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Ulrich Knapp

[Daisenberger.]

German family of masons and architects. Thomas Daisenberger (1642–81), his son Matthias Daisenberger (d 1712) and his nephew Joseph Dossenberger (i) (b Wollishausen, nr Augsburg, 17 Feb 1694; d Wollishausen, 22 May 1754) were masons active in the region of Augsburg. In 1732 Joseph Dossenberger worked on the parish church in Agawang, near Augsburg, to the design of Joseph Meitinger, as well as the parish church at Reinhartshausen (begun 1739), a simple hall church with a chancel narrower than the nave. Joseph’s sons, Hans Adam Dossenberger (b Wollishausen, 25 Dec 1716; d Wollishausen, 5 April 1759) and Joseph Dossenberger (ii) (b Wollishausen, 9 March 1721; d Wettenhausen, nr Günzburg, 15 May 1785), also followed their father’s trade.

Hans Adam Dossenberger probably received his first training from his father and is thought to have served an apprenticeship with Dominikus Zimmermann. He is first mentioned in connection with the building of the church at Reinhartshausen, where his father was in charge. He and his ...

Article

Zilah Quezado Deckker

(b Lucena, Córdoba, Feb 6, 1669; d Priego, Córdoba, June 30, 1725).

Spanish architect. He was one of the leading Baroque architects active in southern Spain in the early 18th century. His use of decoration earned him criticism as a ‘heretic’ by Neo-classical writers (e.g. Llanguno y Amirola). He started as an ensamblador, a carver of wooden retables, such as that of the high altar of S Lorenzo, Córdoba (1696). He was practising as an architect almost simultaneously, however: his first attributed work is the camarín—a small chapel behind the altar for the display of the sacrament—in the church of La Virgen de la Victoria, Málaga (begun 1693). The octagonal walls and vault are covered with foliated stucco decoration; in a crypt beneath is the rectangular burial chamber of the counts of Buenavista, with groin vaults supported by four central columns. The sacristy (1703) of Córdoba Cathedral, also octagonal but with a dome, has a more modest and architectonic version of the same decoration, which became influential in Andalusia....

Article

Valeria Farinati

(b Lacima [now Cima], Lake Lugano, Jan 22, 1669; d Vicenza, Feb 21, 1747).

Italian architect, architectural editor and expositor, landscape designer, draughtsman and cartographer. His work represents the transition from late Venetian Baroque to Neo-classicism, which his studies of Palladio did much to promote in its early stages. His style, however, was never entirely free of the Baroque elements acquired during his formative years.

Muttoni was the son of a builder, and in 1696 he went to work in Vicenza, as members of his family had done since the 16th century, enrolling that year in the stonemasons’ guild. From the beginning of the 18th century he was active as an expert consultant (‘perito’) and cartographer, as is exemplified by the plan of the fortifications of Vicenza that he drew in 1701 for the Venetian government (Vicenza, Archv Stor. Mun.). Throughout his life he continued to undertake various small professional commissions for surveys and on-site studies. His first major commission, however, was the majestic Palazzo Repeta (...

Article

Vittorio Casale

(b Rome, March 25, 1663; d Rome, June 6, 1731).

Italian painter. He was a prolific painter who created many altarpieces and frescoes and whose increasingly restrained art marks the transition from Late Baroque to Neo-classicism. After a brief and unimportant apprenticeship with the engraver Cornelius Bloemaert, he entered the workshop of Ciro Ferri, and after Ferri’s death (1689) became the pupil and assistant of Giovanni Battista Gaulli. He lived almost entirely in Rome and the Lazio. His art developed evenly, without abrupt changes of direction, continuing the traditions established by Ferri and Gaulli. Ferri encouraged the development of his natural facility in drawing, enabling him to create harmonious, although sometimes rather elementary, compositions for his many altarpieces.

His first independent works are three frescoes, showing King David, the Adoration of the Magi and the Flight into Egypt, above the nave arcade in S Maria d’Aracoeli in Rome. They are magniloquent Late Baroque works that, in their bold and energetic compositions and facial types, continue the traditions of Pietro da Cortona and Ferri. A little later the altarpiece with ...

Article

Cynthia Lawrence

(b Antwerp, 1668; d Antwerp, 1759).

Flemish sculptor. A student of Artus Quellinus (ii), he became a master of the Guild of St Luke in Antwerp in 1698. He later worked in Denmark and northern Germany, most notably in Potsdam, where he was involved in the decoration of the Palace of Sanssouci for Frederick the Great. He had returned to Antwerp by 1715, when he became Dean of the Guild. In their increasing tendency towards clarity of design, his works reflect the contemporary transition in Flemish sculpture from the flamboyance of High Baroque to the classicism of the 18th century.

Papenhoven’s most significant Antwerp commissions include a wooden prie-dieu for the chapel of Notre Dame (Antwerp Cathedral) and the stone figure of the Blessed Jordan for the Calvary at St Pauluskerk (signed terracotta modello, Brussels, Mus. A. Anc.). Papenhoven also executed marble communion rails (1709) for St Pieterskerk, Leuven. In 1711 he was responsible for the high altar (destr.), based on a plan by ...

Article

Heinz Horat

[Pizzano; Pizzoni]

Swiss family of architects and artists. Paolo Antonio Pisoni (i) (b Ascona, 22 May 1658; d Ascona, 27 Feb 1711), son of Pier Paolo of Ascona, was a sculptor in wood; his surviving work includes several richly carved reliquaries, a bust associated with a relic in the parish church at Ascona and altars in the parish church at Quinto. Gaetano Matteo Pisoni (b Ascona, 13 July 1713; d Locarno, 4 March 1782) is presumed to be the nephew of Paolo Antonio Pisoni (i); he trained as a mason in Lechtal, Tirol (1729–32), and as an architect at the Accademia di San Luca in Rome (1735–40). He lived principally in Milan until 1750, when he was invited to practise in the Austrian Netherlands. There he designed Namur Cathedral (begun 1751), an Italian Baroque church on a Latin cross plan with apsidal-ended transepts and tribune, a high dome over the crossing and a convex projection to the façade; the interior, however, already displays a transition to Neo-classicism. From ...