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The Order of St. Augustine, along with the Canons Regular of the Penitence of the Blessed Martyrs and the Canons Regular of the Lateran, constitutes "the family of St. Augustine" - religious congregations rooted in the Rule of St. Augustine and actively developing the spirituality inspired by the bishop of Hippo. This paper aims to explore the churches affiliated with these orders in the Grand Duchy of Lithuania. It seeks to address the question of whether the communal spirit is reflected in the formal solutions employed in these churches, and whether these orders adhered to typical architectural forms, or each order developed its own distinctive architectural character. [ABSTRACT FROM AUTHOR]

It is only in the past few decades that the legacy of Hungarian historicist architecture has begun to attract the attention of researchers. Although the Renaissance and Baroque Revival were the dominant architectural styles of the Habsburg era, historicism was long seen as an architecture copying the past using cheaper materials. Nonetheless, it is this historicism, characterized by the reinterpretation of historical styles with contemporary materials, the use of classical architectural details, and sculptural ornamention, that defines the image of Budapest's city center, including the Grand Boulevard of the Pest side, which was built in the last three decades of the 19th century. The importance of the Grand Boulevard is unquestionable, creating a whole new urban structure worthy of a metropolis. In my study, I intend to examine the urbanistic significance of the historicist architectural heritage of the Grand Boulevard, and how these imposing buildings affect the urban landscape. To find the answers, I will look at the most important public buildings on the Boulevard, including the Nyugati Railway Station [Nyugati pályaudvar], the Comedy Theatre [Vígszínház], and the People's Theatre [Népszínház] - later National Theatre [Nemzeti Színház] - on Blaha Lujza Square. I would also like to discuss the less prominent historicist apartment palaces, their typical ground plans and architectural characteristics, which equally contribute to the image of the Boulevard and the Hungarian capital. [ABSTRACT FROM AUTHOR]

Designing the modification of buildings for a new use is a costly and time-consuming process, before which it is often necessary to conduct a preliminary assessment of the feasibility of the intended project. The article discusses the procedure for such a preliminary cost-effective assessment using the example of a historic building with vaulted ceilings. For older historical buildings, archival documents specifying their geometry, construction details and material characteristics are typically not available. For the preliminary design, it is possible to obtain information about the dimensions of the load-bearing elements non-destructively. However, the knowledge of the exact material properties of the masonry exceeds the possibilities of an inexpensive assessment, which must take advantage of the data available in the literature for similar structures. This article presents a methodology and an example of the measurement and assessment of the mechanical response of the Baroque vault to static loading. It shows the process of obtaining data on the geometric shape of the structure by means of geodetic surveying and geometric radar measurements of the thickness of vaults whose upper faces are not accessible. Two models are used to calculate the internal forces in the structure. The first planar model considers a simplified barrel vault strip according to the focused geometry with respect to geometric nonlinearity and without tension, the second model is a linear spatial model of the entire vault. The calculation was performed in ANSYS 17.2, the input parameters of the material are taken from the literature. The calculated stresses in the vault are compared with the values of the design strength of brick masonry, taking into account the characteristic compressive strength of the masonry based on published known data obtained during tests of similar historical materials. The results are then used to decide on the feasibility of the intention to adapt the building for a new use. [ABSTRACT FROM AUTHOR]

Porta Nuova in Mesagne constituted a monumental entrance to the ancient city within the circuit of the city walls, together with the older Porta Grande and the ruined Porta Piccola. The present contribution illustrates the conservation practices implemented, starting from the cognitive investigation, in the broader context of the architectural language of the city gates in Terra d'Otranto, from the survey phases and the diagnostic study of the building, in order to restore the full usability of the monument. The executive phases were carried out in the consolidation of the rich sculptural-decorative apparatus, in the restoration and protection of the material continuity, compromised by environmental factors, common to surfaces exposed to atmospheric agents, by intrinsic vulnerabilities, determined by a construction excursus not completed in a single phase, and, last but not least, by more recent interventions. [ABSTRACT FROM AUTHOR]

