- H. Wölfflin, Renaissance and Baroque Architecture part 1-the nature of the change in stile

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  HEINRICH WOLFFLIN RENAISSANCE BAROQUE Translated b)' Eathrin AND Simon With all Introduction by Peter Afllrray COLLINS THE FONTANA LIBRARY First published ~y Bmno Schwabe VtTlag, 1961 First pllblished in the Fontana LIbrary, 1964 e ~., CONTENTS Preface to lire First Edition Translator's Preface Introduction by Peter ..lfurray RENAISSANCE INTRODUCTION page xi Xlll I AND BAROQUE 15 PART ONE: THE NATURE OF THE CHANGE IN STYLE I. II. 27 29 38 III. IV. The painterly style The grand s
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  HEINRICHWOLFFLIN RENAISSANCEANDBAROQUE Translatedb)'EathrinSimon With allIntroduction by Peter Afllrray COLLINS THEFONTANALIBRARY  Firstpublished ~y Bmno Schwabe e~., VtTlag,1961Firstpllblished in theFontanaLIbrary,1964 CONTENTS Prefaceto lire FirstEditionTranslator'sPrefaceIntroductionby Peter ..lfurraypage xi Xlll I RENAISSANCEANDBAROQUE INTRODUCTION 15 PARTONE:THENATUREOFTHECHANGEINSTYLE 27 29 38 44- 58 I. The painterly style II. The grand style III. J\1 'assioeness IV. Mocemetu PARTTWO:THECAUSESOFTHECHANGEINSTYLE 7 1PARTTHREE:THEDEVELOPMENTOFTHEBAR0Q.UE TYPES 89 9 1 124 144- 161 175 177 179© inthe Introduction andtranslationWm.CollinsSons & Co.Ltd.,1964 © intheoriginalGermaneditionBmnoSchwabe & Co., Basel, 1961Printed in GreatBritain by Cox & H)'manLtd.,London,ReadingandFakenham I. The church II. The palace III. The oilla and lire garden Noles Acknou:udgnnmls and SourcesBibliographyIndex  PartI THENATUREOFTHECHANGEINSTrLE  I.THEPAINTERLYSTYLE Itisgenerallyagreedamonghistoriansofartthattheessentialch~cteristicofbaroquearchitectureisitsjpain-terlyquality.'Insteadoffollowingits own nature,architec-turestroveaftereffectswhichreallybelongtoadifferentart-form:itbecame'painterly'.Theterm painterly is bothoneofthemostimportantandoneofthemostambiguousandindefinitewithwhicharthistoryworks.Thereisnotonlypainterlyarchitecture,butpainterlysculpture.Thehistoryofpaintinghasapainterlyphase,andyetwespeakofpainterlyIighteffects,painterlydisorder,painterlyprofusion,andsoon.Clearlyitisimpos-sibletousethewordtodefinitepurposewithoutfirstclari-fyingitsmeaning.Whatdoes'painterly'mean?Itwouldbesimpleenoughtosaythatpainterlyisthatwhichlendsitselftobeingpainted,thatwhichwithoutadditionwouldserveasamotifforthepainter.Astrictlyclassicaltemple,ifitisnotinruins, is notapicturesqueobject.Howeverimpressiveitmay be asapieceofarchitecture,itwouldlookmonotonousinapicture. An artistpaintingitonacanvastodaywouldhavegreatdifficultyinmakingitlookinteresting;infacthecouldonlysucceedwiththeaidoflightandatmosphericeffectsandalandscapesetting,andintheprocessthearchi-tecturalelementwouldretreatcompletelyintotheback-ground.Butarichbaroquebuildingismoreanimated,andwouldthereforebeaneasiersubjectforapainterlyeffect.Thefreedomoflineandtheinterplayoflightandshadearesatisfyingtothepainterlytasteindirectproportiontothedegreetowhichtheytransgresstherulesofarchitecture. 29
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