Professional Documents
Culture Documents
(1526)-
Photo by Blauel-
MS
W-
BUILDINGS OF EUROPE
RENAISSANCE
EUROPE
With an Introduction by
JAMES LEES-MILNE
Edited
by
Illustrations
HANS WEIGERT
LONDON
B.T.
BATSFORD LTD
by
UMSCHAU VERLAG
FRANKFURT AM MAIN
i960
BRONNERS DRUCKEREI
(INH.
BREIDENSTEIN)
B. T.
FRANKFURT AM MAIN
BATSFORD
LTD.
VV. x
INTRODUCTION
No European people
more jealous or more resentful of their past than the Italians. Their history haunts
them like a nightmare and is for ever asserting itself. On all sides they see reproachful reminders of the
great achievements of their forbears. It is the penalty which these heirs to a rich civilization cannot escape.
All they can do is to improve upon the past. The consequences are that from time to time they are spurred
to frantic emulation; and a rebirth of intellectual, scientific or artistic effort is the result.
are
As
expression of building. In the thirteenth century Nicola Pisano deliberately attempted to reproduce classical
motifs
in, for
nacles and tombs. These early essays were necessarily confined to fragments
many
altar taber-
entire
buildings.
More than
mere nostalgia
cesses of thought and artistic
a
meant a predominant
Rome was
opened
new
pro-
Italian ears to
an
Humanism was strengthened in the fifteenth century by the rediscovery of the classical writers of antiquity. The movement was accompanied by a revolt against ecclesiastical tyranny over men's minds. And once this tyranny was relaxed men's eyes suddenly learnt to look
abstract theological argument. This
upon the physical world with fresh understanding. The poet Aeneas Silvius, later Pope Pius II (1458-64),
was, for example, the first to appreciate the beauties of landscape and nature. Alberti, the universal man,
in that his interests covered every species of science and art, was the first to write about and elucidate the
architecture of the ancients. With the dawn of the fifteenth century the Renaissance had arrived in Italy.
Italian
first
Renaissance art and architecture were the sequel to and expression of the
new
time in the annals of Christianity religion ceased to be the exclusive inspiration of artists and
architects.
Not until
the late sixteenth century, after the terrible upheaval of the Reformation
had roused
what the godless were overthrowing, did religion once more become the mainspring
of art. Then the Catholic Church was to reaffirm its paramount influence through a new manifestation of
art, which we term the Baroque style - a style which belongs to a later period than that under review.
the faithful to cherish
Meanwhile men were unashamedly enjoying the delights of physical existence which artists were investing
with the old pagan attributes. The plastic arts, which do not accord with the ascetic spirit of mediaeval
Christianity, were now given full rein in the painting of mythological as well as of religious subjects, in the
sculpture of the nude, and in the architecture of classical forms.
There is perhaps no volte-face in the whole history of art more compelling and more complete than that
brought about by the architecture of the Florentine Brunelleschi. This astonishing man, born in 1377,
was, as Vasari put
it,
HUP
suppose that
the Brunelleschian classical was, in spite of Vasari's enthusiastic claim, of that academically correct sort
which
later generations
it
were
to perfect. It
for
its
comparative primitiveness.
It is
even
The
originality of Brunelleschi's
own
is
over-
They are
logical and geometrical in conception and execution. Alberti, his compatriot but a younger man, admittedly evolved a rather more correct style because he was more deeply versed in the rules by which the
ancients worked. His Palazzo Rucellai, in which three orders are used, was considered by his contemporaries and succeeding generations the pattern of what a classical building should be.
whelming. These buildings express the
spirit of his
The movement
Tuscany spread
so faultlessly started in
If
to
Lombardy, where
at first
it
was expressed
San Eustorgio
in
at
verticality
towards the end of the century moderated this hysterical propensity to embellish the surfaces of Lombardy
churches, as we may judge from his Santa Maria della Grazie in Milan. Around the year 1500 he moved to
Rome where he
augurated what
is
called the
still
High Renaissance
of architecture.
As
upon basic architectonic forms, his Tempietto at San Pietro in Montorio has no parallel.
What Bramante had achieved for classical architecture in Rome, Sansovino, to a lesser extent, was to
reliant for effects
achieve in Venice.
phase of Italian Renaissance architecture coincided with the daring experiments of Michelangelo and
the Mannerists, which ultimately led to the Baroque of the seventeenth century. Even so the Renaissance
style did not pass into total eclipse. In Andrea Palladio and Vincenzo Scamozzi, who were contemporaries
The
last
ThePalladian
style,
consciously based
upon
followers.
and
author, Vitruvius Pollio, survived both the Mannerist and Baroque eras to re-emerge in the Neo-classical
of the eighteenth century.
is
century. In the northern countries especially a very bastard version, a sort of hang-over from the mediaeval,
was
the customary echo of the Italian style. In France alone the Renaissance took a fairly recondite turn.
In the sixteenth century French architects travelled direct to Italy to study the antique for themselves.
Italian architects for their part
went
to France.
troops despoiled her cities with considerable profit to the art of their
own
Italy victorious
French
discriminating period in which Italianate details were applied haphazard to Gothic structures, a
of truly classical architects arose in France soon after the death of Francois
I.
Bullant,
number
Delorme and
Lescot in the second half of the sixteenth century, and the Mansarts in the seventeenth, raised buildings
which are essentially French, but fundamentally in the classical idiom. Many of them are masterpieces of
Europe.
IV
The presence
of the infidel
in
French was
reverse.
Moor
The
it is
in the Plateresque
The
centuries, because of the devotional character of the people, in the Baroque. In Portugal too, pure Renais-
The Chapel
of the Conception at
Tomar
is
one
of them.
Buildings in post-Reformation
Humanism,
cation of
The same
century.
Low Countries,
flamboyant, topheavy, over-ornate style was the Renaissance of the Netherlands until the
Rubens made
To England
itself felt. It is
seldom given
to
an individual
to alter
and
came
to identify the
Spanish menace.
It
newfangled
was something
all,
Roman
who
hostile, strongly to
be
resisted.
So
under the Tudors for long remained tentative and transitional. In any case building was confined to the
domestic, for no more churches were needed by the Reformed religion. Instead vast country palaces were
undertaken by new families who had waxed
rich
At
the
same time it
is
a mistake to suppose that English artists persistently cut themselves off from foreign
whore of Babylon and the Spanish Armada. On the contrary, as these bogies lost
their early terrors, both clients and architects (if the master-masons of Elizabeth's and James I's reigns can
be so denominated) avidly pored over the uncouth woodcuts of Serlio's Architecture.. They desperately
tried to reproduce Italian gateways and doorheads as embellishments to their manor-houses. It is true
that, owing to the close religious and commercial bonds with the Low Countries and Northern Germany, the
pattern books of Vredeman de Vries and Dietterlin, with their grotesque and horribly distorted patterns,
were just as popular and more readily consulted. For almost a hundred years Britain looked, in an uncomprehending manner, to these dubious interpretations of the antique for inspiration and guidance. As we
all know, the earliest Englishman to make serious first-hand study of Roman remains and of Italian
Renaissance architecture was Inigo Jones.
ideas through fear of the
the Banqueting
House
in
building
on English soil. The Queen's House, Greenwich, begun before but finished later, followed suit. It is
noteworthy that these and other buildings by Inigo Jones, which loudly proclaim the rules of ancient
architecture, have their provenance, not in the works of Italy's High Renaissance but in the Yicenzan
arise
was never
to benefit
the pure linear verticality of Brunelleschi's or the plastic horizontality of Bramante's works.
On
from
the con-
began where the Italian Renaissance left off. Paradoxically enough, its richness of invention and
strength of purpose were derived from the other's paucity and weakness in these respective qualities.
trary,
it
the Palladian school of architecture in Britain. For nearly half a century the genius of Christopher
reigned supreme.
their Italian
Louis
XIV
Wren and
his followers
little
Wren
to the France of
VI
THE ILLUSTRATIONS
MAN
RENAISSANCE
(ills, i, i8, 36). The portrait of
PippoSpano (ill. 1), a condottiere of the Florentine Republic,
shows the active man of the new age, sure of his own
worth, his feet firmly on the ground. It has all the vigour
and realism of the Renaissance. Even Donatello's St George
(ill.
18)
adapted to
is
this
new
(ill.
FILIPPO BRUNELLESCHI
moves
(ills.
2,
3,
4).
history of art
thirteenth century,
sic
manner
of their
own, while
a Clas-
Frederick
II,
of his victories.
The personification
of the city of
Capua
Brunel-
vative Ghiberti. In
The
5, 6, 7, 9).
of
PRELIMINARIES
(ills.
Classic
went
to the
more conser-
buildings.
uomo
dome
One
man. He died
is
the
of Florence Cathedral
domes
of the
longs to the past, rather than the coming, epoch. But the
ribs are
hidden in a double
shell,
- the
one of the most important examples
Foundling Hospital -
is
The row
(ill.
6)
of arcades, the
final renunciation of
Christian theme.
Antiquity; the delicate detail and the flat relief are charac-
example
is
is,
the Baptistery
(ill.
4). Its
air.
characteristic
the artist's
teristic
of
own
is
Early
the
Renaissance,
the
Quattrocento.
century.
many
later hospitals.
Lorenzo
(ill.
7) is a return to the
form of the
basilica,
is
protorenaissance.
VII
first,
(ills.
14,
15,
22,
23).
He was the
uomo unia man driven
Brunelleschi
for
versale,
Enlightement
in the eighteenth century, arranged combetween poets, tried to raise a Roman barge with
an invention of his own, later devoted himself to mathematics and natural science, was turned into an artist by the
sight of the fragments of Ancient Rome, cultivated all three
arts, painting, sculpture and architecture, and wrote a book
on each. His Palazzo Rucellai (ill. 22) became fundamental
petitions
in palace
The
aisles.
of the dome,
Gothic. All the other forms - the coffering, the arches, the
S.
