Baroque Italy and Central Europe by Pierre Charpentrat

By Pierre Charpentrat

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Historical Background In 1770, when the destructive tide of NeoClassic art swept across Europe forty years in advance of Napoleon's armies, a relatively uniform Baroque empire stretched from Sicily to Lithuania, embracing Italy, German Switzerland, Austria, Bohemia and Moravia, Roman Catholic Germany and a few pockets of Lutheran territory, and Poland. It also possessed some farflung outposts such as St Petersburg and the Flemish cities, home ground of Rubens. This empire had a vaguely defined relationship with European the Spanish- American countries.

The Baroque style matured very quickly in Central Vienna Europe, but did not conquer its own capital, Prague, until 1730, when Kilian-Ignaz built the church of St John Nepomuk in the new quarter on the right bank of the Vltava, and a second church of St Nicholas in the Town Hall square, In 1682, Jan Sobieski repulsed the last wave of Turkish invasion on the Kahlenberg, the Austrains regained the offensive and undertook the reconquest of Hungary. At this historical turning point began the rise of Baroque Vienna, very close to the ancient Tyn church.

Their Rhineland bishoprics, and the Electorate of Mainz in particular, now put them in contact with France. The bishopric of Bamberg bordered on the Slav world. This loose collection was inspired by similar ideas based on a passion for great architecture, but each separate territory retained the ability to elaborate its individual formula. ; Map of Bavaria showing major Baroque sites mentioned in the text 1 Benrath 2 Bruhl 3 Fulda 4 Bamberg 5 Pommersfelden 6 Nuremberg 7 Kappel 8 Waldsassen 9 Dresden 10 Bruchsal 11 Ludwigsburg 12 Stuttgart 13 14 15 16 17 18 19 WibUngen Giinzburg Dillingen Weltenburg Regensburg Rohr Osterhofen 20 Passau 21 StBlasien 22 Birnau 23 Salem 24 Weingarten 25 26 27 28 29 30 Ottobeuren Kempten Wies Wessobrunn Diessen Fiirstenfeld 31 Altomiinster 32 Schleissheim 33 Rott-am-Inn 34 Altotting In the Schonborns, the episcopate had the of the day, but it was their traditional enemies, the monks, who dominated German Baroque.

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