Benedictine abbey on the River Enns in Styria, Austria. It was founded in the mid-11th century by Bishop Gebhard from Salzburg, endowed by St Henna von Gurk, Gräfin von Friessach (d 1045), and settled by Benedictine monks from St Peter’s, Salzburg under Abbot Isingrin. The Romanesque minster (consecrated 1074), which was dedicated to St Blaise, was famous for its marble columns and was rebuilt after a fire in 1152; a Gothic choir was added in 1276–86. The present church incorporates Romanesque side doors as well as other fragments. The abbey became an important cultural centre with a renowned scriptorium. Amongst the many famous scholars there was Abbot Engelbert of Admont (reg 1297–1327). From 1121 to the 16th century a convent was attached to the abbey. Under the abbots Mathias Preininger (reg 1615–28) and Urban Weber (reg 1628–59) the whole establishment was transformed in the Baroque style, and the church was rebuilt (...
(b Brussels, ?Jan 4, 1567; d Antwerp, March 20, 1617).
Flemish scientist and architect. His father was a Spaniard, Pedro de Aguilón; his mother, Anna Pels, was of Flemish origin. Aguilonius studied at the Jesuit Collège de Clermont in Paris and at Douai. He entered the novitiate of the Jesuits in Tournai. After a brief visit to Salamanca in 1596 he was ordained. He taught philosophy at Douai for five years, and in 1598 moved to Antwerp, where he became confessor to the Spaniards and Italians and a teacher at the city’s Jesuit college. In 1614 he was appointed rector of the college.
Aguilonius’s reputation rests on his book on optics, illustrated by Peter Paul Rubens, and on the part he played in building the Jesuit church in Antwerp (S Carlo Borromeo), which contributed to the popularity of Italian Baroque architecture with Flemish Jesuits. By December 1611 Aguilonius had written Opticorum libri sex, which was published by the Plantin press in ...
Catherine R. Puglisi
(b Bologna, March 17, 1578; d Bologna, Oct 4, 1660).
Italian painter and draughtsman. He was a distinguished artist of the Bolognese school, deeply influenced by Annibale Carracci’s classicism, who worked in Rome as well as Bologna, painting altarpieces, frescoes and and cabinet pictures. His fame rests on his idyllic landscapes and small mythological pictures, the lyrical qualities of which earned him the soubriquet ‘the Anacreon of painters’.
The 12-year-old Albani began his studies in the Bolognese studio of the Flemish-born painter Denys Calvaert, after which he transferred (c. 1595) to the Carracci Accademia degli Incamminati, also in Bologna, where life drawing and theoretical discussion predominated. For the next four years he studied with Ludovico Carracci and through him obtained his first public commissions. These were for Bolognese palazzi and churches, such as the oratory of S Colombano, where his fresco of the Repentance of St Peter (c. 1597–8) closely imitates the dramatic and emotional qualities of Ludovico’s manner, particularly in the expressive figure of the apostle and in the nocturnal lighting. The oratory’s altarpiece, painted in the same period, showing the ...
Lucília Verdelho da Costa
Cistercian abbey in Portugal. The abbey, dedicated to S Maria, was founded as part of the policy of repopulation and territorial improvement of the first king of Portugal, Alfonso I (reg 1139–85), who in 1152 granted a large area of land to St Bernard of Clairvaux by a charter known as the Carta dos Coutos (Lisbon, Arquiv. N.). Work on the monastery started in 1158 and adhered to the rigid precepts of the Order. Although the exterior was extended and altered in the 17th and 18th centuries, especially the Baroque façade of the church, the interior essentially preserves its original Early Gothic appearance.W. Beckford: Recollections of an Excursion to the Monasteries of Alcobaça and Batalha (London, 1835/R 1972) M. V. Natividade: Ignez de Castro e Pedro o Cru perante a iconografia dos seus túmulos (Lisbon, 1910) E. Korrodi: Alcobaça: Estudo histórico, arqueológico e artístico da Real Abadia de Alcobaça...
