggio *ere seen in (e2ille %y 1 !?$ Their popularity partially accounts for the strong realist influence on the *or; of (painDs greatest %aro1ue painter, Diego de .elM71ue7$ In (e2ille .elM71ue7 painted such earthy *or;s as +ld ,oman (rying "ggs '1 1&, National Callery of (cotland, Edin%urgh)$ In 1 @? he mo2ed to 0adrid to ser2e as portraitist to 3hilip I., a post he retained throughout his life$ 5is series of royal portraits culminated in !he Maids of Honor '1 # , 3rado, 0adrid), representing the royal family, court functionaries, and the artist himself$ .elM71ue7 *as also noted for historical and mythological compositions and for his *or; as an architect and decorator$ T*o other important artists of .elM71ue7Ds generation *ere also from AndalucOaG Alonso Cano and 0urillo$ Cano 'also a sculptor and architect) is noted for his sensiti2e renderings of flesh, as in the $escent into -imbo '1 #!K, ,os Angeles County 0useum of Art), one of the fe* (panish %aro1ue treatments of the nude$ 0urillo speciali7ed in sentimental genre paintings and renderings of the Immaculate Conception$ The late %aro1ue in (e2ille is %est represented %y :uan de .aldNs ,eal, *hose t*o paintings '1 "@) of *anitas 'reminders of mortality) su%Fects in the 5ospital of ,a Caridad, (e2ille, are horrifying in their mor%id, ultrarealistic depictions of s;eletons and putrefying cada2ers$ In 0adrid, the last generation of %aro1ue painters includes /rancisco Ri7i, :uan CarrePo de 0iranda, and Claudio Coello, artists *ho culti2ated a style %ased on the Italian high %aro1ue$ Italian art had little impact on (panish %aro1ue sculpture, *hich *as essentially an outgro*th of the medie2al *oodcar2ing tradition$ Realism and intense attention to detail characteri7e all (panish *ood sculpture= it is usually polychromed, and, at times, pro2ided *ith glass eyes, hair, and garments$ Among the most important *or;s of (panish %aro1ue sculpture are numerous car2ed *ood reta%les 'altar pieces), many of considera%le si7e and richness, produced %y sculptor6architects$ Of these, Cregorio /ernMnde7, *ho *or;ed principally in .alladolid, *as the maFor sculptor of central (pain, *hile the southern school is %est represented %y :uan 0artOne7 0ontaPNs and :uan de 0esa from (e2ille and 3edro de 0ena and Alonso Cano *or;ing in Cranada$

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(panish <aro1ue (culpture

(panish <aro1ue Architecture (panish architecture of the early %aro1ue often continues the pattern of the muted se2ere style of the monastery6 palace of El Escorial '1# ?61#&@) near 0adrid, as in the <uen Retiro 3alace '%egun 1 ?1, no* destroyed) in 0adrid$ CanoDs facade for Cranada Cathedral 'designed 1 ") contains classical elements %ut, in its surface decoration, points the *ay to the de2elopment of the rococo style$ The most ornate %aro1ue %uildings are found in AndalucOa$ (e2illeDs 5ospital of ,os .enera%les (acerdotes '1 &"61 9"), designed %y ,eonardo de /igueroa, is typical$ In the rest of the country the Churrigueres1ue style, a *ildly e4u%erant %aro1ue mode named for the Churriguera family of architects, is e2ident in richly adorned %uildings in <arcelona, 0adrid, and especially (alamanca$
The art of the Ne* 8orld in the 1"th century follo*ed lines similar to that of the I%erian countries$ Among the maFor centers in (panish America *ere 0e4ico, Cuatemala 'especially the city of Antigua Cuatemala), and 3eru 'Cusco and ,ima)$ The art of <ra7il follo*ed the patterns set %y 3ortugal$ In painting, the styles of Cara2aggio, Jur%arMn, and 0urillo had tremendous impact$ 3aintings of the Cusco school com%ined indigenous decorati2e forms *ith European6li;e figures$ (culptural decoration from nati2e sources also ser2ed as an integral part of the interiors and e4teriors of the hundreds of %aro1ue churches constructed in a flam%oyant and e4aggerated Churrigueres1ue mode, in all parts of the (panish colonies at this time$

(panish <aro1ue in the Ne* 8orld

<AROHUE ART IN NORT5ERN EURO3E The %aro1ue spread rapidly to the countries of northern Europe from Italy, *here most of the maFor masters *ent to study the manifestations of the ne* style$ Each country, ho*e2er, de2eloped distincti2e 2ersions of the %aro1ue, depending on its particular political, religious, and economic conditions$

