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 (...
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 Paris, 1662; d Paris, April 14, 1753).
French ecclesiastic and painter. He entered the Dominican Order at the age of 17. He may have begun his artistic training only in 1687, when he was given leave to travel to Rome; he seems to have spent several years there. According to tradition, it was Carlo Maratti’s painting that most influenced him; however, the classical stylistic elements in André’s paintings would seem to reflect the general influence of contemporary Roman and French art, rather than that of any particular artist. Apart from a few portraits, such as his Self-portrait with Rosary (after 1731; Paris, Louvre), André painted works with an exclusively religious content. Many of his surviving monumental paintings may be seen in churches in Lyon and Bordeaux, as well as in several in Paris, for instance the Supper at Emmaus (1741) in St Nicolas du Chardonnet, St Dominic Expounding the Rules of the Order (1738...
(b Châteaulin, Finistère, May 22, 1675; d Caen, Feb 26, 1764).
French priest, philosopher and writer. He entered the Society of Jesus in 1693, studied theology in Paris, then philosophy at the Collège de Clermont, and he was ordained a priest in 1706. He was a great scholar, who knew Greek, Latin and Hebrew; he devoted himself to philosophical research and poetry, at the same time teaching for the Society of Jesus in numerous institutions of learning in France. A staunch Cartesian, Père André inevitably incurred the hostility of the Society, which was wedded to Scholastic doctrines and Aristotelian philosophy. His innovative philosophical opinions and his suspect theology caused him to suffer various penalties, including imprisonment (1721). Under duress, he made a submission and in 1726 was appointed Royal Professor of Mathematics at Caen, where he remained for the rest of his life.
Père André is best known for his Essai sur le beau (1741), one of the earliest ...
(b c. 1704; d after 1767).
Hungarian wood-carver and Jesuit. He was a novice in the Society of Jesus at Trencsén (now Trenčín, Slovakia) and worked as a wood-carver in the Jesuit workshop until 1735; following this he worked in Esztergom and Vienna. From 1749 to 1760 he was the head of the Jesuit workshop at Székesfehérvár. The furnishings and fittings of the former Jesuit church there, St John of Nepomuk, and the rich, ornamental carvings of the priory and pharmacy (all ...
(b Pfarrkirchen, Upper Bavaria, c. 1660; d Augsburg, Jan 31, 1738).
German sculptor. He was the son of the sculptor Johann Christian Bendl, with whom he trained. Having become a journeyman, he travelled for six years, probably to Bohemia and Venice. On his return he entered in 1684 the workshop in Augsburg of Johann Jakob Rill (fl c. 1686–99); on 26 November 1687 he was made a master and also became a citizen of Augsburg. He was the city’s leading sculptor during the late Baroque period; many important churches in and outside of Augsburg had sculptures by him. He worked mostly in wood, but also in stone, terracotta and stucco, and probably in ivory and metal as well. For jewellers and goldsmiths he produced models, such as a figure of St Sebastian (1714–15) and a crucifix (1716). His major work included two series of life-size statues: one, of the Apostles, for St Moritz and the other, of the ...
(b Paris, May 23, 1756; d Paris, March 23, 1822).
French engraver. At baptism he was erroneously registered as Jean-Guillaume instead of Charles-Clément and has consequently been known by two different sets of Christian names, while his assumed surname was taken from his father’s nickname. He received his earliest training in Jean-Baptiste Le Prince’s studio; at the age of 14 he enrolled in the studio of the engraver Jean-Georges Wille, who thought highly of him and of his work, particularly admiring his draughtsmanship. Like his teacher, Bervic worked entirely in burin, which resulted in a severity of style comparable to that of his master. He received numerous prizes and honours. On 24 September 1774 the Académie Royale de Peinture et de Sculpture in Paris awarded him first prize for drawing from the nude in the quarterly competition for students. On 25 May 1784 he was approved (agréé) as a member by the Académie. In 1792 he won the prize awarded for the encouragement of line-engraving and in ...
(b nr Rome, 1677; d Córdoba, Argentina, Dec 25, 1740).
Italian architect, active in Argentina. Having studied architecture in Rome, in 1716 he joined the Jesuit Order. In 1717 he travelled with Giovanni Battista Primoli to Buenos Aires, subsequently settling in Córdoba. He was an able designer with a considerable theoretical knowledge of architecture and often worked in collaboration with Primoli, who completed many of his designs. Bianchi’s purified, classical style contained some Mannerist tendencies, and its implementation helped to increase the level of craftsmanship in architecture in the region. In 1719 he set up the lime kilns at La Calera, near Córdoba, so enabling an improvement in the building techniques of the region. In 1720 he moved to Buenos Aires, where he directed work on the Jesuit Colegio and later completed the construction of their church. Other important projects in Buenos Aires were his designs for the churches of Nuestra Señora del Pilar (Recoletos), Belén, S Catalina, La Merced, and S Francisco as well as the façade of the cathedral (all ...