(b Argenta, nr Ferrara, 1546; d Ferrara, Dec 9, 1636).
Italian architect, engineer and designer. He was the son of Vincenzo Aleotti (not Francesco Aleotti, as is sometimes erroneously stated), from whom Giovanni Battista claimed he ‘learnt the art … as much as from all the other teachers I had’ (letter, 1583; see Coffin, p. 121). In 1575 he succeeded Galasso Alghisi as architect to Alfonso II d’Este (ii), Duke of Ferrara and Modena, who nicknamed him l’Argenta after the town of his birth. When, on the death of the Duke, the Este duchy devolved to the Papal States (1598), Aleotti was confirmed as official architect, with a stipend of 20 scudi per month. His activity extended to various parts of the Po plain, embracing different architectural genres and including some important urban projects.
Among Aleotti’s religious buildings were several churches in Ferrara, including S Barbara (1586–8), S Maria della Rotonda at Castel Tedaldo (1597...
(b ?Laino d’Intelvi, c. 1665; d Litomyšl, Bohemia, ?March 13, 1720).
Italian architect, active in Bohemia. The son of Lorenzo Alliprandi (d c. 1712), a stucco artist who worked in Vienna, he served his apprenticeship with the master builder Francesco Martinelli (1651–1708) in Vienna from 1685 to 1688 and is recorded as working in Bohemia in 1690 as a foreman. From 1696 to 1702 Alliprandi was in the service of Count Heřman Jakub Černín (1659–1710) as an architect. At the same time, and also later, he worked for the Counts Pachta, Přehořovský, Kaiserstein, Špork and others. In 1706 he was appointed military engineer in Prague, where he acquired citizenship of the Malá Strana quarter in 1709, from which year he was in the service of Count František Václav Trautmansdorf (1676–1753). In 1712 he also served as a military engineer in Cheb.
Alliprandi brought to Bohemia an interesting personal reinterpretation of the achievements and inspirations of such Viennese masters as Johann Bernhard Fischer von Erlach, Domenico Martinelli and Johann Lukas von Hildebrandt. His designs for such buildings as the country house at Liblice (...
(b Palermo, 1643; d Palermo, 1732).
Italian architect. He was called to Rome in the 1670s by his Order, the Padri Ministri degl’Infermi, to work first as an assistant to Carlo Bizzaccheri then as supervisor on the enlargement of the convent of the Crociferi. Returning to Palermo by 1685, he produced work that showed Roman influences. His studies for the façade of the monumental church of La Pietà (1678–1723), with which he became associated in the late 1680s, fuse elements from S Andrea della Valle and Girolamo Rainaldi’s S Maria in Campitelli, both in Rome. While subduing the horizontal plasticity of the Roman façades, however, Amato intensified the vertical stress of his own: his free-standing superimposed columns are placed at the sides like a partially drawn-back screen, an effect enhanced by his use of the contrasting colours of tufa and Billiemi limestone. The façade’s circular window, a clear medieval reference, is characteristically Sicilian and distinguishes the building from contemporary Roman design. The interior decoration (1690s) is striking for its use of vernacular forms and such gilded metalwork as the nun’s grille at the west end, which rises like an elaborate fan into the grand barrel vault. The discrepancy between the broad lower and narrow upper storeys of S Teresa alla Kalsa (...
Helen M. Hills
(b Ciminna, Jan 24, 1634; d Palermo, July 3, 1714).
Italian architect, writer and painter. He trained as a priest in Palermo and entered the Padri Ministri degl’Infermi. Another member of this Order was Giacomo Amato, with whom he worked, although they were not related. While serving as a chaplain Amato studied geometry, architecture, optics and engraving. His earliest known artistic work is a painting on copper of the Miracle of S Rosalia (1663), the patron saint of Palermo. After 1686 he created many works of an ephemeral character. For the feasts of S Rosalia and for important political events he provided designs for lavish triumphal chariots, probably developed from those by Jacques Callot, triumphal arches and other ceremonial apparatus set up on principal roads and piazzas, and he painted hangings, papier-mâché models and massive altarpieces for the cathedral. These works influenced Amato’s permanent architecture. The spiral columns of the campanile of S Giuseppe dei Teatini, Palermo, recall the festival designs of ...
