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69-454: The Cathedral of San Salvador of Oviedo today displays an array of architectural styles, from Pre-Romanesque to Baroque , including Romanesque , Gothic and Renaissance parts. The church began as a large Pre-Romanesque basilica in the present location of the Gothic cathedral, but nothing more is known about that first building, built by order of King Alfonso II of Asturias . The cathedral

138-511: A bell tower with pre-Romanesque foundations which was heightened with the addition of an arched gallery and a ribbed vault. Additionally, several archaeological evidences suggest the existence of a Romanesque cloister which would have preceded the current Gothic cloister. During the Late Middle Ages, Oviedo Cathedral underwent major changes, becoming the most important architectural workshop of Asturias: between c.  1300 –1550,

207-506: A central element. The Early Baroque (1584–1625) was largely dominated by the work of Roman architects, notably the Church of the Gesù by Giacomo della Porta (consecrated 1584) façade and colonnade of St. Peter's Basilica by Carlo Maderno (completed 1612) and the lavish Barberini Palace interiors by Pietro da Cortona (1633–1639), and Santa Susanna (1603), by Carlo Maderno. In France,

276-528: A design. Beginning in 1664, Bernini proposed several Baroque variants, but in the end the King selected a design by a French architect, Charles Perrault , in a more classical variant of Baroque. This gradually became the Louis XIV style . Louis was soon engaged in an even larger project, the construction of the new Palace of Versailles . The architects chosen were Louis Le Vau and Jules Hardouin-Mansart , and

345-406: A lavish exterior contrasting with a relatively simple interior and multiple spaces. They carefully planned lighting in the interior to give an impression of mystery. Early 18th century, Notable Spanish examples included the new west façade of Santiago de Compostela Cathedral , (1738–50), with its spectacular towers, by Fernando de Casas Novoa . In Seville , Leonardo de Figueroa was the creator of

414-659: A political and religious complex that included a royal palace, several churches, monasteries, baths, stables, etc. This primitive basilica was consecrated to the Holy Saviour and the Apostles, and built in a typical pre-Romanesque Asturian style, with a straight-shaped sanctuary preceded by three aisles. In 910, the founding of the Kingdom of León led to the translation of the royal court from its original location in Oviedo to

483-467: A wide popular audience. One of the first Baroque architects, Carlo Maderno , used Baroque effects of space and perspective in the new façade and colonnade of Saint Peter's Basilica , which was designed to contrast with and complement the gigantic dome built earlier by Michelangelo . Other influential early examples in Rome included the Church of the Gesù by Giacomo della Porta (consecrated 1584), with

552-763: Is San Cristobal de las Casas in Mexico. A notable example in Brazil is the São Bento Monastery in Rio de Janeiro . begun in 1617, with additional decoration after 1668. The Metropolitan Tabernacle the Mexico City Metropolitan Cathedral , to the right of the main cathedral, built by Lorenzo Rodríguez between 1749 and 1760, to house the archives and vestments of the archbishop, and to receive visitors. Portuguese colonial architecture

621-747: Is a highly decorative and theatrical style which appeared in Italy in the late 16th century and gradually spread across Europe. It was originally introduced by the Catholic Church , particularly by the Jesuits , as a means to combat the Reformation and the Protestant church with a new architecture that inspired surprise and awe. It reached its peak in the High Baroque (1625–1675), when it

690-529: Is the most important surviving structure from the primitive pre-Romanesque royal complex: it is a two-story building with a rectangular plan, which shelters several burials in its lower floor and keeps a collection of royal treasures and relics in the upper floor, like the well-known Cross of the Angels ("Cruz de los ángeles") and the Victory Cross ("Cruz de la victoria"), both of them important symbols of

759-525: Is the result of careful reconstruction carried out after the damages the cross underwent in August 1977 after the robbery of the Camara Santa. Its squared dimensions (46.5 centimetres (18.3 in), 45.7 centimetres (18.0 in) wide and 2.5 centimetres (0.98 in) thick) are typical from Greek crosses . The cross is formed by two pieces of cedar wood with, at the center, a round disc. The donation