/lemish <aro1ue

The /lemish %aro1ue is dominated %y the %rilliance of 3eter 3aul Ru%ens$ 5is youthful painting style *as formed from such di2erse Italian sources as Cara2aggio, the Carracci, and 0ichelangelo, e2idenced %y his )ape of the $aughters of -eucippus '1 1 61 1"K, Alte 3ina;othe;, 0unich)$ Ru%ens and his atelier e4ecuted a large num%er of mythological and religious paintings for patrons all o2er Europe$ Ru%ensDs mature style, *ith its e4ceedingly rich colors, dynamic compositions, and 2oluptuous female forms, is the pea; of northern %aro1ue painting and is e4emplified %y his famous series of @1 huge can2ases, !he -ife of Marie de M.dicis '1 @161 @#, ,ou2re, 3aris)$ Among Ru%ensDs pupils, his most *orthy successor *as Anthony 2an Dyc;, *hose specialty *as elegant portraiture, such as Portrait of Charles # in Hunting $ress '1 ?#, ,ou2re)$ :aco% :ordaens and Adriaen <rou*er are %est ;no*n for their con2incing peasant genre scenes, *hich are also the su%Fects of /lemish artist Da2id Teniers and Dutch artist Adriaen 2an Ostade$ /lemish %aro1ue sculptors often deri2ed inspiration from Italian art$ /ranQois Du1uesnoy *or;ed *ith <ernini in Rome, e4ecuting the gigantic Saint Andrew in (aint 3eterDs in 1 ??$ The style of the *or; of Artus Huellinus *as deri2ed from Italy and

from Ru%ens$ Italian taste is e1ually present in architecture, as in the former :esuit church of (aint Charles <orromeo '1 1#61 @1, no* a museum), in Ant*erp, <elgium$

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Dutch <aro1ue

At the turn of the 1"th century many Dutch artists, such as 5endri; Colt7ius, *ere still *or;ing in the 0annerist idiom$ Cara2egges1ue %aro1ue *as %rought to the Netherlands *hen se2eral artists, including Cerrit 2an 5onthorst and 5endri; Ter%rugghen, returned to their homeland from Italy= %y the 1 @!s naturalism *as entrenched in Utrecht$ In that decade and the ne4t /rans 5als produced portraits remar;a%le for their deft %rush*or;, informality, and naturalness$ 0any of 5alsDs paintings are of local militia companies, as is !he Night ,atch '1 E@, RiF;smuseum, Amsterdam) %y the greatest Dutch %aro1ue master, Rem%randt$ Unli;e most Dutch artists, Rem%randt painted a *ide 2ariety of su%FectsGportraiture, history, mythology, religious scenes, and landscapeG*ith unmatched 2irtuosity$ 5is handling of glo*ing light against dar; %ac;grounds, his deft, flic;ering %rush*or; in thic; paint, his truthful %ut sympathetic rendering of his su%Fects are among the 2irtues that place Rem%randt in the highest ran; of painters$ 5is fame as a graphic artist is also unsurpassed$ The creation of a con2incing psychological am%ience and masterly e2ocation of shimmering light effects distinguish the midcentury *or; of :an .ermeer= his meticulous draftsmanship and delicate handling of pigment, often imitated, are uni1ue$ ,andscape, still life, animal painting, and architectural 2ie*s no* %ecame important genres in Dutch %aro1ue painting$ Until a%out 1 #!, Dutch sculpture remained 0annerist= a strongly %aro1ue e4u%erance *as then introduced %y /lemish sculptors, most nota%ly %y Huellinus *ith his *or; for the interior and e4terior of the Amsterdam To*n 5all$ The %uilding, no* the Royal 3alace, *as %egun in 1 E& to the plans of :aco% 2an Campen$ It epitomi7es the per2asi2e taste of the time for a classicism %ased on the pu%lished designs of the 1 th6century Italian architect Andrea 3alladio$ <aro1ue painting in England *as dominated %y the presence of Ru%ens and 2an Dyc;, *ho inspired an entire generation of portraitists$ <ritish sculpture *as influenced e1ually %y Italian and /lemish styles$ The architect Inigo :ones studied the classicism of Andrea 3alladio in Italy, as is e2ident in his <an1ueting 5ouse '1 1961 @@, ,ondon), *ith a spectacular ceiling painting, Allegory of Peace and ,ar '1 @9), %y Ru%ens$ (ir Christopher 8ren also Fourneyed to Italy, and his plans for (aint 3aulDs Cathedral '%egun 1 "#, ,ondon) re2eal his study of <ramante, <orromini, and other Italian architects$ 8ren, *ho *as in charge of the re%uilding of ,ondon after the fire of 1 , influenced the course of architecture in England and its North American colonies for o2er a century$