Norwegian architectural and furniture design partnership formed in 1922 by Gudolf Blakstad (b Gjerpen, 19 May 1893; d Oslo, 1986) and Herman Munthe-Kaas (b Christiania [now Oslo], 25 May 1890; d Oslo, 5 March 1970). Blakstad was awarded his diploma as an architect at the Norwegian Institute of Technology in Trondheim in 1916. He collaborated with Jens Dunker on the New Theatre, Oslo, from 1919 to 1929. After a preliminary training in Christiania, Munthe-Kaas finished his education at the Royal Institute of Technology in Stockholm in 1919.
From the beginning of their careers Blakstad and Munthe-Kaas played a leading role in Norwegian architecture. After studying in Italy in the early 1920s, they advocated Neo-classicism in architectural projects, furniture designs and writings. In 1922 they won the competition for the new Town Hall in Haugesund (1924–31), a major work of 20th-century Norwegian Neo-classicism. Above a powerfully rusticated basement, the long office wing with its regular fenestration contrasts with the higher City Council Hall, accentuated by pairs of monumental, free-standing columns. In general the effect is of robust strength and an exciting interplay of horizontals and verticals....
(b Toulouse, Nov 12, 1743; d Toulouse, Jan 31, 1804).
French painter and architect. He was the son of Guillaume Cammas (1698–1777), a painter and architect in Toulouse, who is known principally for having designed the first municipal theatre (1737) in Toulouse and the façade of the Capitole (1749–52), as well as for having carried out the decoration of the Salle des Illustres at the Hôtel de Ville. Lambert-François-Thérèse Cammas studied at the Académie Royale de Peinture in Toulouse, where in 1765 he won the Grand Prix with an Allegory on the Death of the Dauphin (Paris, Ecole B.-A.). The prize money was used to finance a trip to Italy. Cammas remained in Rome from 1767 to 1771, in 1770 being admitted to the Accademia di S Luca with the Accession of Pope Clement XIV (Rome, Accad. N. S Luca). In Rome, Cammas made many architectural studies and drew antique remains, but he was also interested in the problem of restoring ancient monuments. He may have carried out some architectural work; a chapel at the church of Pátrica, near Frosinone, is attributed to him....
[Manuel de Sousa]
(b Braga, c. 1650; d Tibães, 1716).
Portuguese sculptor. He was born to a family of craftsmen and later entered one of the many workshops of wood-carvers in Braga. In 1676, however, he entered the Benedictine order at its Portuguese mother house of Tibães, near Braga. Here he made statues and reliefs for the church of S Martinho. From this period date his St Benedict and St Gregory the Great and the relief of the Visitation, now in the Benedictine church, S Romão do Neiva. Between 1680 and 1683, during the abbotship of Frei João Osório, he made terracotta sculptures of the eight Virtues and the four Benedictine kings (Tibães, Sacristy), images that appear rather rigid and stereotyped.
Frei Cipriano da Cruz moved to Coimbra before July 1691, when it is recorded that he made the St Catherine in the chapel of the University of Coimbra. This contact with the main centre for sculpture in Portugal had a broadening effect on his art. His most important work outside Tibães is the group of serene and dignified sculptures (dispersed) that he made for the Colégio de S Bento (Benedict), Coimbra. This group includes his gilt and polychromed wooden ...
[Ganganelli, Lorenzo (Giovanni Vincenzo Antonio)]
(b Santarcangelo di Romagna, Oct 31, 1705; elected May 19, 1769; d Rome, Sept 22, 1774).
Italian pope and patron. He completed his studies in the Romagna and in 1723 entered the Franciscan Order. In 1728 he went to Rome, where he acted as an adviser to Pope Clement XIII from 1746 and became involved in such issues as whether to include the books of Voltaire (1697–1778) on the Index librorum prohibitorum (on which he took a moderate position) and whether to suppress the Society of Jesus. He was made a cardinal in 1759 and received the titles to two churches in Rome: S Lorenzo in Panisperna and, later, SS Apostoli.
As a patron Clement XIV tried to modify the loss to Rome’s heritage represented by the lively trade in antique works of art. He reinforced surveillance on exports and also purchased some of the most precious objects, such as the Mattei and Fusconi collections of Classical sculpture, which he bought in 1770. He was supported in this campaign by Giovanni Battista Visconti and Giovanni Angelo Braschi, the future Pope Pius VI. He played a seminal role in fostering public interest in antique sculpture. To display the finest antiquities in the papal collection he established the ...