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828-514: Is usually interpreted as a sign of gratitude of the monarch after being restored to the throne, after the years of his incarceration in the monastery of Abelania. Permanezca Esto Gratamente Acogido En Honor De Dios.Alfonso, Humilde Esclavo De Cristo, Lo Ofrece. Con Este Signo Se Protege Al Piadoso, Con Este Signo Se Vence Al Enemigo. Quien Se Atreviera A Arrebatarme, Excepto Donde Mi Libre Voluntad Me Dejare, Sea Muerto Por El Rayo Divino. Esta Obra Fue Acabada En La Era 846 The lateral arms have kept

897-733: The Basilica of the Fourteen Holy Helpers and the Wurzburg Residence (1749–51). These works were among the final expressions of the Rococo or the Late Baroque. By the early 18th century, Baroque buildings could be found in all parts of Italy, often with regional variations. Notable examples included the Basilica of Superga , overlooking Turin , by Filippo Juvarra (1717–1731), which was later used as model for

966-545: The Basilica of the Fourteen Holy Helpers and the Würzburg Residence (1749–51). Baroque architecture first appeared in the late 16th and early 17th century in religious architecture in Rome as a means to counter the popular appeal of the Protestant Reformation . It was a reaction against the more severe and academic earlier style of earlier churches, it aimed to inspire the common people with

1035-683: The Church of Saint Augustine, Antwerp . Other churches are for example the St. Charles Borromeo Church, Antwerp (1615-1621) and the St. Walburga Church (Bruges) (1619-1641), both built by Pieter Huyssens . Later, secular buildings, such as the Guildhalls on the Grand-Place in Brussels and several Belfries , were constructed too. The first example of early Baroque in Central Europe

1104-891: The Churrigueresque style. The Baroque style was imported into Latin America in the 17th century by the Spanish and the Portuguese, particularly by the Jesuits for the construction of churches. The style was sometimes called Churrigueresque , after the family of Baroque architects in Salamanca . A particularly fine example is Zacatecas Cathedral in Zacatecas City , in north-central Mexico, with its lavishly sculpted façade and twin bell towers. Another important example

1173-529: The Luxembourg Palace (1615–1624) by architect Salomon de Brosse , and for a new wing of the Château of Blois by François Mansard (1635–38). Nicolas Fouquet , the superintendent of finances for the young King Louis XIV , chose the new style for his château at Vaux-le-Vicomte (1612–1670) by Louis Le Vau . He was later imprisoned by the King because of the extravagant cost of the palace. In

1242-595: The Luxembourg Palace (1615–45) built by Salomon de Brosse for Marie de' Medici was an early example of the style. The High Baroque (1625–1675) produced major works in Rome by Pietro da Cortona, including the (Church of Santi Luca e Martina ) (1635–50); by Francesco Borromini ( San Carlo alle Quattro Fontane (1634–1646)); and by Gian Lorenzo Bernini (The colonnade of St. Peter's Square ) (1656–57). In Venice , High Baroque works included Santa Maria della Salute by Baldassare Longhena . Examples in France included

1311-682: The Palacio de San Telmo , with a façade inspired by the Italian Baroque. The most ornate works of the Spanish Baroque were made by Jose Benito de Churriguera in Madrid and Salamanca. In his work, the buildings are nearly overwhelmed by the ornament of gilded wood, gigantic twisting columns, and sculpted vegetation. His two brothers, Joaquin and Alberto, also made important, if less ornamented, contributions to what became known simply as

1380-790: The Panthéon in Paris. The Stupinigi Palace (1729–31) was a hunting lodge and one of the Residences of the Royal House of Savoy near Turin. It was also built Filippo Juvarra . The Late Baroque period in France saw the evolving decoration of the Palace of Versailles , including the Hall of Mirrors and the Chapel . Later in the period, during the reign of Louis XV , a new, more ornate variant,

