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Karlskirche, 1715 by Fischer - Vienna
- -comparable to St Maria del Salute, Venice
- -both plague churches in Vienna, dedicated to Virgin
- -in 1713, there was a plague in Veinna
- -caused the commission of this church
- -“Votive chuches” aka comes with a vo
- -Charles VI vowed that if the plague would stop, he would build a great church
- -North vs South
- -named after the name saint of the emperor
- -exterior is eclectic
- -façade has one dome above it (not two like the Venice example)
- -outside has two belltowers
- -strangest things are the two columns, which are reminiscent of Trajan’s columns
- -column and pediment decoration = plague
- -juxtaposition between the dome and the tops of the columns
- -suggested to represent the emblem of Charles VI (crown and two columns)
- -references to Baroque Rome and St Peters.
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- Karlskirche Plan, 1715 by Fischer - Vienna
- -enter the oval on the long axis
- -pointed towards the high alter
- -high altar and the Baldacchino in St. Peters
- -bursts of rays and clouds, lit by hidden sources, with guilded rays
- -areas for the royal family, hidden balconies and staircases just for their use
- -Gesamtkunstwerk aka sculpture, architecture, painting etc.
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Imperial Library (Hofbibliothek), 1713 by Fischer - Vienna
- -paraphernalia of knowledge on the roof
- -tripartite design on interior and exterior
- -3 pieces = various categories of human knowledges
- -wunderkammer
- -decoration = joy of knowledge
- -interior:
- -upper galleries of wood, ladders which go up to the top
- -sinous movement, creates visual excitement
- -libraries are a theme, especially in the North
- -screensof columns forms chinographie pockets of knowledge on the roof
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St. Gall Monastery, Switzerland Library, 1758 by Peter Thumb - Switzerland
- -Benedictine monastery
- -famous library
- -joy of knowledge
- -color of woodwork
- -color of paintings on ceiling
- -wall of this has allegorical images
- -marquetry floor, all original
- -Gesamtkunstwerk
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Michaelskirche,1583 by unknown architect - Munich
- -early italian architect most likely, brought in
- -probably built for one of the militant orders, Jesuit church
- -side chapels = characteristic of the Jesuit order
- -allowed for smaller masses to be conducted
- -simple nave, without marble and painted white
- -jesuit sequence
- -modest example of South
- -acoustics
- -perfect comparison to Gesu *floorplan*
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Weingarten Abbey, 1714 by Moosbrugger - Württemberg
- -curved façade
- -flanked by belltowers = baroque curves
- -placed on a bluff = Baroque use of sitation
- -relationship between the building and its surroundings
- -built in fine local stone
- -influence from Italy, Munich and Saltzburg
- -façade has a sort of disconnection
- -stands out from the rest of the building
- -Interior
- -the pulpit appears to float
- -all the design elements fit into the notion of ‘gestuntswerk’
- -high altar is located in the eastern end
- -interest in metal work and wood work
- -terrace, staircases, relationship with land like melk
- -bulgingwestward facade
- -two towers
- -interior towards organ, important in Germany and german speaking lands
- -furnishings are important, choir stalls, total work of art
- -through sound, smell, a feeling of an assault on the senses
- -very sensual architecture
- -also appeals intellectually
- -pilgrims, uneducated, totally bowled over
- -possible comparison to Melk
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Weingarten Abbey plan, 1714 by Moosbrugger - Württemberg
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Rohr Abbey, 1717 by Cosmas Damian and Egid Quirin Asam - Bavaria
- -hidden lighting from Bernini's time
- -light coming in from secret places, etc.
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Fulda Cathedral, 1701 by Johann Dientzenhofer - Hesse
- -town is the baroque city of baroque cities
- -nice contrast from the periods between the buildings in terms of scale and how architecture has been conceived
- -very old established building = Carolingian period
- -existing church was leveled
- -rebuilt it and took the opportunity to build a Piazza
- -aka importance of Piazza in Rome
- -darker stone, = North
- -two belltowers at the front, concealing the dome behind them
- -façade seems to disengage from the building behind it
- -like the work of Fischer
- -site of building aka any italian architect would have been proud to design
- -balustrade all around a building laying in a bowl
- -Northern in the westwork
- -don't confuse with Sicily or volute in venice?
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Schloss Pommersfelden, 1711 by Johann Dientzenhofer - Bavaria
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Grand Staircase at Schloss Pomersfelden, 1716 by Hildebrandt - Bavaria
- -very imposing central space in the middle of the design = giant staircase
- -of the grandest ceremonial staircases
- -imperial staircase, branches move away from each other and then meet in a central landing
- -scenographic
- -"takes the staircase cake"
- -brought in by an outside architect, Hildebrandt
- -interior, in addition to the staircase, has a series of galleries all the way around
- -would have facilitated grand carriage entrances
- -influence from Johann Balthasar Neumann's Würzburg Residence
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Daun-Kinsky Palace, 1713 by Hildebrandt - Vienna
- -combines ideas of Palazzo architecture in Italy with new spicy, saucy ornamentation
- -sculptural elements that add to inventiveness of Borromini rather than Fischer and the more conservative body
- -fusions of the arts with architecture
- -Gesamtkunstwerk
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Daun-Kinsky Palace, 1713 by Hildebrandt - Vienna
- -profusion of strangely exotic forms
- -downwards tapering pilasters
- -detailed atlantis figurative sculptural elements
- -continuation of the figurative motif from the exterior on interior
- -very strong feeling for interior space, in particular staircases
- -staircase winds its way up from floor to floor
- -differentiates from Italian, Palazzo Rezzonico, is a more sculptural treatment
- -opens up to painted sky with allegorical figurations
- -uppermost gallery has purpose, servants quarters in attic
- -big, bold, powerful message
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Daun-Kinsky Palace, 1713 by Hildebrandt - Vienna
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Upper Belvedere, 1721 by Hildebrandt - Vienna
- -Eugene of Savoy, commander in chief of Austrian forces
- -large statuary forms on windows
- -"Whipped cream" ornamentation
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Upper Belvedere staircase, 1721 by Hildebrandt - Vienna
- -marvellous staircase
- -upper level has cupids wrestling with lapidare, became very popular
- -room above is called the Kaisesalle, reserved for the emperor visit
- -for all intensive purposes it looks italian
- -has a fluidity about it that would have been impossible to carve in marble, carved in *shtookmar*
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Upper Belvedere entry hall, 1721 by Hildebrandt - Vienna
-Atlas figures groaning under the weight of the building
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Melk Monastery, 1702 by Jacon Prandtauer - Austria
-overlooking Daunbe river - -Benedictine
- -may not have had the same imperial power, but they had immense wealth from the fertility of the soil and the giant estates
- -large budget
- -one of the most spectacular sites any architect could imagine
- -silhouette
- -masterstroke in design of building was to take the west-work towers and move them back from the front of the building
- -pulls facade back
- -places 2 smaller buildings in front, Kaisesalle and corresponding building
- housing a library
- -both have access to rooftop terrace that provide panoramic views (first as
- far as Du Prey is concerned)
- -serlian opening pulls your eye up through it to the facade of the church
- -site, curvaceousness, quite norther silhouette, all undeniably baroque
- -interior:
- -artificial marble, easily shaped and configured
- -very fluid, "liquid baroque"
- -lushness, guiding, etc all present
- -over the top
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