Pazzi
nelleschi, 1429).
San
Lorenzo, Florence.
1470).
The
little to
pendentives of the
dome show
their glazed
The medallions
in the
under the cornice the Twelve Apostles. They are the work
of Luca della Robbia (1400-82), who was the first to use
coloured pottery in Italian Renaissance sculpture.
aisles
was
The facade
There
is
no
(ill.
15),
also,
anticipates
the
distant future.
VIII
THE PALAZZO
architecture
is
(ills.
essentially
structures, castles
22-25, 9/ 99)-
20,
church
Medieval
architecture.
Profane
First, the
its
own.
families
developed out of
became
this
less bellicose,
basic
form.
As leading
Rough-hewn, or
later smoothed - were used to
give a martial air (ills. 23, 25). This type of masonry was
copied from the Roman aquaducts of the Campagna, the
walls of the Forum Augustus, and the Hohenstaufen
castles. At first, the facade was only interrupted by cornices, with twin-arcaded windows rising from them. Leon
superseded by projecting cornices
(ill.
22).
(ill.
22) of a different
The Palazzo
is
number
all
early
It
in front of
wider ones.
similar process
occurred in Romanesque architecture. The earliest Renaissance facades, like the Palazzo
Pitti
23, 25),
Romanesque
BRAMANTE
(ills.
new methods
built palaces
(ills.
'Classic' interpretation
Ludovico
il
choir of S.
Maria
his family's
delle Grazie
mausoleum
demolished
(ills.
Duke
fell
to build himself
left
it
was
standing the
Romanesque
all in
Cologne, Great
with a nave.
The
(ill.
typically
29)
possibly the
work
of his successors.
IX
At the
sacristy of 5.
Some works
on pure architecture
for effect.
Amongst
The lantern
building
is
is
sponding pilasters along the wall. The Tempietto is undoubtedly inspired by the round temples of Antiquity. In
all its
image of Renaissance
and self-sufficient.
Man
St. Peter's,
Rome, speaks a
similar
choir of a
new
basilica.
the Gothic
all
was
At
its
(ills.
international. Architects
is
and
It is
the
in England.
won
the day.
St. Peter's,
Bramante
(see
Cross - surmounted by a
Rome
(1506).
A sum
of equal parts.
dome - with
similar structures on
sulted in a
equal importance.
ciple of a perfectly
achievement.
this
balanced interior
is
Germany,
too,
It
led
Renaissance prin-
Bramante's great
and
its
38).
With
it
its
is
west tower,
like halberds,
of Danzig's history.
so-called
Mudejar
is
the use of
more marked.
It is
and third
Brunelleschi, there
storeys.
is
mixture
style, a
Gama
frames, as at
It is
Germany, some
of the best
known
(ill.
54).
(ill.
61) in
Augsburg.
(ill.
60),
St. Kilian's,
44-47,
its
identity.
neighbours in
less as
and monu-
self-sufficient
is
neighbours
its
and
has Gothic tracery, though
ill. 45). The connection between Late Gothic (ill 44, right)
and Mannerist houses is particularly noticeable in Antwerp
(ill. 44, left) which had surpassed Bruges in importance by
(ill.
44
built 1531,
still
with pinnacles, in the Renaissance with obelisks. In addition there is a more horizontal emphasis in the cornice.
transitional buildings
(ills.
(ill.
46).
is
still
of the Butchers'
a traditional timber
and decoration,
is
essentially conservative
and preserves a
The town
house
is
earliest
1350,
reaction
against
and a return
the Gothic,
Romanesque occur-
to the
as in Italy.
Some
of the
central
Certrud's,
were
l^TXH'
been
St.
St.
Hamburg, and
destroyed,
original
the
Certrud's
but
wood model
'Schone Maria',
floors a necessity.
wood
made
has
an
of
Re-
gensburg, survives.
its fortification,
below from
rain,
made upper
to protect the
to project further.
The Knochenhaueramtshaus
of
German timber
buildings.
is
An
The
first floor
room
height.
work -
in
building, was enlarged in the fifteenth and sixteenth centuries. The tower (begun 1513) is the work of Hans
Schweiner, a highly individualistic master who was put in
charge of building operations in the same year. The profusion of Romanesque and Italian forms is almost Baroque.
The contrast between Italian clarity and the German
longing for the mysterious and obscure could hardly be
of
lingers on.
Osnabriick
(ill.
47), the
dominating feature
is
the rosette,
Mesopotamian origin, surrounded by Germanic plaitwork bands and Romanesque billets, and separated by a
Classic astragal, lest there should not be enough diversity!
In the Thirty Years War, 245 houses were demolished
for firewood in Hildesheim. The surviving 400 were mostly
destroyed by bombs during the last war.
Stone houses have their most lavish decorations reserved
XI
loves
upward movement.
is still some of this exuberance
house of the
though
it was not
philosopher Leibniz (ill.
built until after the end of the Thirty Years War. The
There
in the
149) in Hanover,
building
into ornament.
In Italy,
town
in the North, they retain their link with the gabled house.
Usually, they stand alongside the market square, sometimes
He
German
through
noble propor-
they also face it with the narrow gabled end of the facade;
a house amongst the houses of the citizens. Occasionally,
town
Gouda
hall at
(ill.
makes
man example
typical Ger-
the
filled
hall
(ill.
161) by contrast,
with figures.
tall
is
plinths of the
Northern Europe.
It
is
It
seems almost as
if
the
The
are flanked
turrets.
The corners
by
staircases,
are filled
surmounted by domed
new
in
German
show traces of the Early Baroque. But everywas cut short by the Thirty Years War. In 1625 there
ings already
thing
CASTLES
lines, in a specifically
nelis Floris,
tions. Holl
its
In 1560,
Amboise was
tall finials.
XII
r:
Renaissance.
The
spiral
asymmetric
form
staircase, a legacy of
wing
at Blois, in the
by Francis
67).
manner -
as at
XIV
also
had
invited artists
the roof.
from
Court
to
Louvre, Francis
Chambord
(ills.
little
all
had
(1560-89)
began the
Tuileries,
continuation
in
of
the
famous museum,
Francis
I's
Thanks
it
to the
work
of Italian artists,
it
(ills.
130, 131).
became the
cradle
Lemercier.
The
(ills.
130, above
(afteri$26).
cribed as
residence.
was begun
It
c.
Gonzagas
in
The King's
wide. There
tion
in Paris
third palace
(ill.
68).
The
was
original building, in
its
main portions
first
Raphael.
Rossi's first
gallery,
- a
characteristic
completed.
specific
forgot
Goujon,
who
its
is
also
col-
(ills.
The
all
about the
nobility
and the
for
terribilita, the
overpowering drama,
(ills.
73, 79,
wake
XIII
mammmmm
wmm
1518-1527 by a commoner, Gilles Berthelot. The needlesharp turrets, the pinnacled dormer windows, the slender
shafts on the bay towards the courtyard, are clear evidence
of the coming triumph of Mannerism. There is rather too
much
The
architect
at Chenonceaux
commoner, Thomas Bohier, Minister of Finance, is
built above the river Cher. The windows of the second
storey have segmental gables - a feature as Italian as the
The Chateau
(ill.
of a
still
dominate.
The projecting
portion
central
above
entrance
the
is
The
Italian Renaissance
until
and Dutch
There
traits.
is
Amongst
artists,
art library, to
which he added
first
Germany had an
was
architecture that
a mirror of
Man
on
as he stood
this world.
state-
fron-
made
pent-houses
made it so dear to the hearts of many Germans. TheFriedrichsbau - also burned out - was "restored"
last century-,
by Karl Schafer
The Ottheinrichsbau,
after 1900.
fortu-
mar, the
triple arcades
At Wis-
from a
is
illustrated opposite
the Renaissance in
its
the
characteristics.
hitherto
unknown
To supplement
in
German Renaissance
architecture.
of the decoration
is
left alone,
rising
of
1384. Unlike
later
Baroque
palaces, the
The
earliest portion
sioned by Albrecht
sical Antiquities
is
- the
the Antiquarium
155),
commis-
1559 by Ecke,
to the designs of
present form,
it is
the
(ill.
work
J.
Strada, of Mantua. In
of Friedrich Sustris, to
its
whose
between 1586 and 1600. The paintings on the ceiling are by another artist from the Netherlands, Peter Candid. There are over a hundred views of
Bavarian castles and cities, allegoric scenes and a wealth
of strapwork and other decoration based on Italian
designs
it
was
altered
purest
been
nately, has
In
typically
shows French
engravings.
The Grottenhof (ill. 154), also by Friedrich Sustris, followed later. The painted ceilings are supported by Tuscan,
or composite, columns. The courtyard, according to old
engravings, was at one time a formal garden. Antiquarium
and Grottenhof are the parts least damaged by the raid of
1944, and could therefore be restored to something like
their original state.
German Renaissance
for lavish,
German
at their
dislike
most
ela-
XIV
*\
(ill.
in
is
entire wall
been adapted
Nuremberg,
to
German
(ill.
110-
ill.
145),
patrician
it.
Its
is
latter,
make
the
173, above,
castle.
Like the
it
Phillip
MICHELANGELO
(ill.
83-85, 88-91).
Though
at heart
a sculptor, Michelangelo could not find fulfilment in sculpture alone. His first great
Medici Mausoleum
(ills.
work
of architecture
was the
at S. Lorenzo, opposite
88, 89)
The square
interior
pendentives.