1449-726: The Pavillon de l’Horloge of the Louvre Palace by Jacques Lemercier (1624–1645), the Chapel of the Sorbonne by Jacques Lemercier (1626–35) and the Château de Maisons by François Mansart (1630–1651). The Late Baroque (1675–1750) saw the style spread to all parts of Europe, and to the colonies of Spain and Portugal in the New World. National styles became more varied and distinct. The Late Baroque in France, under Louis XIV ,

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1518-687: The Rocaille style, or French Rococo, appeared in Paris and flourished between about 1723 and 1759. The most prominent example was the salon of the Princess in Hôtel de Soubise in Paris, designed by Germain Boffrand and Charles-Joseph Natoire (1735–40). Christopher Wren was the leading figure of the late Baroque in England, with his reconstruction of St. Paul's Cathedral (1675–1711) inspired by

1587-791: The Southern Netherlands , the Baroque architecture was introduced by the Catholic Church in the context of the Counter-Reformation and the Eighty Years' War . After the separation of the Netherlands Baroque churches were set up across the country. One of the first architects was Wenceslas Cobergher (1560-1634), who built the Basilica of Our Lady of Scherpenheuvel from 1609 until 1627 and

1656-636: The Angels The Cross of the Angels ( Asturian : Cruz de los Ánxeles , Spanish : Cruz de los Ángeles ) is a pre-romanesque Asturian reliquary donated by Alfonso II of Asturias in the year 808 to the Church of San Salvador in Oviedo , Asturias (Spain). The Cross of the Angels is the symbol of the city of Oviedo. The cross is the first example of jewelry made in the Kingdom of Asturias that has reached our days. Its current appearance

1725-546: The Asturian monarchy. During the 12th century, because of the constant flow of pilgrims and visitors, the Cámara Santa was reformed: it was then when the aisle in the upper floor was decorated with an excellent group of late Romanesque column statues depicting the Apostles; additionally, a barrel vault was added, replacing the former ceiling made of wooden beams. Another Romanesque element is the "Torre Vieja" ("Old Tower"),

1794-540: The Italian Jesuit architect Giovanni Maria Bernardoni . Pope Urban VIII , who occupied the Papacy from 1623 to 1644, became the most influential patron of the Baroque style. After the death of Carlo Maderno in 1629, Urban named the architect and sculptor Gian Lorenzo Bernini as the chief Papal architect. Bernini created not only Baroque buildings, but also Baroque interiors, squares and fountains, transforming

1863-484: The King, in charge of all royal architectural projects. The Académie royale d'architecture was founded in 1671, with the mission of making Paris, not Rome, the artistic and architectural model for the world. The first architectural project of Louis XIV was a proposed reconstruction of the façade of the east wing of the Louvre Palace. Bernini , then Europe's most famous architect, was summoned to Paris to submit

1932-585: The architect Jacques Lemercier to Rome between 1607 and 1614 to study the new style. On his return to France, he designed the Pavillon de l’Horloge of the Louvre Palace (beginning 1626), and, more importantly, the Sorbonne Chapel , the first church dome in Paris. It was designed in 1626, and construction began in 1635. The next important French Baroque project was a much larger dome for the church of Val-de-Grâce begun in 1645 by Lemercier and François Mansart , and finished in 1715. A third Baroque dome

2001-689: The cathedral is the "Camara Santa", with its venerable relics. Bishop Pelagius relates that the Agate Box, a coffer made by the disciples of the Apostles and containing the most precious relics of the Holy City, was taken from Jerusalem to Africa, and after residing in several locations was finally placed at Oviedo by Alfonso II. In the 16th century, Bishop Cristóbal de Sandoval y Rojas wished to open it, but could not, being overcome with religious fear. Baroque architecture Baroque architecture

2070-642: The center of Rome into an enormous theater. Bernini rebuilt the Church of Santa Bibiana and the Church of San Sebastiano al Palatino on the Palatine Hill into Baroque landmarks, planned the Fontana del Tritone in the Piazza Barberini , and created the soaring baldacchino as the centerpiece of St Peter's Basilica . The High Baroque spread gradually across Italy, beyond Rome. The period saw