Copyright of Imafronte. Revista de Historia del Arte is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A general procedure for recognising and identifying oval forms is suggested and performed on an eighteenth century engraving representing the Bibliotheca Wolfenbüttel from 1705. The importance of finding a systematic, consistent and historically plausible procedure is stressed. It is suggested that research on the subject often lacks insight in what the architect could or may have drawn when planning a building or part of it, leading to possible mistakes in the determination of the form. In this paper both cultural and practical aspects are taken into account. [ABSTRACT FROM AUTHOR]

Symbolism in the Side Facade of St Thomas’ Church in the Lesser Town of Prague. The main aim of this article is to present a new interpretation of the decoration of the lateral facade of the Augustinian Church of St Thomas in the Lesser Town of Prague, which was created during the reconstruction of the church by its architect Kilián Ignác Dientzenhofer in the first third of the 18th century. Drawing on recently discovered sources, it provides a new interpretation of the emblematic decoration of the portal of the lateral facade, both in the context of the painted decoration of the church interior and in relation to the social and theological conditions of the time. In particular, it proposes an interpretation of the four metopes in the entablature of the Doric order, for which the author or commissioner of the Baroque rebuilding of the church probably found inspiration in the emblematic album Devises et Emblèmes Anciennes & Modernes by the late 17th-century French writer and emblematist Daniel de La Feuille, on the basis of which the symbolism of these four metopes can be interpreted. The meaning of these four metopes is then related in the context of the entire decoration of the lateral facade of the temple also within the symbolism of the columnar orders, in this particular case the use of the Doric order. As it appears, the entire decoration of the lateral facade was systematically and purposefully chosen by the architect and contains extraordinary Christological symbolism that may be hidden to the modern observer at first glance.

The development of modern public administration in European cities facilitated the construction of various types of public buildings. Among these, guardhouses were a prominent type in the 18th century, used to house the police force under civil or military jurisdiction. Guardhouses were widespread within the Habsburg Empire and were common in the Croatian and Slavonian Military Frontier.

Copyright of Průzkumy Památek is the property of Narodni Pamatkovy Ustav and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research explores the intersection of visual optics and architecture by analyzing contracted space of Baroque geometries. Inspired by Borromini's work, the "Shrine" project embodies a solution to narrow passage design challenges, merging spatial perception strategies with minimalist details to create an immersive and theatrical experience for small space architecture. [ABSTRACT FROM AUTHOR]

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the influence that Carlo Fontana's tabernacle for the church of Santa Maria in Traspontina in Rome (1674) had on the chancel of the church of the Jesuits in Toledo by the middle of the 18th century. Authors were the brothers Luis and Alejandro González Velázquez, the latter working at the same time for the Society of Jesus in the Professed House of San Felipe Neri in Madrid. [ABSTRACT FROM AUTHOR]

The so-called Barberini Triangle features amongst the most extraordinary ‘geometric acrobatics’ of the Roman Baroque. Together with the Casini ai Prati, the Triangle was built in the second half of the 17th century on a vineyard owned by the Barberini family in the plain below the city of Palestrina. Various studies on the Prenestine complex have not resolved the issues surrounding its construction history. New data, acquired during research into the architectural patronage of the Barberini family in Palestrina, combined with direct analysis of the building, she new important insights. At the same time, new documentary evidence makes it possible to update the chronology of the construction works and identify the artists and workers involved, including the name of the architect, it too controversial. [ABSTRACT FROM AUTHOR]

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Conservar Património is the property of Associacao Profissional de Conservadores-Restauradores de Portugal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is dedicated to the role of polychrome solutions of the architectonic order in shaping the mode of expression of Baroque façades. The ancient principles of designing architectural structures, inherited from the Renaissance, were subjected to reinterpretations in order to impart different expressive values. Vertical layouts began to dominate in the Baroque. Appropriately selected polychrome of the elements of the order could emphasize the compositional expression. The relationship between the layout of the polychrome in a given architectural order and the expression of a work of art has been established for some time. However, the generally available data on color schemes of architectural structures in Baroque buildings are still not fully organized. The paper analyzes examples of Baroque façades preserved in their original state and revalorized in recent years after thorough research by conservators in the field of architecture and color. The examples are mainly designed in the so-called great order, i.e., pertaining largely to church façades. The decisive field of change became the shaping of the coloristic decoration of the entablature. [ABSTRACT FROM AUTHOR]

The article explores how the critical review of Albert Erich Brinckmann's 1931 book "Theatrum novum Pedemontii," by art historian Giulio Carlo Argan influenced the scholarly reception of Piedmontese Baroque architecture. Topics discussed include the arguments raised by Argan regarding the way Brinckmann rendered the said architectural style, the historiography involving Baroque architecture in the 19th century, and the political orientation of Argan during his debate with Brinckmann.