The
is
was
carried out.
articulation
of
the
walls has
all
the
power and substance, the gravita, that distinguish the Roman High Renaissance from the light and
playful manner of the Quattrocento. There is an air of
tension, of unresolved conflict, about everything. The
windows seem hemmed in, the sculptures (ill. 89) lack the
joie de vivre of the Renaissance. The time for the unreflecting enjoyment of this world is over. Life is an eternal conflict, the struggle between longing and destiny. That is the
message of the sculptures of the Medici Mausoleum, and,
severity, the
indeed, of
all
Mannerist
art.
St. Peter's
the
ills.
84, 85).
is
But in
its
is
already the
movement and
corial
variety of an entirely
new
kind.
The
Es-
in
It
forms a square,
is
and severe,
century.
is
The palace
plan
for
St.
Peter's,
Rome
(1547).
variation
of
to the centre.
Michelangelo's
was
to
replace the
piers.
To
XV
St. Peter's
Rome
type of
II
of the Jesuits in
(ills.
106, 107),
commissioned by Pope Clement VII and begun by Michelangelo in 1523, has always been considered the beginning
of Mannerist architecture (ill. 91). Again, the forms do not
spread freely, but are hemmed in, almost compressed. The
enormous coupled columns are placed into narrow recesses,
and these, in turn, are flanked by blind windows. The
consoles below are like clenched fists that cannot open.
At the Palazzo Farnese in Rome (ill. 90), begun in 1514
by Antonio daSanGallo, Michelangelo added the top storey
to the courtyard facade. Doric, Ionic and Corinthian
columns combine in one building. Here, too, in architecture as in painting and sculpture, Michelangelo had been
a
The
Consolazione, in Todi
Peter's
St.
later
had
II
Gesu,
is
Rome
(1568).
Vignola's
122 12 3/
/
works of the High Renais(ill. 82) and St. Peter's (ills. 83-85),
under Bramante and Michelangelo.
on a central plan is S. Maria della
(ills. 86, 87). The Tempietto is small,
a nave added. At S. Maria della
principal
Gesu
to the nave: a
formed
sum
is
to Bramante's, so
is
II
self-contained, have
In
5.
(c.
1520).
work
of
Bramante
pupils.
The
centre
four apses.
it
in
XVI
its
is
It
all
its
clarity.
a square,
is
It lies
at the
network of
Georg
Pieta, is the
Buckeburg
church used Gothic rib-and-panel vaulting, supported by
Renaissance columns and typically Gothic buttresses.
There is Early Gothic tracery - by no means unusual in the
Renaissance - on the round-headed windows, the walls
carry
On
Gothic lierne
The
pilasters.
(d.
by
At
ribs, is
panels, with
relief
(d.
the
figures
of
Diirer.
St.
Michael's,
Munich
(ills.
Mannerist version
is
The unknown
sixteenth century.
wooden
galleries.
beyond
by obelisks, are like an affirmation of Mannerist
verticalism, from which the heavy sculptured gable and
the round windows can detract very little - the less so,
the facade, the sculptured buttresses, extended
the cornice
(ills.
in the chapter
begun
common
in
dome
Nave
ar-
is
Tomar was
1557-62.
Rome,
St. Peter's,
which, as at
St. Peter's, is
bule, with a
leries
They
are separated
by
Convent
church, like
it
the
buildings,
Christi, at
in
architect of
is
in the
form of
gal-
internal but-
PALLADIO
(ills.
its
fulfilment
work designs.
The sacristy at Jaen has similar segmental arches, and the
same type of ceiling. There are cupboards for vestments
between the columns on the left.
teristics
again predominate
Buckeburg
German
(ills.
138,
Protestant
139)
church
in
the
parish churches
of
of
the
sixteenth
is
spirit of
Certainly,
Italy.
He put
the
allowed consider-
even in Northern
the
in 1580.
He has made
and undiluted,
in Vicenza,
XVII
of his contemporaries,
made
detailed records of the Classic architecture of Rome, Dalmatia, and Provence, published I quattro libri dell' Architettura - The Four Books of Architecture - about his studies,
Roma. Extremely
Roman
theatre at Vicenza,
an insoluble
conflict
Rotonda.
We know
Man
The Universal
sale, is the real
uomo
theme of
this house.
He
is
Greek Antiquity
as the first.
The
third
Homer. Seen
univer-
the culmination
is
we can
if
who compared
Pal-
Rotonda
is
mante's Tempietto
(ill.
82).
purest,
at its
At
dome and
Baroque
In
arches.
architecture,
these
separate
zones
II
Redentore
(ill.
The motif
of the pillared
and again
eye to see
it
if
inviting the
border
already
same
spirit.
wake
of
usually merge.
At
eighteenth-century architecture
ladian. All
their
own
until the
He was
again.
middle of the
dawn
of
archaeology.
Corinthian order.
MENT
(ills.
17, 22, 28, 66, 71, 74/75, 77, 90, 09, 114, 122,
on
in
now
still
artist,
passed
is
in using books,
had
its
is
based
who gave
national
interpretation
to
foreign
motifs.
Palladio's
Villa
Rotonda,
Vicenza
(second
half 16th
century).
All
on
it is,
was
used
endowed
after
all,
It also marks
had been first
first
something inappropriate about the buildlikeness to a temple. Though the villa seems to belong
to a god,
p.
is,
is
churches. There
ing's
The
Greek orders,
and
the
two
added by the
and
Corinthian,
Doric, Ionian
Romans, the Tuscan and the Composite (ill. 17, drawing
of architecture, that
it
to
it
XVIII
i.C
(ill.
142)
is
edition in Latin
in
German
was published
in
Strasbourg, by the
much
much
(ill. 150), is comby them. At the town hall at Hannoversch140), where the cartouche round the coat-of-
pletely covered
quAMLAJnu sgay
Miinden (ill.
arms engulfs the
=====
entire
At Biickeburg
(ill.
on by the figures
of
on the door
radiates
b) Ionic,
capital:
c)
a)
Doric, from
the Theseion;
Roman
composite capital.
Bremen
(ill.
148), only
the columns
Humanist Walter
One
title
Vitruvius Teutsch.
acanthus leaf in
pilasters
The
(ills.
first
been the
ill.
(ills.
The
ceiling in
forms.
The
Oldenburg
(ill.
133),
lake a
Mannerism craved
(ill.
153).
(ills.
Chimney
74/75, 77)-
first to
(ill.
interiors of
The
The
The coat-of-arms
of the
Dukes
of Wiirttemberg,
the corners.
of nature -
had eventually
to give
way
to the
naturalism of
the Baroque.
XIX
nerism.
One
of
Suffolk
(ills.
120, 121).
is
its earliest
It
a national
examples
was
is
120, 121,
manor
variant of Man-
(ills.
was
the
Hengrave Hall,
in
John
1590,
is
Hardwick Hall
(ill.
One
of
Audley End, Essex (ills. 162, 169, above) was built 1603 to
1616. Its three wings are grouped symmetrically around
two courtyards. The chimneys, lined up behind a parapet,
and the turrets, are the only reminders of Mannerism.
Hatfield House, in Hertfordshire (ill. 164), begun 1608, is
also built on an E-shaped plan. The pilasters, balanced on
tall plinths, the balustrade and the turrets are typically
Mannerist.
At Cobham
Hall,
ment
many
it
is
concentrated.
Italian features,
Cobham
new
in
Palladian
The Queen's House, Greenwich, almost his first building, was begun two years earlier
(ill. 175). Mannerism had come to an end. The future bescheme without any
transition.
XX
>*.
141
AMBOISE-SUR-LOIRE,
23
XII,
76
Chateau
124
125
chapel
ANGERS,
Maison d'Adam
49
ANTWERP, TorahaU
-,
guild houses
AREZZO,
117
XI,
45
17
59
XV, 172
XX, 162, (above) 169
XI, XVI,
town hall
Golden Hall
XII,
178 i o
180
AUGUSTUSBURG,
AZAY-LE-RIDEAU,
Chateau
(below) 79
BAMBERG,
ATT AG IO,
7-
"3
Spiesshof, facade
Giovanni
(above)
27
XI
Monastery-
nave
54
cloisters
55
59
BIARD, Pierre
BLOIS-SUR-LOIRE,
XM,
119
from below
the crossing,
XI,
123
XIII
67
fireplace
BOITACA. D.
BOURG-EX-BRESSE,
CHEXOXCEAUX,
COB HAM HALL
COLOGXE, town
COVEXTRY
DELORME,
the
MI,
ESCORIAL
bird's eye
XV,
view
monastery church
177
south front
174
62
XLX, 150
-,
Palazzo
168
-,
Palazzo Medici-Riccardi
"5
-,
Palazzo Rucellai
-,
Palazzo Strozzi
-,
chapel, interior
157
-,
Santa Croce
Golden Room,
159
BUCKEBURG,
Castle
detail
5, 6, 7,
XLX
XMI
(above) 173
14S
MIL
18
no
ECKL, Wilhelm
XII, XIX,
VII,
10, 13,
xrv, 155
Museo
3S
ECKE
-,
Schiitting
X,
T-57
85
The
27
Younger
Essighaus
(above)
Philibert
DOXATELLO
EBERT,
78
158
Museo Xazionale,
BREMEX,
51
-,
Donato
55
48
(above) 163
BRAMAXTE,
54,
Ford's Hospital
The Hall
XII, 161
hall
-,
(Kingston House)
ML
XX, 167
Cathedral, the
BRADFORD-OX-AVOX,
VII,
xrv,
-,
56
facade
fa
cade
Chateau
Choir screen
vn,
-,
54
81
45
Joao de
C E R T O S A D I P A V I A Carthusian church
ch
ESSL
Chateau
staircase
-,
BCCKEBURG, Stadtkirche
BURGHLEY HOUSE
BURGOS, Cathedral,
-,
75
river front
BELEM,
96
XIII
courtyard
61
XIX
facade (rear)
BASLE,
to illustrations.