2139-624: The city of León, at the southern side of the Cantabrian Mountains. However, the Oviedo settlement remained as an episcopal site, surrounded by a typical medieval town which would become an important stop in the northern branch of the Way of St. James. In this context, the old basilica founded by Alfonso II became a cathedral, undergoing successive changes during the Early and Late Middle Ages. The building known as Cámara Santa ("Holy Chamber")

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2208-568: The colonies of Spain and Portugal in the New World and the Philippines. It often took different names, and the regional variations became more distinct. A particularly ornate variant appeared in the early 18th century, called Rocaille in France and Rococo in Spain and Central Europe. The sculpted and painted decoration covering every space on the walls and ceiling. The most prominent architects of this style included Balthasar Neumann , noted for

2277-404: The completed tower, with its octagonal pyramid , one of the marvels of Gothic architecture. The origins of Oviedo Cathedral date back to the late 8th century, when Asturian king Alfonso II of Asturias promoted the construction of a basilica at the core of the Kingdom of Asturias' newly established royal court (regia sedes): what today conforms the oldest part of Oviedo's historic centre was then

2346-590: The construction of Santa Maria della Salute by Baldassare Longhena in Venice (1630–31). Churches were not the only buildings to use the Baroque style. One of the finest monuments of the early Baroque is the Barberini Palace (1626–1629), the residence of the family of Urban VIII, begun by Carlo Maderno, and completed and decorated by Bernini and Francesco Borromini . The outside of the Pope's family residence,

2415-506: The effects of surprise, emotion and awe. To achieve this, it used a combination of contrast, movement, trompe-l'œil and other dramatic and theatrical effects, such as quadratura —the use of painted ceilings that gave the illusion that one was looking up directly at the sky. The new style was particularly favored by the new religious orders, including the Theatines and the Jesuits , who built new churches designed to attract and inspire

2484-422: The evolution of the Gothic style, from early classic to late flamboyant. At last, Oviedo episcopate decided to undertake the construction of a new church: this implied the gradual demolition of the old pre-Romanesque basilica, which was probably regarded as old fashioned and inconvenient. Bishop Gutierre de Toledo fostered the erection of his own private funerary chapel (destroyed during the Early Modern period) and

2553-468: The façades of the new palace were constructed around the earlier Marble Court between 1668 and 1678. The Baroque grandeur of Versailles, particularly the façade facing the garden and the Hall of Mirrors by Jules Hardouin-Mansart, became models for other palaces across Europe. During the period of the Late Baroque (1675–1750), the style appeared across Europe, from England and France to Central Europe and Russia, from Spain and Portugal to Scandinavia, and in

2622-439: The first Baroque façade and a highly ornate interior, and Santa Susanna (1603), by Carlo Maderno. The Jesuits soon imported the style to Paris. The Church of St-Gervais-et-St-Protais in Paris (1615–1621) had the first Baroque façade in France, featuring, like the Italian Baroque façades, the three superimposed classical orders. The Italian style of palaces was also imported to Paris by Marie de' Medici for her new residence,

2691-575: The first half of the 18th century a distinctive Vilnian Baroque architectural style of the Late Baroque was formed in capital Vilnius (in which architecture was taught at Vilnius Jesuit Academy , Jesuits colleges , Dominican schools ) and spread throughout Lithuania. The most distinctive features of churches built in the Vilnian Baroque style are very tall and slender towers of the main façades with differently decorated compartments, undulation of cornices and walls, decorativeness in bright colors, and multi-colored marble and stucco altars in

2760-475: The first years of the 17th century), as well as the sacristy and several Baroque side chapels (Capilla de Santa Bárbara, Capilla de los Vigiles, Capilla de Santa Eulalia de Mérida). In the 18th century, the adjacent church of Santa María del Rey Casto—an old, pre-Romanesque basilica built by king Alfonso II as a funerary pantheon for the Asturian monarchy—was torn down and replaced by a new, late Baroque chapel with exuberant decoration. The Early Modern period also saw

