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Patrunderea Renasterii in Ungaria sub Matei CorvinMatthias was educated in Italian, and his fascination with the achievements of the Italian Renaissance led to the promotion of Mediterranean cultural influences in Hungary. Buda, Esztergom, Szkesfehrvr and Visegrd were amongst the towns in Hungary that benefited from the establishment of public health and education and a new legal system under Matthias' rule. In 1465 he founded a university in Pressburg (present-day Bratislava, Slovakia), the Universitas Istropolitana. His 1476 marriage to Beatrice, the daughter of the King of Naples, only intensified the influence of the Renaissance.

An indefatigable reader and lover of culture, he proved an extremely generous patron, as artists from the Italian city-states (such as Galeotto Marzio) and Western Europe were present in large numbers at his court.

Like many of his acculturated contemporaries, he trusted in astrology and other semi-scientific beliefs; however, he also supported true scientists and engaged frequently in discussions with philosophers and scholars.

He spoke Hungarian, Romanian, Croatian, Latin, and later also German, Czech.

His royal library

Matthias Corvinus library, the Bibliotheca Corviniana , was Europe's greatest collection of (secular themes) historical chronicles and philosophic and scientific works in the 15th century, and second only in size to the Vatican Library (But Vatican library contained mostly Bibles for monks and parsons). His renaissance library is part of UNESCO World Heritage

Patrunderea Renasterii in Ungaria sub Matei Corvin - Colonada Renascentista la Visegrad

Patrunderea Renasterii in Ungaria sub Matei Corvin Esztergom Capela in stil renascentistInceputa in 1506Capela dateaza din 1506 s-a pastrat,Integrata in catedrala de sec 19Catedrala din Esztergom, sec 19

Patrunderea Renasterii in statele germane- St Michael's Church, MunichThe Renaissance in Germany was inspired by German philosophers and artist such as Johannes Reuchlin and Albrecht Drer who visited Italy. Important architecture of this period are especially the Landshut Residence, the castle in Heidelberg and the Town Hall in Augsburg. St Michael in Munich is the largest Renaissance church north of the Alps. It was built by Duke William V of Bavaria between 1583 and 1597 as a spiritual center for the Counter Reformation and was inspired by the Church of il Ges in Rome. The architect is unknown.

The Landshut Town Residence is an Italian Renaissance palace transported into a northern setting.

Duke Ludwig X of Bavaria, residing at Trausnitz Castle in his function as governor for his brother who ruled in Munich, laid the foundation stone for a new residence in the town in 1536. This was begun in the German Renaissance style under the direction of the Augsburg architect Bernhard Zwitzel, and later called the "German Building".

A journey to Upper Italy acquainted the Bavarian duke with the modern residences of the Italian princes, in particular the Duke of Mantua's Palazzo Te, and gave him fresh inspiration.

Behind the German Building a second palace, the "Italian Building", was begun in 1537 under the direction of Italian architects, and eventually extended with two wings that linked it to the German Building. The Residence complex thus surrounds the Italian-style courtyards.

Patrunderea Renasterii in statele germane- Augsburg Rathaus

Patrunderea Renasterii in Olanda Antwerp Cornelius Floris

Patrunderea Renasterii in FrantaChteau de Chambord(1519-1539)

Patrunderea Renasterii in Franta -Chteau DAmboise vedere sud

Patrunderea Renasterii in Franta -Chteau DAmboise fatada est

Chteau DAmboise pastrarea traditiei gotice

Patrunderea Renasterii in Franta -Chteau du Blois

Patrunderea Renasterii in Franta - Chteau du Blois

Patrunderea Renasterii in Franta Chteau duFontainebleau

Patrunderea Renasterii in Franta - Chteau du Fontainebleau

Indigo JonesInigo Jones (July 15, 1573 June 21, 1652) is regarded as the first significant British architect, and the first to bring Renaissance architecture to England. He also made valuable contributions to stage design.

Beyond the fact that he was born in the vicinity of Smithfield in central London, the son of a Welsh Catholic cloth worker,[1] and christened at the church of St Bartholomew the Less, little is known about Jones' early years. But towards the end of the 16th century, he became one of the first Englishmen to study architecture in Italy, making two visits to that country. The first (c.1598-1603) was possibly funded by Roger Manners, 5th Earl of Rutland. The second, from 1613 to 1614, found Iigo in the company of the Earl of Arundel. He may also have been in Italy in 1606 and was influenced by the ambassador Henry Wotton and owned a copy of Andrea Palladio's works with marginalia that refer to Wotton. See Wotton And His Worlds 2004 by Gerald Curzon. His work became particularly influenced by Palladio. To a lesser extent, he also held that the setting out of buildings should be guided by principles first described by ancient Roman writer Vitruvius.The Queen's House at Greenwich

Jones' best known buildings are the Queen's House at Greenwich, London (started in 1616, his earliest surviving work) and the Banqueting House at Whitehall (1619) part of a major modernisation by him of the Palace of Whitehall which also has a ceiling painted by Peter Paul Rubens.

The Banqueting House was one of several projects where Jones worked with his personal assistant and nephew by marriage John Webb.

The other project in which Jones was involved was the design of Covent Garden. He was commissioned by the Earl of Bedford to build a residential square along the lines of an Italian piazza. The Earl felt obliged to provide a church and he warned Jones that he wanted to economise. He told him to simply erect a "barn" and Jones' oft-quoted response was that his lordship would have "the finest barn in Europe". Little remains of the original church situated to the west of the piazza. A masque Costume for a Knight, designed by Inigo Jones.