ARRUDA, Francisco de
ASCHAFFEXBURG, Castle
AUDLEY EXD
AUGSBURG, Fugger Chapel
-,
XII,
refer to
MI,
XM,
01
dome
Donatello's
di S. Apollonia,
S.
ML
George
18
MI,
IX,
-3
IX,
24
IX, XVIII,
22
LX,
-5
MIL
Mil,
Pitti
Annunciation
MI,
MIL
10
XXI
m
FLORENCE,
KULMBACH,
San Lorenzo
VII, VIII,
interior
new
-,
XV,
sacristy
88,
-, Uffizi,
104
courtyard
FLORIS,
Cornelis
XII,
89
12
117
28
dei
XIII,
XIX
(above) 130
(below) 130
II
courtyard
131
panelled ceiling
128
interior, detail
126
FONTAINE-HENRY, Chateau
FRANKFURT, "Steinernes Haus"
FREDERIKSBORG, Castle
XIV, (above)
79
21
XV
facade
137
main entrance
134
Nikol aus
37
Guild houses
GLASTONBURY,
GOUDA, town hall
XI,
118
XII, XIX, 114
GOUJON,Jean
GRANADA,
GRAZ,
Alhambra, courtyard
Landhaus,
GREENWICH,
GUAS,
XIII,
71
XV,
98
XV, 112
cortile
Piper's
171
House
170
HANNOVERSCH-MUNDEN,
HANOVER, Leibnizhaus
HARDWICK HALL
HATFIELD HOUSE
town
XIX, 140
hall
XI,
60
129
JOHNSON,
JONES,
Inigo
KALMAR,
KEY,
Bernard
Castle
Lieven de
KIRBY HALL
KREBS, Konrad
House
-,
178-180
165
XVII,
143
95
-,
176
51
94
(below) 166
Hall, screen
LUNEBURG,
town
X, 41,
162
XX, 175
(below) 173
42
1Q
16
town house
(detail)
64
T^
chamber
(detail)
XIX, 141
hall, council
LYMINGE,
Robert
164
MACHUCA, Pedro
MAIANO, Benedetto da
MANTUA, S. Andrea
VIII,
MICHELANGELO BUONAROTTI
XV,
98
IX, 11 : 25
XVI, 14
IX,
15
XV,
83-85, 88-91
MICHELOZZO
MILAN,
DI
BARTOLOMMEO
13,
24
IX, (below)
27
the apse
29
MILLER,
X, XIX,
Wolfgang
MONTEPULCIANO, town
MUNICH, The Residence
hall
IX,
20
XIV
Antiquarium
155
Grottenhof
154
XV,
HO
Michael's
MONSTERMANN, Ludwig
NEEDHAM MARKET, Parish
NEISSE, Weighing
NUREMBERG,
I56
Chu
50
XIX, I46
Office
XV
Pellerhaus
courtyard
145
fireplace
144
28
MONTACUTE HOUSE
97
XIX, 133
70
46
XII,
the ceiling
XIII, 68,
LOMBARDO, Pietro
LONDON, Middle Temple
-, St.
69
HERRERA, Juan de
HILDESHEIM, The
147
Pierre
XX, 164
HOLL, Elias
HOLT, Thomas
Lippe, Hexenbiirgermeisterhaus
-,
HENGRAVE HALL
Butchers' Guild
112
LIPPI, Annibale
LIEGE,
XIX, 149
XII,
MGO
65
Domenico de
LESCOT,
-,
53
LE
XX, 175
Juan
The Pied
44
LALIO,
XV,
XI,
XVIII, 165
PALLADIO,
PARIS,
X,
Andrea
PALMANOVA,
from the
-,
Louvre
-,
Saint Denis,
66
-,
Saint-Etienne-du-Mont
xxn
<;
tomb
39
XVII, 100-103
80
air
116, 171
47
of Louis XII
XIII,
XIX, 70,
71
XIII,
68
XIX, 127
PAVIA
Cathedral, plan
PERUZZI,
PILGRIM,
IX
Baldassare
99
Anton
34
PONZANI, Antonio
PORTA, Giacomo della
PRAGUE, Castle, interior
PRATO, Cathedral, outside
-,
154, 155
XVI, 106
35
pulpit
Francesco
XIII,
RIETH,
92-93
XI
Georg
XV, 172
RIGNY-USSE-SUR-LOIRE,
RIMINI,
35
77
XVIII,
LAROCHELLE,
ROME, Gesu
town
hall,
courtyard
17
XIX, 142
Palazzo Farnese
IX,
XVI, XVIII,
90
IX, XVIII,
99
X, XVI,
82
-,
Palazzo Massimo
-,
San Pietro
St. Peter's
X,
-,
92-93
alle
Colonne
in Montorio,
Tempietto
Medici, facade
ROSSELINO,
Thomas
facade (detail)
cloisters (Claustro de Joao III)
TORGAU,
86,
87
XL
58
Hartenfels Castle
XII, XIX,
VII,
97
facade
53
57
156
95
Antonio
ROSSI, Rosso
ROTHENBURG-on-the-Tauber,
town
hall
XII,
IX,
XVI,
130
136
VENICE,
62
XIX, 153
Hans
XI,
60
57
XX, 121
XV, 111
33
(?)
37
Mark's
105
40
XVIII, 100
-,
Palazzo Contarini
26
-,
Palazzo Vendramin-Calergi
94
-,
-,
VERNUIKEN,
VICENZA,
XV, 151
St.
Redentore
VI ART,
111
Castle,
Chamber
Ca d'Oro
90
80
104
Library of
63
103
the Princes'
12
XIII, 126,
Giorgio
VELTHURNS,
-, II
36
16
VASARI,
-,
66
XIX, 135
VAREL,
36
176
(detail)
II
-, Villa
VII,
detail
-,
130
THORPE,
13
PRIMATICCIO,
SUSTRIS, Friedrich
SYRLIN, Jorg, the Elder
TERZI, Filippo
XVIII, 101
Wilhelm
30
XII, 161
Charles
Villa
67
Rotonda
XVIII, 102
-,
Palazzo Chieregati
-,
organ base
34
XVI, 107
65
VI VI AN I, Antonio Maria
WHITT, Giles de
WISMAR, Furstenhof
WITTEN, Hans
WOLF, Hans
WOLF, Jonas
WOLFF, Jakob, the Elder
155
167
XIV,
72
52
138, 157
157
XII, 145
XXIII
(c.
is
shown
Museum.
v V
'I
n
1
it'
1
*!
>
IAk
I
S
\
hJVg n H
I'PP
VS H K PA MVS DE S (
i*
IIS
KELA-
4EV(.R.0i
Aufsbe'9
Kerff
lieB.
Capua. The Roman-style head of Jupiter comes from the triumphal gate
(now destroyed), erected 123347
by the Hohenstaufen emperor Frederick II
across the Appian
Way.
Renaissance:
Castel del Monte, Apulien. Lange Zeit vor Beginn der eigentlichen
des Kaisers.
Bauten
fiir
Formen
Wiederaufnahme antiker
II.
Regelmafsig angelegt wie ein romisches Kastell, zeigt die Burg Friedrichs
am Portal Pilaster und Gesimse. (Um 1240.)
Renaissance
Castel del Monte, Apulia. Long before the beginning of the real
of Frederick II.
classical forms came into use once more for the buildings
The castle (c. 1240) with its pilasters and entablature on the portal
has the regular symmetrical design of a
Roman
fort.
.e lei
Alinori
'lorenz.
st
,n
;in
same
(c.
time, with
uscan Proto-Renaissance.
_s
its
Zeit
(um xo)
Former, gleichzeitig
Tlorenz. Die
Rippenkonstruktion
in
Romanesque period
in gotischer
errichtet, zeigt
Renaissancegesinnung
ihrer harmonisch ruhenden Majestat.
Renaissance feeling.
Mil^B
Renger -Patzsch
Das Findelhaus
rediteckige
Bauwerk
reiner Friihrcnaissance
gables.
Arkaden
von Brunelleschi errichtet. der mit den korinthischen
zuruckgnff.
Vor-Renaissance
romamsche
- unter Absage an die Gotik - auf die
und der flachen Kassettendecke
by Brunelleschi).
Florence View of the basilica of S.Lorenzo (built post 1420,
Stursberg
Floren-
With
its
Corinthian arcades a nd
flat
panelled ceiling
it
shows
a departure
a return to the
Romanesque Proto-Renaissance.
^m
A
FotO
Marburg
Folo
Harmonie und
Marburg
Leichtigkeit
Prato, Tuscany. Facade of the central church of S. Maria delle Carceri (1485)
Florence.
a
built
'
^V
^Bh
1
k^agoaAVH
L
*w
IB
.^fr
Rl RnH
^1
flV
flit
Aw
Mf
La.
BWr
^tr
/'aw-
EgVA
^feW^r r
'
f#} [iJ
vj
^^RShjfl
H^fcwMi
.
OkXfmm*
H
m
^^
'
1
1
Hi
III
1 III
:
I
1
HBVBVH
'2> I
Foto
Marburg
Jei'er
Florenz. Die
In
Verkundung an Maria
Rom
in S.
der Bildhnuer
The
The Annunciation
in S.
und das
zart ornamentierte
15. Jh.
Croce (Donatello,
c.
143s).
scrolls.
143s).
Jfc*
41
;m
N
.