2829-411: The furnishing of the cathedral with several altarpieces. The major restoration of the cathedral complex was initiated with preliminary studies in 1995 at the request of the Principality of Asturias . Under the sponsorship of the Spanish National Plan for Cathedrals ( Spanish : Plan National de Catedrales ), the complex was restored from 1998 to 2002 for a total budget of €764.623,55 . The cathedral

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2898-673: The interiors. The Lithuanian nobility funded renovations and constructions of Late Baroque churches, monasteries (e.g. Pažaislis Monastery ) and their personal palaces (e.g. Sapieha Palace , Slushko Palace , Minor Radvilos Palace ). Notable architects who built buildings in a Late Baroque style in Lithuania are Johann Christoph Glaubitz , Thomas Zebrowski , Pietro Perti (cooperated with painters Michelangelo Palloni , Giovanni Maria Galli ), Giambattista Frediani, Pietro Puttini, Carlo Puttini, Jan Zaor , G. Lenkiewicz, Abraham Würtzner, Jan Valentinus Tobias Dyderszteyn, P. I. Hofer, Paolo Fontana  [ it ] , etc. Many of

2967-487: The landmarks of the high Baroque. Another important monument of the period was the Church of Santi Luca e Martina in Rome by Pietro da Cortona (1635–50), in the form of a Greek cross with an elegant dome. After the death or Urban VIII and the brief reign of his successor, the Papacy of Pope Alexander VII from 1666 until 1667 saw more construction of Baroque churches, squares and fountains in Rome by Carlo Rainaldi , Bernini and Carlo Fontana . King Louis XIII had sent

3036-401: The leading Baroque architect was Christoph Dientzenhofer , whose building featured complex curves and counter-curves and elliptical forms, making Prague , like Vienna, a capital of the late Baroque. Political and economic crises in the 17th century largely delayed the arrival of the Baroque in Spain until the late period, though the Jesuits strongly promoted it. Its early characteristics were

3105-412: The main chapel, a poligonal apse preceded by a square section: the late Gothic altarpiece and the Baroque ambulatory have modified the appearance of this sanctuary, whose walls were originally pierced by two levels of windows. The works evolved at a slow pace, and by 1451 only the main chapel had been concluded. However, during the second half of the 15th century this situation was reversed, and by 1500 both

3174-478: The model of St. Peter's Basilica in Rome, his plan for Greenwich Hospital (begun 1695), and Hampton Court Palace (1690–96). Other British figures of the late Baroque included Inigo Jones for Wilton House (1632–1647 and two pupils of Wren, John Vanbrugh and Nicholas Hawksmoor , for Castle Howard (1699–1712) and Blenheim Palace (1705–1724). In the 17th century Late Baroque style buildings in Lithuania were built in an Italian Baroque style , however in

3243-524: The most extraordinary buildings of the Late Baroque were constructed in Austria, Germany, and Czechia. In Austria, the leading figure was Fischer von Erlach , who built the Karlskirche , the largest church of Vienna , to glorify the Habsburg emperors. These works sometimes borrowed elements from Versailles combined with elements of the Italian Baroque to create grandiose new effects, as in the Schwarzenberg Palace (1715). Johann Lukas von Hildebrandt used grand stairways and ellipses to achieve his effects at

3312-529: The old pre-Romanesque basilica, as well as its presumed Romanesque premises, were demolished and replaced by a set of classic and flamboyant Gothic elements, including the chapter room, the cloister, the main chapel and the aisles, as well as the western facade and tower. The chapter room was probably built between 1293 and 1314: it is the cathedral's oldest Gothic structure, a diaphanous, square-plan hall covered by an eight-sided dome, under which several noble lineages decided to build their burials. The Gothic cloister

3381-426: The original pierced spire, which was rebuilt by Rodrigo Gil de Hontañón combining Gothic and Renaissance elements. The main chapel's altarpiece, which combines statuary and paintings in a gilded, wooden frame, is an excellent example of the transition from Late Gothic to Renaissance. During the Early Modern period, Oviedo Cathedral received new additions, including the ambulatory (designed by Juan de Naveda and built in