(b Ehrenbreitstein, Nov 23, 1775; d Weimar, Oct 4, 1845).
German architect. He worked under Christian Friedrich Schuricht in Dresden in the 1790s before studying in Paris at the Ecole Polytechnique (1800–04) under Jean-Nicolas-Louis Durand; he visited Rome in 1804–5. Most of his life was spent in Weimar, where he was appointed Oberbaudirektor (1816) to the Grand Duchy of Saxe-Weimar-Eisenach, one of the smaller and poorer of the German states, for which most of his work was undertaken. This included the Erfurter Tor (1822–4), the Bürgerschule (1822–5), the Wagenremise (1823) and the Hoftheater (1825–9; destr. 1905), plain buildings strongly influenced by Durand. Coudray also founded a school for building workers, the Freie Gewerkschule (1829). Weimar’s most eminent citizen, Johann Wolfgang von Goethe, took a close interest in Coudray’s work, including his only major Greek Revival building, the Fürstengruft (1823–7). This mausoleum was commissioned by Grand Duke ...
(b Wernfels-Theilenhofen, near Spalt, 1690; d Munich, March 24, 1753).
German sculptor. He was the son of a cabinetmaker. In 1712–13 he began his travels as a journeyman from Eichstätt, where he probably trained under the sculptor Christian Handschuher (fl c. 1699–1701). He visited Prague, where he met Matyás Václav Jäckel, and Italy. Around 1720 Dietrich settled near Munich and worked as an independent sculptor in turn for the court sculptor Anton Faistenberger and in the court joinery of Johann Adam Pichler (fl 1717–61). His first independent works that can be exactly dated—and the only signed ones—are two picture retable altars (1726–7) in the church at Schloss Urfarn near Reisach. The altar of the Fathers of the Church (c. 1739) at Diessen is one of the finest examples of Rococo sculpture in South Germany. Other notable works by Dietrich are the decoration of the frame altars and a Crucifix (1732) in the Hofmarkskirche at Schönbrunn; a reliquary altar (...
P. Gabriel Kleeb
Benedictine abbey and Marian pilgrimage site c. 35 km south-east of Zurich, in the canton of Schwyz, Switzerland. The original abbey, on the site of the martyrdom of St Meinrad (
Plans for reconstructing the upper minster, then the rest of the church and finally the whole abbey were commissioned in 1702 from Caspar Moosbrugger, a lay brother of the abbey who had worked as a mason under Kuen. The work was carried out between ...
(b Verona, 1739; d Treviso, ?Oct 1808).
Italian monk and historian. He was a member of the Dominican Order and taught theology at parish schools in Udine and Padua before being assigned (c. 1785) to the Dominican college in Treviso. He became a passionate expounder of the history and culture of that city and the province of the Trevigiano—the ‘Marca trivigiana’ or ‘gloriosa Marca’ of chivalric history and romance. His first work, Istoria de’ cavalieri gaudenti (1787), clearly displays his interests as well as his weaknesses: his discussion of a minor Franco-Italian chivalric order of the 13th to the 16th century (and ‘of the illustrious widows and ladies connected with it’) involves such evident pursuit of novel narrative effects as to render its historical methodology uncritical. However, his Commentario sopra la vita e gli studi del conte Giordano Ricco (1790) is a more restrained publication. His most important work, Memorie trevigiane sulle opere di disegno dal 1100 al 1800, per servire alla storia delle belle arti d’Italia...
[Fontenay] [Bonafous, Louis-Abel]
(b Castelnau-de-Brassac, Tarn, 3 or 4 May 1736; d Paris, 28 March 1806). French writer. He was the son of a lawyer; having been a pupil of the Jesuits, he joined that Order in 1752 but was never ordained priest. He became in his turn a teacher at Jesuit colleges, first at Albi and then at Tournon. When in 1762 the Jesuit Order was suppressed in France, he moved to Paris and became a writer, publishing under the name of Abbé de Fontenai and continuing to wear clerical dress. In 1777 he published a Dictionnaire des Artistes that was, as the author acknowledged in his preface, extremely derivative of Pierre-Jean Mariette’s Abécédario. It differed from it, however, in that Fontenai also recounted the lives of some actors, dancers, musicians, watchmakers and other craftsmen. He expressly stated that the aims of the dictionary were to present worthy models for other artists to emulate; to outline the history of art for interested amateurs; and to give pleasure by including amusing anecdotes....