,11
K*
I
V
/^
!<
>*1
$
.e"*e-
Fc:
'' -
of Portugal
Renaissance period. Left: Florence. San Miniato. Mural tomb of Cardinal Jacopo
Above: Prato. Cathedral. Outer pulpit decorated with symbolic child-figures.
(1434-38; Donatello in collaboration with Michelozzo.)
13
Folo
Andrea. 1472 von Alberti begonnen. nimml Hochrenaissance und Barock vorweg.
Verbindung eines einschiffigen, tonneniiberwolbten Langhauses mit einem
mit ihren durchgehenden Pilastern ist wie ein romischer Triumphbogen gebildet.
S.
Die Facade
frechts)
Marburg
Kuppelraum
(oben).
14
f>
I
Folo
Marburg
15
:t
-14-
vmm
|*K
**
.<**
<i
.'
Urbmo, MMeUtalien.
am
c.
1470.
w^m
*
->\
~J>J
Castelli
Alinari
Tlorenz.
Der
Der
hi.
Museo Nazionale.
Georg des Donatello, urn
spiegelt
den Renaissance-Menschen.
Florence.
Museo Nazionale.
1420.
mehr
(c.
1420).
(urn 1510)
Liibeck. Annen-Museum. Der Evangelist Johannes
beruhigte Klassik,
Harmonie
edler
zu
die
zeigt
Marienkirche
der
aus
erwachsen ist.
die audi im Norden, unabhangig von Italien,
Lubeck.
which
in this sculpture
developed in the north independent of Italy is revealed
Marienkirche.
of St. John the Evangelist (c. 1510) from the
II
Italy.
The
schlichter
Block,
in its
20
Ehem.
Stoat!. Bildstelle
Frankfurt
21
am Main. Das
..Steinerne
Haus"
Stein.
window-heads and
sills,
and
A.
Foto Mo'burg
Florenz. Der Palazzo Ruccclai (Alberti, 1446) hat als erster Bau ein Kranzgesims als AbschluB,
dazu uber den geglatteten Quadern und den Querbandern eine senkrechte Cliederung durch Tilaster.
Plorence. The Palazzo Ruccelai (Alberti, 1446), the first building toTOast a great crowning cornice.
Over the freestones and the transoms a vertical effect is obtained by the use of superimposed pilasters.
22
L_^-UJ
j,A
*-.
1.
JXZLloj
,
L,L,I,-1
L,
'
Foto Morburg
Floret Palazzo
Pitti
23
und
each storey
Originally there were only seven windows across
Florence. Palazzo Pitti (post , 4 6o, attributed to Alberti).
.t an hero.c a.r.
lend
freestones
quartz
the
massive window arches and
but in 1550 the facade was considerably widened. The
Florenz. Hof des Palazzo Medici-Riccardi, 1444 von Michelozzo fiir Cosimo de'Medici begonnen, 1657 an
Der Arkadenhof. den die meisten Palazzi wiederholen. stammt von den Klosterhofen ab.
Florence. Courtyard of the Palazzo Modici-Riccardi,
The
cortile to be
found
in
begun by MicnRozzo
most Talazzi was inspired by monastic cloisters.
for
Cosimo de'Medici
family in 1657.
24
Alina
Curtgesimse
wohl von Benedetto da Maiano). Nur durch die beiden
Lockerung stellt.
gliedernden
reicher
wieder
der
Aufgabe
die
Kranzgesims gegliederter Block, ein Ur-Bau, der der Zukunft
Florenz
25
(1489,
"^^^^^
is
left to a
future age.
Keffl
Arkaden aufgelo^t.
in the
Romanesque
tradition.
26
5.
Crema, Lombardei.
Maria della Croce,
eine Wallfahrtskirche,
im Sinne Bramantes
von Battagio begonnen.
1490
Zentralbau aus
Backstein, auBen rund,
innen achtseitig,
mit vier Anbauten.
5.
Crema, Lombardy.
Maria delta Croce,
a pilgrimage church,
begun by Battagio
in 1490 in the style
of
Bramante. Central
octagonal interior,
with four additions.
Mailand.
Dominikanerkirche
S.
Maria
delle Grazie.
Dem um
1470 noch
gotisch erbauten
Langhaus fiigte
Bramante 149297 einen
Zentralbau an.
Milan. Dominican
church of
S.
Maria
delle
to
by Bramante.
27
Alii
T-nL
mmr
^ppwyr
n
Milan
Ornamentation
of the
m*
29
Left: sacrist, of 5.
**./
Mutler-onjnlce
30
;u:
Jeiter
In
Xorditalien wirkt
sich die
Oben: Certosa
di
Pavia. Die
Marmorfassade der
Aufnahme
Grogformen
Above:
North
is
1400).
32
Hartz
33
tv
-it
in St.
Hohlkehlrippen
in
Fischblasenform.
in St.
interwoven cavetto
The bust
is
Anton Pilgram
a self-portrait.
Chmel
S3
ribs.
of the master
34
Schmidt-Glassner
Prag. Der Wladislaw-Saal in der Burg (B. Rieth, 14841502), riesiger Kronungssaal der bohmischen Konige.
In der spatesten Gotik verlieren die Gewblberippen ihre gliedernde, tektonisch tragende Funktion und werden zu raumverbindenden Zierformen.
35
Prague. The huge Vladislav Hall in the castle (B. Rieth, 14841502), scene of the coronation of the Bohemian kings.
In the last phase of Late Gothic, rib-vaulting loses its architectural function and becomes a decorative form.
n
J
Sdimidt-Glossner
Das neue Menschenbild der Renaissancezeit diesseitig, forschend, griiblerisch auch im Norden.
Oben: Ulm. Der antike Philosoph Ptolemaus am Chorgestiihl des Miinsters. (Um 1470, Jorg Syrlin d. A.)
Redlts: Slrapburg. Frauenhaus der Munsterbauhiitte. MutmaRliches Selbstbildnis (um 1470) des Bildhauers Nikolaus Gerhard von Leyden.
Above: Ulm. The ancient philosopher Ptolemy from
Kight: Strasbourg. Frauenhaus Museum. Probably a
a cathedral ihoir-M.ill
self-portrait
(c.
(c.
Gerhard
of Leyden.
36
F7
\ \
#"
--
j_
^j
^P
RengerPo'zsdi/Bovarlo
Foto Marburg
sondern richtungslos
Raum
nicht gerichlct
ist,
Oxfcr(f. Aufgang zur Halle von Christ Church. Das erst um 1635 geschaffene
Kelchgewolbe offenbart, in welchem MaGe diese spatgotischen" Formen
der Baugesinnung der Renaissancezeit entsprechen. (Treppe erst 1805)
flutet.
Church (founded
in 1525).
38
SF.
ft
'^
YVWi*
'-'.
'>..
Kerff
Felfon
Formen, die nur noch im Dienste flachiger Dekoration stehen. Oben: Venedig. Die Ca d'Oro (142140) am Canale Grande.
Rechts: London. Die gereihten Kelchgewolbe in der saalartigen Kapelle Heinrichs VII. (150319) stiitzen nicht mehr, sondern hangen herab.
Spatgotische
40
ri
^H
ic
*
JtftIK *v
siraf
r ^.
#a&
rN
I!
*!
>Akff
<**:
If
Cash
Englische Baukunst zwischen Gotik und eigenstandig wachsender Renaissance. Links: London, Kapelle Heinrichs VII. an der Westminster
Abbey.
Die Strebepfeiler sind in Turmchen verwandelt, die in Kuppeln enden. Das enge Stabwerk hat raumschlieSenden Charakter.
Oben: Canterbury. Tor zur Christ Church (um 1500). Betonung der schlieGenden Wand und der waagerechten Bander.
Dazu
43
Riickgriff auf
English architecture in the transitional stage between Late Gothic and genuine Renaissance.
Left: London. Buttresses of Henry VII's Chapel (1503-1519), Westminster Abbey.
Above: Canterbury. Gateway to Christ Church (c. 1500). A new emphasis on the horizontal, but also a return to the Norman arch.
'*
Roubier
HL
^tf*
si
verbunden.
Links: Cent, Belgian.
um
1*^11
*M?.
1200
(v.
r.
n. 1).
Rechts: Antwerpen.
Zunfthauser
am Markt -
andcren
schon mit
(16. Jh.)
manieristischen Giebeln.
-I
In the north,
domestic
timber house.
Left:
Ghent, Belgium.
1200 (right to
left).
Right: Antwerp.
Guild houses
in the
the right
still
Late Gothic
rectangular
windows beneath
Mannerist gables.
Stodsbesluur
44
tV *
&&
.1
I
I
f
\
if
^
v-
r
1
*A
31
r\
f 4 ||
'
l-Pi..v.-j
"
*~
f:
mi4f
f
'
.
->-'.
fir
'.-
MMkUlU
*
oi oj aj
jj oj
oj
r
I
'
in
5rar iw
-,.
ir-
Schneiders
^^^^^SJ^S^SLo^
^^^X^^oILn^ 1S2Z^*
af Links: ^eskeijn
Auch der Holzbau nimmt in altaahUchen, Ubergang Renaissance-H.en.ente
Deta
am Holzwerk. Oben: OsnabruA. U.llmannsches Haas.
Renaissanceschmudc
Waagerechten;
der
Betonung
schon
Noch steiler Giebel.
47
Left: HiUesHeUn.
Even t.mber structures gradually take on Rena.ssance features.
ornamentation on the t.mbenng. Abo^e. Osnabru*. Detail
Renaissance
horizontal;
the
on
already
emphasis
steep,
still
Gable
w
V*
^t
*1
::;
I
I 1
Toylor
Archives Photographiaues
Angers, Frankreich. Maison d'Adam, Fadiwerkhaus des 15. Jh. in der alten Hauptstadt
von Anjou. Rautenformig sich durchkreuzende Balken als Flachenschmuck.