3450-415: The rings from which hang chains with pearls and precious stones, also known as pendilia , comparable to votive crosses and crowns of the Visigothic treasure of Guarrazar . The Cross of the Angels became the symbol of the city of Oviedo around the 15th century, although it is said that even earlier, in 1262, it was used as a seal of the city. This is reflected in an engraving in the old city walls where

3519-426: The stained-glass windows. Diego de Muros , founder of the great college at Salamanca known as the Oviedo, had the crestings of the porch wrought by Pedro de Bunyeres and Juan de Cerecedo , while Giralte de Bruselas and Juan de Balmaseda completed in the years 1512 to 1517 the carving of the precious altarpiece ordered by Valeriano Órdoñez de Villaquirán . Cristóbal de Rojas (1546–56) affixed his coat-of-arms to

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3588-422: The transept and the three aisles were finished. According to some scholars, there must have existed a first, "general" draft inspired by certain French models, like the Bayonne Cathedral: in any case, this initial draft would be altered as the construction works progressed. By 1450, we find Nicolás de Bar and Nicolás de Bruselas, two master builders from Northern Europe, supervising the Oviedo workshop: apparently, it

3657-406: The two chapels of the south transept (now replaced by the sacristy), the old entrance to the church, and the gallery of the cloister adjoining the chapter-house. Alonzo de Palenzuela (1470–85) completed the other part of the transept. Juan Arias (1487–97) left his cognizance, the fleur-de-lys and four scallops, on the nave. Juan Daza (1497–1503) erected the grille of the choir; Valerano (1508–12) added

3726-452: The upper and lower Belvedere Palace in Vienna (1714–1722). In The Abbey of Melk , Jakob Prandtauer used an abundance of polychrome marble and stucco, statuary and ceiling paintings to achieve harmonious and highly theatrical effects. Another important figure of German Baroque was Balthasar Neumann (1687–1753), whose works included the Würzburg Residence for the Prince-Bishops of Würzburg , with its famous staircase. In Bohemia ,

3795-558: The use of quadratura (i.e. trompe-l'œil painting combined with sculpture): the eye is drawn upward, giving the illusion that one is looking into the heavens. Clusters of sculpted angels and painted figures crowd the ceiling. Light was also used for dramatic effect; it streamed down from cupolas , and was reflected from an abundance of gilding . Twisted columns were also often used, to give an illusion of upwards motion, and cartouches and other decorative elements occupied every available space. In Baroque palaces, grand stairways became

3864-404: The walkable areas were very narrow, so this street-like narthex provided an interesting, urbanistic solution. Initially, this narthex was going to be topped by two twin towers, but after 1507 the Oviedo episcopate decided to build only a tower, which would be erected over the narthex's Southern gate: despite traditional accounts, this decision did not respond to a lack of funds, because the cathedral

3933-479: Was actually a well-financed workshop. Indeed, the erection of a huge, single bell tower instead of two smaller twin towers, was a popular solution during the Late Middle Ages in places like Southern Germany, Switzerland and the Atlantic coast of France. Oviedo Cathedral's magnificent tower was finished in 1551, after the consecutive intervention of master builders Pedro de Bueras, Pedro de la Tijera and Juan de Cerecedo "el Viejo" ("the Elder"): in 1575, lightning destroyed

4002-399: Was almost finished, with exception of its western facade: that very year, master builder Juan de Badajoz "el Viejo" ("the Elder") became the new director of the episcopal workshop, starting the construction of a prominent narthex which would form a spacious passage, working as a covered street: it must be reminded that the original surroundings of Oviedo Cathedral were cluttered with houses, and

4071-403: Was already a work in progress around 1300, although it wasn't finished until the mid-15th century: it was built thanks to the generous contributions of the Camara Santa's Brotherhood (established in 1344), several noble patrons and Castilian king Alfonso XI , as well as the money gathered by the bishop's tax collectors. It's a rectangular space surrounded by galleries, whose tracery windows reflect