(bapt Lisbon, Sept 30, 1643; d Lisbon, Nov 25, 1712).
Portuguese architect and master mason. He worked in the context of a national tradition marked by Mannerism and the Plain style (see Portugal, Republic of, §II, 2), but he also contributed to the progressive acceptance of new Baroque concepts of space in Portugal, as shown in the use of polygonal plans. He gave a festive and sumptuous treatment to the interiors of his buildings, using inlay of coloured jasper or marble, which is sometimes combined with carved and gilded woodwork (talha) and blue and white azulejos (glazed tiles). Antunes probably learnt these intarsia techniques from the examples of the decorations (c. 1665–92; destr. 1755) of the nave and chancel of the church of the convent of S Antão-o-Novo, Lisbon, and those (1668–c. 1707) of the sacristy of the convent church of S Vicente de Fora, Lisbon. In 1670 Antunes was admitted to the Irmandade de S José dos Carpinteiros e Pedreiros in Lisbon, which gave him professional status as master mason. In ...
(b ?Sigillo, nr Nocera; d Rome, ?Feb 6, 1667).
Italian architect. He is representative of the conservative and decorative current in 17th-century Roman architecture that co-existed with the spatial innovations of the Baroque masters. Early in his career, in 1652, he replaced Borromini as the architect of the Casa dei Filippini in Rome, rebuilding the high altar of the Oratory (1653–64) and completing the long residential wing of the building (1659–62), more or less following Borromini’s plans. The ornate marble revetment of this altar and some of the elaborate mouldings in the main staircase in this wing reflect Arcucci’s decorative style, as does the campanile built to his design (1666) for the Oratorian church S Maria in Vallicella (the Chiesa Nuova). His major commissions for the Roman aristocracy are the Palazzo Gottifredi-Grazioli and the façade of the Palazzo Pio di Carpi near the Campo dei Fiori, both presumably built during the pontificate of Alexander VII (...
(b Madrid, 1664; d Madrid, Feb 15, 1726).
Spanish architect, painter and writer. He was trained in architecture by the Jesuits and in painting by Claudio Coello and worked mainly as an architect. Two overdoors showing multiple allegorical scenes of the Battle of Lepanto (1721; Madrid, Pal. Arzobisp.) and a St Barbara (1723; Madrid, Mus. Lázaro Galdiano) reveal Ardemans as a talented painter working in the tradition of Francisco Rizi, Juan Carreño de Miranda and Francisco de Herrera the younger, and partially influenced by Luca Giordano. His debt to Coello is apparent in a ceiling fresco attributed to him in the Capilla del Cristo de los Dolores of the Venerable Orden Tercera de San Francisco, Madrid, which shows St Francis riding in a chariot of fire with figures watching from a balcony. Also attributed to Ardemans is the portrait of Pedro Atanasio Bocanegra (c. 1689; Granada, Pal. Arzobisp.)
As an architect, Ardemans belongs to a period of transition, continuing into the 18th century the Baroque tradition of the Madrid school. He worked in Granada (...
(b Arpino, nr Sora, 1568; d Rome, July 3, 1640).
Italian painter and draughtsman . His father, Muzio Cesari, was probably a painter; his brother, Bernardino Cesari (1571–1622), became his principal assistant. Giuseppe’s precocious talent for drawing led his mother to take him to Rome in 1581–2, where he became a colour mixer under Niccolò Circignani, then directing the decoration of the third of the great Vatican Logge for Gregory XIII. Circignani promoted him to the painting team; a tiny figure of Abundance on the vault of the seventh compartment has been identified as his earliest known work. During 1583 Giuseppe also worked at the Vatican on the monochrome figure of Samson with the Gates of Gaza in the Sala Vecchia degli Svizzeri and the restoration of the Prophets and Virtues painted by the Raphael workshop in the Sala dei Palafrenieri. Towards the end of the year the Pope granted Giuseppe a salary. Probably in 1584–5 he contributed a fresco of the ...