As well as his architectural work, Jones did a great deal of work in the field of stage design. He is credited with introducing movable scenery and the proscenium arch to English theatre. Jones designed costumes, sets, and stage effects for a number of masques by Ben Jonson, and the two had famous arguments about whether stage design or literature was more important in theatre. (Jonson ridiculed Jones in a series of his works, written over a span of two decades.)[2]

As the Surveyor of Works to King Charles I, Jones worked for Queen Henrietta Maria on the design of a Roman Catholic chapel at Somerset House (an act that provoked great suspicion from the Protestants) and his career effectively ended with the outbreak of the English Civil War in 1642 and the seizure of the King's houses in 1643. His property was later returned to him (c.1646) but Jones ended his days living in Somerset House and was subsequently buried in the Church of St Benet Paul's Wharf, in London. John Denham and then Christopher Wren followed him as King's Surveyor of Works.

It was in his capacity as surveyor that he was asked to conduct some measurements of Stonehenge. While some of Jones's observations are questionable, and his interpretations and conclusions can only be regarded as fanciful at best, his was the first serious survey.

He was an influence on a number of 18th century architects, notably Lord Burlington and William Kent.

Indigo Jones - Queens House - Greenwich, built 1614-1617

Indigo Jones - Banqueting House, Whitehall built 1619-1622

Banqueting House ceiling painted by Sir Peter Paul Rubens

Indigo Jones Covent Garden - Londra

Indigo Jones lui i se atribuie introducerea decorurilor mobile in scenele de teatrusi a proscenium-ului de la teatrul romanProscenium of the Teatro Olimpico by Andrea Palladio, Vicenza, Italy

Fantana Aqva Felice Roma Domenico FontanaBAROCUL

Piata del Popolo Roma Trasata de Domenico Fontana

Santa Susanna - RomaCarlo Maderno

Inceputurile Stilului Baroc elemente definitoriiSanta Susanna Roma- Carlo Maderno

Inceputurile Stilului Baroc elemente definitoriiSanta Susanna Roma - Carlo Maderno

Santa Maria della Vitoria Roma - Carlo Maderno

Vatican San Pietro Fatada finala Roma - Carlo Maderno

Vatican/Roma San Pietro Piata de acces cu colonada Gianlorenzo Bernini

Spaiul reprezentativ baroc

Piaa San Piedro in Vatican

Gian Lorenzo Bernini Sculptor si Arhitect Maestru al stilului Baroc

Gian Lorenzo Bernini Sculptor si Arhitect Maestru al stilului BarocEcstasy of St. Teresa - Giovanni Lorenzo Bernini, 1647-1652Marble, height 150 cm - Rome, Santa Maria della VittoriaApollo and Daphne, iconic image of baroque interest in dynamic compositions (Galleria Borghese, Rome).

Palatul Barberini - Gian Lorenzo Bernini

Palatul Barberini - Gian Lorenzo BerniniScara Francesco Borromini

Palatul Chigi - Gian Lorenzo Bernini

Sant'Andrea al Quirinale - Gian Lorenzo Bernini

Scala Regia - Vatican - Gian Lorenzo Bernini

Francesco BorrominiSan Carlo alle Quatro Fontane

S. Carlo alle Quattro Fontane Francesco Borromini

Santa Maria della SaluteBalthasare Longhena

Fontana di Trevi Nicola Salvi (1732-1762)

Barocul Spaniol - Catedrala din Granada

Barocul Spaniol Santiago de CompostelaCathedral of Santiago de Compostela in Spain. Churrigueresque Obradoiro faadeChurrigueresque refers to a Spanish Baroque style of elaborate sculptural architectural ornament which emerged as a manner of stucco decoration in Spain in the late 1600s and was used up to about 1750, marked by extreme, expressive and florid decorative detailing, normally found above the entrance on the main facade of a building.

Named for the Churriguera family of Salamanca, its origins can be traced back to an architect and sculptor named Alonso Cano, who designed the facade of the cathedral at Granada in 1667.

The development of the style passed through three phases. Between 1680 and 1720, the Churriguera popularized Guarino Guarini's blend of Solomonic columns and composite order, known as "supreme order". Between 1720 and 1760, the Churrigueresque column, or estipite, in the shape of an inverted cone or obelisk, was established as a central element of ornamental decoration. The years from 1760 to 1780 saw a gradual shift of interest away from twisted movement and excessive ornamentation toward the Neoclassical balance and sobriety.

Among the highlights of the style, interiors of the Granada Charterhouse offer some of the most impressive combinations of space and light in 18th-century Europe. Integrating sculpture and architecture even more radically, Narciso Tom achieved striking chiaroscuro effects in his Transparente for the Toledo Cathedral. Perhaps the most visually intoxicating form of the style was Mexican Churrigueresque, practised in the mid-18th century by Lorenzo Rodriguez, whose masterpiece is the Sagrario Metropolitano in Mexico City (1749-69).

A distant precursor (early 1400s) of the overwrought style can be found in the Lombard Charterhouse of Pavia; yet the sculpture-encrusted facade still has the Italianate appeal to rational narrative. The Churrigueresque style appeals to the proliferative geometry, and has a more likely ancestry in the Moorish architecture or Mudjar architecture that still remained through south and central Spain. The interior stucco roofs of for example the Alcazar de Granada flourish with detail and ornamentation.

Barocul Spaniol Universitatea din Valiadolid

Barocul Spaniol Palatul Regal din Madrid

Barocul Spaniol in colonii - San Francisco de Ass Church, Lima, 1673.

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