4140-412: Was also called Sancta Ovetensis; owing to quantity and quality of relics contained in the Cámara Santa (English: Holy Chamber ). The Holy Chamber is the only surviving portion of the ancient high-medieval complex. It was built to keep such relics and treasures associated with the Asturian monarchy as the Cross of the Angels , Victory Cross , and the Agate Box or Agate Casket. The chief feature of

4209-412: Was during their direction when the new flamboyant style was introduced. After them, Spanish master builders Juan de Candamo (between 1458 and 1489) and Bartolomé de Solórzano (between 1492 and 1498) assumed the direction of the cathedral workshop, building the central and side aisles, as well as the innovative vaults of the central aisle, with multiple ribs and detached tracery pieces. By 1500, the cathedral

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4278-431: Was founded by King Fruela I of Asturias in 781 AD, and enlarged in 802 by his son Alfonso II of Asturias known as Alfonso the Chaste , who made Oviedo the capital of Kingdom of Asturias , and resided in Oviedo with his court. He created the See of Oviedo in 810. The present edifice was begun by Bishop Gutierre of Toledo in 1388, and the tower added by Cardinal Francisco Mendoza de Bobadilla in 1528. The cathedral

4347-400: Was modeled after the architecture of Lisbon , different from the Spanish style. The most notable architect in Brazil was Aleijadinho , who was native of Brazil, half-Portuguese, and self-taught. His most famous work is the Church of Saint Francis of Assisi (Ouro Preto) . Baroque architecture often used visual and theatrical effects, designed to surprise and awe the viewer: Cross of

4416-433: Was more ordered and classical; examples included the Hall of Mirrors of the Palace of Versailles and the dome of Les Invalides . An especially ornate variant, appeared in the early 18th century; it was first called Rocaille in France; then Rococo in Spain and Central Europe. The sculpted and painted decoration covered every space on the walls and ceiling. Its most celebrated architect was Balthasar Neumann , noted for

4485-415: Was relatively restrained, but the interiors, and especially the immense fresco on the ceiling of the salon, the Allegory of Divine Providence and Barberini Power painted by Pietro da Cortona , are considered masterpieces of Baroque art and decoration. Curving façades and the illusion of movement were a speciality of Francesco Borromini, most notably in San Carlo alle Quattro Fontane (1634–1646), one of

4554-453: Was restored in the 12th century by Archbishop Pelagius of Oviedo , the chronicler. Bishop Fernando Alfonso (1296–1301) undertook another restoration of the chapter-house, and his successor, Fernando Alvarez (1302–1321), began the cloister. At the end of the 13th century Gutierre de Toledo began the new Gothic basilica, the principal chapel bearing his arms, though it was completed by his successor Guillén. Diego Ramirez de Guzmán (1421–41) built

4623-424: Was soon added for the Collège des Quatre-Nations (now the Institut de France ). In 1661, following the death of Cardinal Mazarin , the young Louis XIV took direct charge of the government. The arts were put under the direction of his Controller-General of Finances , Jean-Baptiste Colbert . Charles Le Brun , director of the Royal Academy of Painting and Sculpture , was named Superintendent of Buildings of

4692-446: Was the Corpus Christi Church, Nesvizh in the Polish–Lithuanian Commonwealth , built by the Jesuits on the Roman model between 1586 and 1593 in Nieśwież (after 1945 Niasvizh in Belarus). The church also holds a distinction of being the first domed basilica with a Baroque façade in the Commonwealth and Eastern Europe. Another early example in Poland is the Church of Saints Peter and Paul Church, Kraków , built between 1597 and 1619 by

4761-586: Was used in churches and palaces in Italy, Spain, Portugal, France, Bavaria and Austria. In the Late Baroque period (1675–1750), it reached as far as Russia, the Ottoman Empire and the Spanish and Portuguese colonies in Latin America. In about 1730, an even more elaborately decorative variant called Rococo appeared and flourished in Central Europe. Baroque architects took the basic elements of Renaissance architecture , including domes and colonnades , and made them higher, grander, more decorated, and more dramatic. The interior effects were often achieved with

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