(b Florence, 1575; d after 1652).
Italian architect . In 1624 he restored and considerably enlarged the convent of S Maria Maddalena dei Pazzi in Florence. The work was paid for by Pope Urban VIII (Barberini), also a Florentine, who shortly afterwards called Arrigucci to Rome and, on 26 June 1630, named him Architect of the Papal Camera. By August 1630 Arrigucci was engaged in the first of a series of renovations of Roman churches for his Barberini patrons, the small 10th-century church of S Maria in Pallara (now called S Sebastiano al Palatino). In 1632 he renovated SS Cosma e Damiano, raising its floor-level and making it a two-storey building. In 1636 he provided a new façade with twin towers for S Anastasia and saw to the restoration of its roof. The façade of S Giacomo alla Lungara followed in 1641 and the renovation of the Romanesque interior of Spoleto Cathedral was carried out in 1644...
(b Rome, 1608; d Modena, 1658).
Italian architect . He was the son of Sante Avanzini (1581–?1632). He worked as a painter in the papal court in 1644 and may have been trained in the Roman workshops of Carlo Maderno and Girolamo Rainaldi. In 1634 he was called to Modena to work as an architect for the ducal court of the Este family, an appointment possibly obtained through Rainaldi’s influence. He was immediately engaged on the building programme begun by Francesco I d’Este, Duke of Modena, and submitted one of the many drawings for remodelling the old ducal residence in Modena, which had previously undergone a series of gradual and uncoordinated alterations. The first work to be completed by Avanzini in the Este duchy was the sanctuary of Fiorano (1634; now greatly altered). In the same year he was commissioned to begin the remodelling of the old fortress of Sassuolo, which had been enlarged in the 16th century to create a summer residence for the Este court. His scheme, which involved the whole of the little town of Sassuolo in an integrated civic design, shows affinities with Giovanni Battista Aleotti’s treatment of the Palazzo Bentivoglio at Rocca Gualtieri. Avanzini’s decision to distance the palace from the straight street by a piazza, in order to achieve an imposing effect, was a tribute to the urban layouts of Sixtus V in Rome. Baroque scenographic effects are evident on the exterior of the palace, in the horizontal development of the façade and the transformation of the bastions into terraces (destr.), and in the interior, in the arrangement of the reception rooms: a great salon, a long gallery and a grand staircase. The effect is enhanced by the illusionistic perspective decorations by ...
Alfonso Rodríguez Ceballos
(b Florence, Oct 31, 1604; d Madrid, July 1657).
Italian painter, draughtsman, engineer and stage designer, active also in central Europe and Spain . He was a pupil of Giovanni Bilivert from 1612 to 1620 and studied with Giulio Parigi. In 1622 he went to Vienna as assistant to Giovanni Pieroni da Galliano and thence to Prague, where he decorated the chapel (1630) with frescoes with scenes from the Life of St Wenceslas and the Life of the Virgin, the Knight’s Hall (destr.; rest. 1853) with ceiling frscoes including Albrecht von Wallenstein as Mars, and he worked on other parts of the Wallenstein Palace (see Prague, §IV, 7). He is documented in 1625 in Florence, where he became a teacher of perspective drawing. In 1626–7 the Medici employed him as military engineer at the fortress at Livorno; here, with Stefano della Bella, he drew harbour and river scenes (e.g. Peasants Waiting on a Quay, Florence, Uffizi). Baccio executed frescoes in Florentine palazzi, and his contributions to the decoration of the Casa Buonarotti include three ...
(b Rome, c. 1566; d Dec 30, 1643).