Angers, France. Maison d'Adam, a 15th century half-timbered house in the old
capital of Anjou with lozenge-shaped inter-crossing beams.
48
Edwin SmitK
Needham Market, Suffolk. Die kunstvolle Holzdecke (um 1460) des Langhauses
Wie immer, bedcutet die Kirchendecke den Himmel, an dem Engel rscheinen.
Needham Market,
Suffolk.
The timbered
roof
(c.
As
der Kirche.
50
little
Jendenz.
und spater), hier nur no* Zierde. zeigen ausgewogen-ruhende
Moreton Hall, Cheshire. Die Fullbalken ta Fachwerk (x559
weithin bestandig.
Grundformen
semen
in
bleibt
Eigenheiten,
regionalen
Der Fachwerkbau, reich an
tendency towards symmetry.
decorative half-timbering (1559 and later) shows
Little Moreton Hall, Cheshire. The purely
(Hans Witten,
ein Geriist von
1525).
umgcbildet.
Rechts:
Valladolid, Spanien.
Entwiddungsparallele: Ober
dem
During the Renaissance period a new naturalism grows out of the functional forms of Gothic.
Above: Chemnitz, Saxony. North door of the Castle Church (Hans Witten, 1525). The tracery Is enclosed in a framework of stems and branches.
Right: Valladolid, Spain. Facade of the Chapel of San Gregorio (Juan Guas, 1488). A parallel but entirely independent development: the tree-motif
is to be found here too, above the centre ogee-arch along with Moorish decorative forms.
MAS
52
jiMHB
YAN
der Hieronymiten-Klosterkirche (D. Boitaca und J. de Castilho, 1502-19).
Achtkantige Pfeiler, mit Renaissance-Grotesken verziert, in einer Hallenkirche mit spatgotischen Stemgewolben.
Kloster
Belem
bei
Lissabon.
Mittclschiff
near Lisbon. Central aisle of the conventual church of the Hieronymites (D. Boitaca and J.de Castilho, 1502-19).
Octagonal shafts adorned with Renaissance grotesques in a "hall church" with Late Gothic star-vaults.
BeUm Monastery
54
<
i^T\:
**=*
Sdimidt-Glassner
in Portugal.
manuelischen"
von Joao de Castilho, dem Schopfer des
Spatgotik und italienischer Renaissance.
spanischer
von
Mischung
bliihende
Eine phantastisch
creator of the Manueline style in Portugal.
Belem. Cloisters (c. 1520), the work of Joao de Castilho.
Renaissance.
A fantastic mixture of Spanish Late Gothic and Italian
urn
Be/em Kreuzgang
8 des Klosters,
8
! 5 20
Stils
&J- isl
MJv
f;.v
i
^w
,+* +
iA
Groth-Schmachtenberger
Stoedtner
Valladolid, Spanien.
in
Margaret of Austria.
Valladolid, Spain.
Mannerist
riot of
1
Sdimldr-Glassner
YAN
Tomar, Portugal. Fensterumrahmung im Christusritterkloster
ein Beispiel des durch maurische Formen bereicherten estilo mudejar",
in
of the
Turm
(F.
de Arruda, 1515-21).
Rundbogen
de Arruda, 1515-21).
Romanesque
58
iivrv
:M4
JL
*. -Jt
"''
!*!
J~7
23m
Ol
J5SK"
ca
$Hju?^a'!
Ka^
<
Q#'
-*
Wolff &
Trilschler
Ehem
nn. Der Turm von
Romanische Besticn.
St.
St.
Kili.in
's
Slootl
Bildsielle
Foto
Marburg
Esslingen, Wurtemberg. Entrance-hall in the upper storey of the town hall (Heinrich Schickhardt,
Though
its
it
is
aV^oduct
of the Renaissance in
1586).
its
compact proportions.
62
>k
Jeiter
s.
S
63
Ke'fl
Am
"Am
Liineburg.
Sande".
64
v/'
fe
a>
k
M
\
m
Hi*.
Kusch
Flachreliefs nach
65
in the "Schoner
Hof"
style.
Torgau
a. d. Elbe.
(Konrad Krebs,
Schlofi Hartenfels
153335).
spatgotische Gardinenbogen, an
dem
grotesques.
Ehem.
Staatl. Bildstelle
Blois a. d. Loire.
ahnelt
waagerechten Abschlufi
der italienischen Renaissance naher.
Blois
The tower
built 151525
67
sur
Loire.
by Charles Viart.
Roubier
{r
.,
-^ ."
JCLfc
*V*
Deutsdier Kunswerlag
Foto
Morburg
den altesten
Fliigel
des Prachtschlosses
dem
klaren
Ordnungen"
sich durchsetzt.
wing
are beginning to
make
their
mark.
Archives Photographiques
Roubier
Paris.
71
later alterations)
is
at
dem
rechtwinklig gebrochenen
miiMM^M^Mm&
*mtm&
und
4T
JSt3t**"
<^/
Azay-le-Rideau
;
"N
sur - Indre.
main gable.
Jeiiet
Wismar, Mecklenburg.
Der Fiirstenhof (Ziegelbau,
155055), nach einem von
oberitalienischen Palazzi
gefullt.
Wismar, Mecklenburg.
The Fiirstenhof (brick building,
isso-55) constructed by
Foto
Morburg
72
T*
^Trrm
;'"*
.
.-
^*^*
74'
V**
.
"'
.i>
rtT>-
fry.'
Chambord a. d. Loire.
Das riesige WasserschloG
Konig Franz
I.,
1519 begonnen,
mit einemHeervonDacherkern
und Schornsteinen.
Chambord
sur
Loire.
Jeiter
75
Amboise
a. d. Loire.
!e
Amboise
sur
who summoned
Loire.
sich
Rigny-Usse
in 1490
by Charles
a. d. Loire.
assnei
15. Jh.
ip.
Jh
dt-
Rigny-Usse
-.er
sur
Loire.
%&
mm
Roubier
Azay-le-Rideau,
and chimneys
in
Foto
Marburg
i
#^*^J^^* * *^^
HXS1V ^"^ f^B^H
Sdimidt-
MM
r*
11
^li
Glassner
79
Foto
Marburg
Aerofilms Ltd
wie im Detail.
81
I
--=
*'
arr
Foiolhek
82
Foto
Marburg
kurzen Moment
(1500-02)
Tempietto
Bramantes
ist
in der Menschheitsgeschichte ausmacht
Harmonie.
geschlossene
in
sich
Vollkommene,
von San Pietro in Montorio.
Rome.
S. Pietro in
entvvorfen.
St. Peter, 1557 von Michelangelo
Saulen
gedoppelten
den
Aus
Barock:
und
Manierismus
Auf dem Wege zu
steigen Kraftstrome durch die Rippen bis in die Laterne.
Rome. Dome
already suggestive of
Waves
of strength rise
by Michelangelo,
right
through the
up
to
ribs,
the lantern.
>*kfl
*>
84
pcrjac^j
I
\\\
>".
<<J
Jr'
%M
V /
A
*
:/
.^^Tl
"'
^r
Haw
i;
Degenhardt
Kersting
Rom
85
St
Peter. 155 o6
Massen
von Michelangelo. Dieser Raum mil seinen ungeheuren schwebenden
Kuppel.
Die
Oben:
Quersch.ff.
Blick
ins
Links:
b edeutet den Gipfel fur den Kirchenbau der Hochrenaissance.
Alinorf
86
Stefoni
87
Alinori
Foto
Morburg
Neue Sakristei (1-20-24). Grabkapelle der Medici, zeigt Michelangelo auf dWWende von der Hochrenaissance zum Manierismus:
Machtige Pilaster beengen bereits die Nisihen (oben). Rechts: Sarkophag des Lorenzo de'Medici mit den Allegorien von Morgen und Abend.
Florence. The Medici Mausoleum (1520-24) in the New Sacristy of S. Lorenzo reveals Michelangelo
High Renaissance and Mannerism. The niches (above) are confined by mighty flanking pilasters.
Right: sarcophagus of Lorenzo de'Medici showing the allegories of lan and Evening.
between
88
Alinari
90
"a-;
der
Rom. Durchdringung
von Malcrci und Architektur:
Raffaels Fresken
in der
Der ParnaB
links
Philosophic
Rome. Marriage
of painting
and architecture:
Raphael's frescoes in the Stanza
della Scgnatura in the Vatican
(150810) the crowning glory
of
Renaissance painting
The Parnassus on
the left
indicates Poetry
on the
92
right Philosophy.
Al.r.on
S-"
-*
p^^^^4
m
Q
III-
*1j
r
1
II
rim
if
1?
^^H
fc
iJl^V
Ky
^L,
Llf
|jj|
k.
^^j
>
^^-
n
15
II
\i
^H.^^
ki
'
Alinari
ist
Augustusburg, Sachsen. Das Innere der SchloBkirche (wohl von E. van der Meer, 1568--01
mit Emporen und quadrierten Tonnengewolben in strengen, n.ederlandischen Renaissanceformen.
tr
PERI
96
II
>
1
1
1
1
MAS
de Valdelvira,
lain, Spanien. Die Sakristei der Kathedrale (Pedro
97
naA
1532) in
become
international.
in the
Emperor Charles V
in 1526).
alle
Colonne,
Ma8veih51tnis9en
seit 1552 von Baldassare Peruzzi in den strengen
der Hochrenaissance erbaut.
Rome. Courtyard
of the Palazzo
Massimo
alle
Colonne,
99
^
Venedig. Fassade von
II
Redentore,
d. h.
Venedig.