The research of Renate Wagner-Rieger has influenced the whole Central European area, as well the development of art history in Croatia, especially architectural research. The texts by Wagner-Rieger from the 1960s and 1970s would most likely have given impulse to the development of Baroque research, especially in northern Croatia. The most important theses of Wagner-Rieger, which were adopted in Croatian research, are first of all the typology of the Jesuit churches, which Đurđica Cvitanović (1924-2009) developed further using examples of Jesuit architecture in Croatia, as well as the stylistic pluralism as the most important stylistic feature of the Art of the Mariatheresian Era in texts by Anđela Horvat (1911-1985).

The article offers information related to the term Jesuit Baroque, a certain style of architecture originated in the mother church of the Society of Jesus, the church of the Gesù in Rome. Topics discussed include musical branch of the Jesuit Baroque, similarity between Baroque architecture and music and institutional mainstay of the Roman Catholic world.

The main aim of this article is to present a new interpretation of the decoration of the lateral facade of the Augustinian Church of St Thomas in the Lesser Town of Prague, which was created during the reconstruction of the church by its architect Kilián Ignác Dientzenhofer in the first third of the 18th century. Drawing on recently discovered sources, it provides a new interpretation of the emblematic decoration of the portal of the lateral facade, both in the context of the painted decoration of the church interior and in relation to the social and theological conditions of the time. In particular, it proposes an interpretation of the four metopes in the entablature of the Doric order, for which the author or commissioner of the Baroque rebuilding of the church probably found inspiration in the emblematic album Devises et Emblèmes Anciennes & Modernes by the late 17th-century French writer and emblematist Daniel de La Feuille, on the basis of which the symbolism of these four metopes can be interpreted. The meaning of these four metopes is then related in the context of the entire decoration of the lateral facade of the temple also within the symbolism of the columnar orders, in this particular case the use of the Doric order. As it appears, the entire decoration of the lateral facade was systematically and purposefully chosen by the architect and contains extraordinary Christological symbolism that may be hidden to the modern observer at first glance. [ABSTRACT FROM AUTHOR]

El artículo discute una de las ciudades coloniales más bellas de México, San Cristóbal de las Casas, con un enfoque en los edificios de estilo religioso y barroco de la ciudad y las atracciones turísticas que incluyen el Templo de Santo Domingo.

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of TECHNE. Seria Nowa is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Longa is the property of Ars Longa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos Dieciochistas is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to characterise the civil architecture in the last quarter of the 17th century, with special focus on the remaining examples in the city of Lisbon. Based on new documents and on a thorough historical analysis, the text discusses the importance of the arrival to Lisbon of the Queen of England, D. Catarina de Bragança, in 1693, after her widowhood. The residential use of several royal palaces already built in Lisbon, the remodelling works they underwent and the setting up of new dwellings will be the subject of in-depth consideration, taking also into account the final phase of plain architecture, at the advent of the Roman Baroque triumph in Portugal. [ABSTRACT FROM AUTHOR]

The paper explores a process of transformation that occurred in Madrid around 1660 related to some palaces of the high Spanish nobility. From previous habits that led the aristocrats dwelling in court to moderate their ostentation in order not to enter into a competition with the figure of the king, some of them introduced certain changes in their Madrid residences around that time that can be considered an emulation of the royal models. The development of private gardens in their palaces, and the multiplication of rooms used as antechambers and galleries are substantial elements in that process, as well as the increase of collecting nude paintings. [ABSTRACT FROM AUTHOR]

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Guarini first develops a rigorous and systematic discourse on vaulted systems. In three treatises: Architettura Civile, Euclides adauctus, and Modo di misurare le fabriche, he described the geometric nature of the vaults, the principles of geometry and their practices in the stereotomy, and the measurement of the vaults’ surfaces and volumes, respectively. In this paper, moving from previous studies, the significant relationships between the Architettura Civile and Modo di misurare le fabriche are deepened, also in light to the theoretical bases established in the Euclides adauctus. Graphical analyses and reconstructive digital models, linking the texts to the original diagrams and drawings of the treatises, allow to highlight the role of geometry in Guarini’s theorization and the logic of shapes’ composition at the basis of his inventions, and constitute a knowledge base to recognize and interpret the geometric structure of the vaults in Baroque built heritage.