Italian painter, draughtsman and writer . He executed canvases and frescoes of religious and mythological subjects, and portraits. He was given important commissions by popes and aristocrats and sold his works to patrons in Italy and abroad. Baglione’s arguably greater fame as a writer derives from Le nove chiese di Roma (1639) and especially from his Vite de’ pittori, scultori, architetti (1642), containing biographies of more than 200 artists who worked in Rome between 1572 and 1642.
Although born in Rome, where he spent most of his life, Baglione claimed descent from a noble Perugian family. His only acknowledged training (in the autobiography appended to Le vite, 1642) was an apprenticeship with Francesco Morelli, a little-known Florentine painter in Rome. However, drawings for works from the late 1580s and 1590s (such as the Finding of Moses, the Denial of St Peter and the Arrest of Christ...
(b Fürstenwalde, March 15, 1666; d Dresden, March 16, 1738).
German master carpenter and architect . He is first recorded as a journeyman carpenter in Alt-Dresden in 1693. On 20 October 1705, because of his acknowledged structural expertise in timber buildings and his technical abilities, he was appointed master carpenter to the city of Dresden, with the proviso that he must prepare the customary master drawings. He subsequently became municipal clerk of works (Saxon dialect, Bauvoigt) in Dresden (1722), and in later years he referred to himself as an architect. About 1711 he built two palaces in Dresden for the counts Beichling (later the Hotel de Saxe and the British Hotel; destr. 1945), the façades of which contrasted with the more restrained domestic architecture then common in Dresden; each was of four main storeys, two articulated by a giant order of pilasters (three-quarters columns in the case of the Hotel de Saxe), and many of the windows were topped with ornate, carved pediments. Bähr is best known, however, for his Protestant churches. One of the earliest was the parish church of Loschwitz (...
Andrew John Martin
(b Bologna, 1627; d after 1687).
Italian architect. His first known work is in connection with the church of S Bartolomeo (consecrated 1664) in Bologna; he completed this for the Theatines to the designs, which he modified, of Giovanni Battista Falcetti (1580–1629). His masterpiece is the church of St Kajetan in Munich, which was commissioned by Adelaide Henrietta of Savoy (1636–76), wife of Ferdinand, Elector of Bavaria, in thanksgiving for the long-awaited birth in 1662 of the heir to the throne, Maximilian II Emmanuel. When her initial attempt to employ Guarino Guarini failed, Adelaide Henrietta approached Barelli, who submitted his first scheme in Munich in October 1662 and was awarded the commission. Six months later he presented a second set of designs; in April 1663 the foundation stone was laid. The building, which faces the Residenz, was designed to fulfil several functions: it served as a church for the Theatines and as a sacred ceremonial assembly hall for the court, and it housed the Wittelsbach family sepulchre. One of the terms of the commission was that Barelli should observe the proportions of the mother church of the Theatines, S Andrea della Valle (...
Gauvin Bailey and Jillian Lanthier
Term used to describe one of the first genuinely global styles of art and architecture in the Western canon, extending from its birthplace in Bologna and Rome to places as far-flung as France, Sweden, Russia, Latin America, colonial Asia (Goa, Macao), and Africa (Mozambique, Angola), even manifesting itself in hybrid forms in non-European cultures such as Qing China (the Yuanming yuan pleasure gardens of the Qianlong Emperor) or Ottoman Turkey (in a style often called Türk Barok). The Baroque also embraced a very wide variety of art forms, from the more traditional art historical media of painting, sculpture, and architecture to public spectacles, fireworks, gardens, and objects of everyday use, often combining multiple media into a single object or space in a way that blurred traditional disciplinary boundaries. More so than the Renaissance and Mannerist stylistic movements which preceded it, Baroque was a style of the people as well as one of élites, and scholars are only recently beginning to explore the rich material culture of the Baroque, from chapbooks (Italy) and votive paintings (central Europe and Latin America) to farm furniture (Sweden) and portable oratories (Brazil). Although its precise chronological boundaries will probably always be a matter of dispute, the Baroque era roughly covers the period from the 1580s to the early 18th century when, in places such as France and Portugal, the ...