Erloserkirche,
II
Marburg
-^-
Redentore
5.
Foto
in
S.
in 1565,
\u
Alinori
za, Obcriiab.cn
Oben: Palazzo
Stils.
della K.
-. :t
(rechte Seite).
(150c).
Ua Rotonda
a
..des
(lj
to each face.
'
I *
WM
Aline
^m
i
J"
I
k
i
103
Alinari
"
'
LllltltlfftfflftftfHOTHUUHJ
w
r
m &r m
jnti
wnm
&9&p~cvZqt
wi
rm
?Jgg|PfllSli
II
Alinori
Alinari
Florenz.
Hof der
jenes Stils,
fiir
prachtreichster
die
Hauptbeispiel
Bau der
(J.
Sansovino, 153653),
italienischen Spatrenaissance.
The Library
of St.
Mark
(J.
Sansovino, 153653),
Foto
Rom. Die
Jesuitenkirche
Rome. The
Jesuit
II
church of
II
defied
1573.
Marburg
Langhaus
Gesu, Innenraum von Vignola (1568-76). Ein tonneniiberwolbtes
die meisten Barockkirchen.
fur
Vorbild
Kuppelraum.
lichtdurchfluteten
fiihrtzu einem
Foto Marburg
Rom.
Rome.
107
II
II
Ehem.
Staotl. Bildstelle
Muller-Groh
F.
ilienische Formen.
SustrK 1SS2-07) /eigl an der Fassad<
Tonne des Langhauses schneiden die Quertonnen der Seitenkapellen
In die gewaltige
ein.
Munich. The
of this
German
F.
Sustris, 1582-97).
Italian
forms are
bomb-damage.)
to
108
-u
'
IB
Busch
Keetman
seit 1563 von Eckl
Miinchen. Turnierhof des alten Marstalls, spater Miinze,
errichtet.
Proportionen
schweren
als dreigeschossige Laube in
Ill
at the old
Royal Stables,
Spittal,
begun by the
The
.e
fc<
55 7-5
-65 by
DomeiA)
de Lalio of Lugano.
e-
112
''-&&&:*
m.
II
I^v
Staotsarchiv Basel-Stadt
(um
1580),
sparsam und
(c.
grofiflachig mit
1580), articulated
Saulen gegliedert.
by columns
set
wide apart.
Im
nordlichen Europa
wachsen
in
Cbergang
allmahlichem
die
Formen
Renaissance entgegen,
zumal im Profanbau.
Couda, Holland.
Front des Stadthauses
(M40-=:oi
In N.
by
Europe
gradual
transition process
the forms of Late
Couda, Holland.
Front of the city hall
(1440-50).
114
Hi
$:-Ji)lfe&
*l
M
i
i
-s
1T7
pB
1
Bbhmhmhi
.**k
Roubier
115
91
r*
A.
<n
<--*
<1L*
ill
Hi
rtrtrrtf
*?~
*'#/
i,.
9*'4*-
''_
*'''K
Roubter
Monumentenzorg
(L.
The
Leyden, Holland.
117
Town
chief
Town
monument
of Flemish
Mannerism.
Glastonbury, Somerset. Der Pilgergasthof .George and Pilgrims" (1470--Besonders in England setzen sich schon in der Spatgotik rechtwinklige Gliederung und horizontale Lagerung durch.
Somerset. The George Inn (147075), frequented by pilgrims.
At an early date during the Late Gothic period rectangular articulafipn
Cla
its
own
in
England especially.
118
(-.
*?T*
m*
Vi.
Burghley House
Stamford)
(1585, bei
vermischt im Hauptpavillon
des Hofes unbefangen
das franzosische
-*'
main block
number
of features contribute
to the
Mannerist effect
119
Kersting
'I
11
L...
V E
# a--
^\
:S
\
fefl
Edwin Smith
Kersling
Hengrave Hall in Suffolk, ein englischer Landsitz, zwischen 1525 und X538
von dem neu geadelten Tuchhandler John Kytson erbaut.
Der mit Wappen und Putten geschmiickte Erker iiber dem Portal
kontrastiert mit der sonst glatten
Wand.
Hengrave Hall in Suffolk, a country house built between 1525 and 1538
by John Kytson, a draper recently raised to the nobility.
121
die
juts out
II
Roubier
Die Kirdie
Etienne-du-Mont
Paris.
5.
(1517-1618).
Links:
Cber einem
Segmentgiebel ein
manieristisch steiler
Giebel. die Rose mit
spatgotischem
MaBwerk
(Biard, 160005).
Pfeiler
und Gewolbe
gotisch,
Tiirrahmen
zum
Seitenschiff
Renaissance,
Spiraltreppe manieristisch.
Paris. Church of S. Etienne
du Mont (15171618).
Left: above a triangular
and a segmental gable
towers a Mannerist
steep-pitched gable.
Roub<er
122
-^m**
J*V
m.
'
H. inXin X IU .U.UJJA AU
'
'
JL
'
'
ii
'
'
aiqp^ai
S*
#;ii
ar
I
'
ii
1 1
m
it
r ii ft
~m^mmm**r~*mm
-"" """v
"*" -
"" "-"
l4^
^^^**^
AJ^LLll
Jeiier
Roubier
wandeln
und
die Balustraden
had
place.
built in the castle as a last resting
;jbier
tg'ophiques
Plastik
ihrer Vorliebe
R. Rossi
fiir
(um
Rechts:
Paris. S. Denis.
XII
Lebende im Gebet.
XII
126
wvv
i
uii.ii
vu
in
ii
Roubier
Sdmeiders
Roman
models.
SchlofS Heiligenberg, unweit des Bodensees. Der Rittersaal, dessen kunstvoll komponierte
Lindenholzdecke mit Grotesken und Akanthus gefullte Felder aufweist. (Vollendet 1584)
Heiligenberg Castle not far from Lake Constance. The Knights' Hall withs its artistically
composed lime-wood ceiling, a riot of grotesques and acanthus. Completed 1584.
128
"
let
-**-
141
H^
Cm^^^
-^
<
j
-i
Foto
.'
'Jj*
!;
Morburg
130
1
I
-**
"
c e
^^
von J
Konig Franz I. begann. Die geschwungene Ehrentreppe 1634
Fontainebleau. Oben: Der Hof des Schlosses, das Gilles le Breton fur
nach 15,0
etabherte
H.er
I.
Franz
in der Galer.e
Linke Seite- Die Ausstattung des Inneren. Oben: Stuckarbeiten
Mamensmus
Aen
franzosis
des
Quelle
Fontainebleau",
..Schule von
eine italienische Kunsterkolonie unter Rossi und Primaticcio die
und Ph. Delorme gestaltet.
Unten: Der Saal Heinrichs II., 1553 durch italienische Maler
by J Lemerciet 1634.
Gilles le Breton. The bold sweeping staircase
Fontainebleau. Above: Courtyard of the chateau begun for Francis I by
tre n
responsible for the decorat
was
artists
Italian
of
colony
A
Francis
I.
of
;
_
Left page: interior decoration. Above: stucco work in the Gallery
Delorme.
Ph.
and
1553.
painters
Ital.an
II, the work of
of French Mannerism after 1530. Below: Hall of Henry
'
131
Busch
Foto Marburg
Blois a. d. Loire.
Kamin
in
I.
133
sur
wing
to
in
the
lever, Oldenburg.
The
lavishly
in the Audience
built
part.
Chamber
of
castle,
1
1
.-
**
iliti
1
I
'
"
""
II
\m.
'
Muller-Erunke
135
lT
F *!
Et
%*
ff
.,;
11
12
i:R:F,
y!
me'
JgJMMMMtaWWii llil
I
II
'
gil
.^v
Schneiders
Aufsberg
Town
hall.
to the
Gothic part,
Frederiksborg, Diinemark.
Das SchloS
um
(160220),
einen Ehrenhof
angelegten Dreifliigelbauten.
Frederiksborg, Denmark. The castle (160220),
Wogner
Busch
'urg,
front designed by
new age
Hans Wolf,
of Mandferism.
und Kapitelle
classical
columns and
capitals.
138
T
^ *$
^
\I
A
*v
tv,-r
V
-
;p^j
>
dfl
P
D
~*-~
S
V
fe*
,<
T<*
!lj
iLrt
Ls
?^,
*yj
E^
vm
...
rr
if
~~^1 Tin
id
[
,
Evers
Hannoversdi-Miinden. Das Portal des Rathauses - Beispiel fur viele ahnliche im Norden
des Manierismus.
Schweifwerk
und
bereichert den Bogen und das Gesims mit seinen Obelisken sowie mit dem BeschlagHannoversch-Miinden. The town hall portal, a model for many such
in the north.
140
* ~
<Aib -"
-ms, sssizrsrs
e
Foto Marburg
die
La Rochelle.
Town
and an
Ionic entablature.
tragen.
The
effect of
Mannerism
is
II
-U^u_
J
Das Pellerhaus
Niirnberg.
Wolff
(J.
1602-07,
d. A.,
war
jetzt zerstort)
besonders
ein
gliickliches
Ergebnis schopferischer
Durchdringung von
nordlicher
und
siidlicher
Formenvorstellung.
now
160207;
showed
destroyed)
a particularly
successful blending
of northern and
southern ideas
of form.
Ehem.
Staoll
Bildstelle
Kamin im Pellerhaus
laSt,
Manierismus, schwache
Saulen eine schwere Volute
tragen, die in der Mitte
gesprengt
Wappen
ist,
um
ein
erscheinen
?u Kissen.
Nuremberg.
is
to
typical
Mannerism
feature of
be seen in the
columns support
heavy
an
escutcheon.