English <aro1ue

/rench <aro1ue

At the start of the 1"th century in /rance, the 0annerist school of /ontaine%leau *as still acti2e in commissions for the 3alace of /ontaine%leau, *here proFects such as the decoration of the Chapel of Trinity *ith paintings '1 19) %y 0artin /rNminet continued earlier traditions$ 0annerism is also found in the prints of :ac1ues Callot and :ac1ues <ellange$ The candlelit scenes of Ceorges de ,a Tour, ho*e2er, suggest Cara2aggioDs influence$ <aro1ue naturalism arri2ed *ith artists such as .alentin de <oulogne, *ho

had li2ed in Italy and *ith those *ho had contact *ith /lemish realism, such as the ,e Nain %rothers and 3hilippe de Champaigne$ Of greatest importance for the history of /rench %aro1ue painting is the classicism of Nicolas 3oussin$ Although he li2ed for most of his creati2e life in Rome, 3oussinDs impactGand that of his fello* e4patriate Claude ,orrainGin his o*n land *as enormous$ ,ate in the century classicism com%ined *ith a high %aro1ue manner in Charles ,e%runDs frescoes at the 3alace of .ersailles$ In the late %aro1ue paintings of Antoine Coypel, the per2asi2e influence of Ru%ens is strongly apparent, especially in those for the Royal Chapel of .ersailles$ The sculpture of 3ierre 3uget is also in the high %aro1ue style= /ranQois Cirardon and Antoine Coyse2o4 e4pressed a mar;ed classicism in monumental sculptures for the ;ing$ CirardonDs group Apollo and the Nymphs '1 61 "@), in the Crotto of Thetis at .ersailles, is indicati2e of the /rench taste for a chaste 2ersion of the anti1ue$ The 3alace of .ersailles '%egun 1 9), created for ,ouis -I.Gthe (un +ingG%y ,ouis ,e .au, AndrN ,e NRtre, and Charles ,e%run, is the single most important /rench %aro1ue architectural monument$ It is dedicated to the (un +ing, and its measured classical forms, 2ast and comple4 gardens, and sumptuous interiors glorify the po*er of the monarchy= it ga2e rise to imitations %y do7ens of other rulers throughout Europe$ A similarly grandiose proFect *as the enlargement '1 !s61 "!s) of the ,ou2re %y ,e .au, ,e%run, Claude 3errault, and others, a *or; of great restraint and su%tlety$

Austrian and Cerman <aro1ue

Although political e2entsGthe Thirty IearsD 8ar '1 1&61 E&) in Cermany and the Tur;ish presence in AustriaGpre2ented %aro1ue art in those countries from truly flourishing until the 1&th century, some 1"th6century artists of merit did emerge$ T*o masters of Cerman %aro1ue painting are Adam Elsheimer, *ho mo2ed to Rome in 1 !!, *or;ed in a classical manner and *as strongly influenced %y Italian painters, and :ohann ,iss, *ho tra2eled to .enice in 1 @1 and *or;ed there and in Rome$ (culpture in 1"th6century Cermany and Austria retained a late Cothic or 0annerist 1uality in the 1"th century$ In Cermany the S%erlingen altar '1 1?61 19) %y :>rg JTrn represents the continuity of the alpine *oodcar2ing tradition$ The altar '1 @?K) at the Inster%urg ,utheran parish church, %y ,ud*ig 0unstermann, epitomi7es the 0annerist influence$ <althasar 3ermoser, a <a2arian, assimilated high %aro1ue styles in Italy and %rought them to Dresden, *here he %ecame its leading %aro1ue sculptor$ 5is festi2e sculptures for the J*inger 3a2ilion '%egun 1"11), the Dresden 3alaceDs grandiose e4tension %y 0atthUus 3>ppelman, account for much of the structureDs %eauty$ In .ienna, as in Dresden, %aro1ue architecture found fa2or *ith the ruling court on a spectacular scale$ One of AustriaDs greatest %aro1ue architects, :ohann <ernhard /ischer 2on Erlach, demonstrated his understanding of Italian forms in his masterpiece, the opulent +arls;irche '1"1 61"?") in .ienna$