The article is dedicated to the role of polychrome solutions of the architectonic order in shaping the mode of expression of Baroque façades. The ancient principles of designing architectural structures, inherited from the Renaissance, were subjected to reinterpretations in order to impart different expressive values. Vertical layouts began to dominate in the Baroque. Appropriately selected polychrome of the elements of the order could emphasize the compositional expression. The relationship between the layout of the polychrome in a given architectural order and the expression of a work of art has been established for some time. However, the generally available data on color schemes of architectural structures in Baroque buildings are still not fully organized. The paper analyzes examples of Baroque façades preserved in their original state and revalorized in recent years after thorough research by conservators in the field of architecture and color. The examples are mainly designed in the so-called great order, i.e., pertaining largely to church façades. The decisive field of change became the shaping of the coloristic decoration of the entablature.

This article examines the visualization and function of Baroque architecture, notably the works of Francesco Borromini, in Eugène Green's La Sapienza (2014). Reading the film in tandem with Green's essays on cinema and Baroque art, it analyses the film-maker's harnessing of architecture as a means to elucidate questions that are central to his philosophical enquiry: the tension between rational and spiritual forms of experience, the invisible realm behind appearances, and the mystery of salvation. I argue that La Sapienza develops a complex analogy between architecture and cinema, crystallizing Green's aesthetic philosophy as part of a wider interrogation of intermedial influence. [ABSTRACT FROM AUTHOR]

In this article, we propose a 3D virtual representation of the catafalque erected in 1689 in the church of the Real Monasterio de la Encarnación in Madrid to celebrate the solemn exequies of Marie Louise d'Orléans. Information drawn from historical sources is used to describe the different phases to create the 3D model of this Baroque funeral ensemble. The potential of virtual resources for the reconstruction of a singular typology, ephemeral architecture, are highlighted. [ABSTRACT FROM AUTHOR]

The article presents Baroque architecture design of "Ideal City of Chaux," by Claude-Nicolas Ledoux.

The Palace of the Slavonian General Command in Osijek was built in 1723–1724 for the needs of the administration of the Slavonian Military Frontier, formed after the Karlowitz Treaty (1699). In keeping with its preeminent purpose as the seat of the Imperial War Council representatives, the palace stands out with a richly diversified exterior accentuated by a portal with atlantes, and a complex interior organized around a three-aisled vestibule. This gave it an outstanding position in the context of kindred administrative buildings in the wider Central-European region, indicating that the origins of the design were in the Baroque architecture of Vienna. The project itself emerged from the circle of military architects engaged in work on the border fortress cities of the Habsburg Monarchy, whose fortification was supervised by Eugene of Savoy, as President of the Imperial War Council.

The Wesselényi Castle in Jibou/Zsibó occupies a prominent place in the late Baroque architecture of Transylvania. However, it has received relatively little scientific attention and its murals and painted decorations have been studied even less. The construction history of the castle dates back to 1778-1810. Franz Neuhauser, the true pioneer of Transylvanian landscape painting, was a master in the design of interiors and the creation of painted decorations. Between 1803 and 1805 he completed five large paintings in the representative main wing of the Jibou/Zsibó Castle: Zsibó from the Rákóczi Hill (276×330 cm), Bear Hunting (155×276 cm), Rabbit Hunting by the Szamos Riverbank (130×276 cm), Wild Animal Hunting (265×276 cm) and Campfire (90×121 cm), which are reminiscent of Claude Lorraine’s style in their design and conception. Today, the canvases are preserved in the County Museum of History and Art of Zalău/Zilah, and, despite their poor condition of preservation, are of extreme importance. The paintings, whose significance is outstanding in the history of Transylvanian culture, present landscapes around Jibou/Zsibó, some members of the Wesselényi family and the newly completed castle. [ABSTRACT FROM AUTHOR]

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Longa is the property of Ars Longa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)