Hodibauamt
144
1
l^iB
1
V
MOIIer
e, SMesien. Das Waagehaus (1604) mit Wandmalerei
und einem durch starke Gesimse gegliederten Giebel.
am
Hauptblock, wie
Neisse, Silesia. The Weighing Office (1604) with frescoes on the main block,
and a gable with bold cornices.
146
m
m
I
2 II
I"lllll
Ji n i]
i
um
wsa
IMIIJ
yn
lindemann
Lemgo
147
Lippe.
The
front
is
Liicke stehen,
eingefafit
ist.
*H.ift
^*V
'
r .1
jBK
hatte
mehr
stille
Manierismus.
its
as 1652
still
preserved on
Stootl. Bildstelle
Bewegung
windows
(1618).
are
Soebens
148
I
v!
MM
^-^^^^
vS
f?
^^^
>m
*
T"
?rr
.'V
-t
f^
'
i'r'
(I
;4
fj&m
a*
-?J
-e-'"*'!)!
If
JJIlI
'~
i
"'f~"
fLZ
^2
ill
^j
3JH
LL3
S
?**|
'
I
j
.!.
..
>/
^
"*y
Kerfl
Namen von
F,rr fl r,.
Ferrara.
The Palazzo
of light
and shade.
dei
its
name
to its
effect
facade of faceted rustications, producing a lively
150
>\
and telamones
Schallaburg, Lower Austria. Alternate caryatids
(1572-1600).
courtyard
in the castle
Das 16. Jh. war, zumal im Norden. ein Zeitalter hochster Bliite des Kunstgcwcrbes. Oben: Schlofi. Ambras bei Innsbruck.
Der Spamsche Saal (1571). L'nten: Velthurns, Sudtirol. Furstenzimmer im SchloB (157887) der Bischofe von Brixen.
The 16th century was,
Below: VelfJiurns,
5.
particularly in the north, the golden age of arts and crafts. Above:
Tyrol.
Cav
-7),
bishop
of Brixen
Ambras
(1571
152
.,
il
lc^|f
'XJJVJU'I'
wx&mmt's
r**^
if
*
*
ilfe^
^s
Vollert
153
Der
Sdimidt-G!ossne'
ist
von 1569
bis ins
19.
Jahrh.
(F.
Sustris, 1581-86)
folgt
der
in
to the
19th century')-
The courtyard
of Grottos
(F.
154
\\
2 -T*
pi
T mA
If
jjjj
J
i
^^
it
*
K Jf
ir
J
i
Verwaltung der
155
Staatl. Schlosser
iii'1
!lwll
l^j
'
tf
i.
SL# fcI^B
,
j,,r
JL6U4
J^^^^ j
|
mm
"
"
5?
s,
*l
W.
M<
I
.-
C,
to
Vitrei,
Oldenburg.
Hochaltar
mann,
(L.
Vom
Miinster-
kirche: Apostel
Paulus
Varel, Oldenburg.
The
high altar
mann,
(L.
Miinster-
made
of partly painted
a characteristic
feature of
Mannerism.
mi> uusfr
BusoS
k
^fiiifit.n
156
*
-
t#s
!'X
&
-*4*%1
i*-
*n
Y
I
*
3.
1-1
i?*i\
1
ii
it'.
Busdi
wood-carving
Buckeburg,
S Lover Saxony. The
157
^entsol
greatest
ordered by Count Ernest (around ,605) is among the
Jonas and Hans Wolf.
and
Ebert
were
Jr.
Mannerism. The master-craftsmen
jr
-
*.
>-v
>JK
V
f\
Is
'IHHH
"^
?i
a
rj*
V,
w*~*%v
I*
-*-*
- /
^"
1 1
'<
-4'
M
-
H>
*'
\%i
*.i*
T
Vi*
w
f8L
Biickebiirg. SchloG,
Danzig.
Town
hall.
*_
^HHiHHMM
>
>fj
16. Jh.
(1605).
Fofo
Marburg
YAN
Die aus
antiken romischen System", der Kombination von Arkaden mit Saulen, entwickelte oberitalienische Spatrenaissance
hat ganz Europa durchdrungen. Links: Tomar, Portugal. Ein Kreuzgang des Christus-Konvents, der Claustro de Joao III".
Oben: Koln, Vorhalle des Rathauses, 156973 von Wilhelm Vernuiken erbaut. (Im Bild Vorkriegszustand.)
dem
Italian Late Renaissance, a development of the classical "Roman System", the combination of arcades with pillars,
penetrated to the whole of Europe. Left: Tomar, Portugal. Cloisters in the Convent Christi, the "Claustro de Joao III".
Above: Cologne. Porch of the town hall, built 1569-75 by Wilhelm Vernuiken. (Pre-war photograph.)
The N.
161
^m
Kersting
Die englischen Landsitze der elisabethanischen und der folgenden Zeit fiihren den spatgotischen Tudor-Stil fort, dem sich,
nach kontinentalem Vorbild. Renaissance-Motive (Bild oben) und manieristisches Zierwerk zugesellen. Oben: Audley End, Essex
The Tudor
(B.
Johnson. 160316).
houses of the Elizabethan and early Jacobean age though Continental influences
Manner* ornamentation. Above: Audley End, Essex (Bernard Johnson. 1603-16).
162
Bradford-on-Avon,
Wiltshire.
The Hall
(158)'
Bradford-on-Avon,
Wiltshire.
The Hall
also
(1580),
known
as
Kingston House.
Reece Winstone
m
M
IH11
Montacute House,
Somerset (1588-1601).
Westfront.
Montacute House,
Somerset (1588-1601).
West
163
Front.
Reece Winstone
House, Hertfordshire (Robert Lyminge, 1608 12) bears a resemblance to French buildings
Delorme school. Note the triumphal gate motif with^al pillars.
of the Philibert
164
mm
Kersling
165
II
down
in the architectural
manuals of the
ve'S'ing
* ,fc
>
.^
<
Si
^!
*<
Schmuckwerk
des Manierismus
Kirby Hall,
Northamptonshire,
built by Thomas Thorpe
post 1570.
London.
Middle Temple Hall:
Left, below:
ornamented
Mannerist style
Rechts:
Cobham
Hall, Kent.
^HMWll
**mmn
Vorhalle (1594)
des Westfliigels
der Siidfront,
Cobham
Hall, Kent.
Quadrangle
(1594), by Giles de Whitt
to Philibert Delorme's
Porch
design.
167
in the
Kersting
/
!
/>
'
NjMUk'vS
If.
terg
Kers'ng
merchants' guild
hall.
s.
Abb.
162).
Von
Siidosten
Right-hand page, above: Audley End, Essex (1603-16; cf. p. 162), from the S. E.
Below: Hardwick Hall, Derbyshire (probably the work of Robert Smythson,
1590-97), a major example of the English Mannerist school with its profusion
of high
roof.
gas
inn
illkL
if
niffl
in hi
HI
mil!!
mi
Si
IIII9II
limn
.
infill
IIIIMI
]
1
nrrrn
II
* **it.
V7
is
^|B|
Rl
li
I
\U
E!|
#>
umm
r.B:
Kr~im
iiiii
ma.
.\
'
IIHII.II
II It. Ill
mil
uuu^>^
'1
III
II
fir
T*
JTglT
HI jll
III
I
-wwr~ww\
III
1
tit
n
i
IMn^tr^
Hamcln a. d. W'eser.
Das ..Rattenfangerhaus"
(1602). Ein
besonderes
Merkmal der
sog.
Weser- Renaissance,
die niederlandischen
wie deutschen
Querbander,
oft
mit
eingcchnittener
Musterung.
Crossbands,
so-called
Weser
German
E.ers
Dutch and
architects.
170
Roubier
171
(t.
(L.
Buntfarbigkeit,
de Key, 1602-05). Wie iiberall im Kiistengebiet Nordeuropas:
Steinarten.
erzielt durch Vervvendung verschiedener
de Key, 1602-03). As
is
a colourful effect is
Gundermonn
Aschaffenburg. SchloB (Ridinger, 1605-14).
Die regelmaRige Vierflugelanlage mit starken Ecktiirmcn
gtht auf
d.is
Wande
fiir
Philipp
II.,
iaflflf!
^p-nf*
fcTTr
fc"
'
UXtim.
^^fc
|^^H
t?
?-
rass
SSL
is
IS
W
lit
ii
II
II
ii
Ml
!B
J-H
te
i'}!}})})
ftitmti
Cash
YAN
Escorial. Siidfront.
lost dieses
Bauwerk den
iiberreich
175
YAN
stillen Stil,
der in Europa
Europe
um
die
of that of
II
Gesu,
176
-Br''
igri%Z
MAS
The church
(15S5) of the
St. Peter's,
Rome.
177
II
'
s^.
Augsburg.
Der ..Goldene Saal"
des Rathauses
(Elias Holl, 1615-20).
und
reichsten Schopfungen
des Profanbaus
Wende vom
Manierismus zum Barock.
der Renaissancezeit
auf der
(Vorkriegszustand.)
Augsburg.
town
hall
among
secular buildings
turning point
between Mannerism
and Baroque.
(Pre-war state.)
KU
'
/^*- /J
'
'/:<
~'-'ili
\>,<&
A,.
^
....
,L
\ >'-K
-^^
^^-
1 -^
^_
\-~*
1
1
Bi
I 11 W
%**
'
S rI
*'
i
Wr
Ate.
Hf
<ee*-"3H
Augsburg. Die Rudcseite des Rathauses (Elias Holl. 1615-20). in Deutsthland das edelste Bei'piel
f jr jenen nudlternen und gro3formigen SHI. der den Fruhbarotk herauffuhrt.
1
hall
eBmple
in
Germany
180
*'C
AM