The former, well restored by Ricci in1898-1900(except for the dome with its baroque frescoes which has not been altered), is a regular octagon, with a vestibule, originally flanked by two towers on the west, a choir added on the east, triangular outside and circular within; it is surrounded within by two galleries interrupted at the presbytery, and supported by eight large pillars, the intervals between which are occupied by open exedrae.
The façade, in the baroque style, was added in 1703.
After Longhena's date church architecture in Venice declined upon the dubious taste of baroque; the facades of San Moise and of Santa Maria del Giglio are good specimens of this style.
The cathedral has a Romanesque Gothic portal of 1332 by a Roman marble worker named Deodatus, and the interior is decorated in the Baroque style, but still retains the pointed vaulting of 1154, introduced into Italy by French Benedictines; it contains a splendid silver antependium by the 15th-century goldsmith Nicolo di Guardiagrele (1433-48).
Pietro), erected in 910, is now almost entirely in the baroque style.
Maria di Provenzano, a vast baroque building of some elegance, designed by Schifardini (1594) Sant' Agostino, rebuilt by Vanvitelli in 1755, containing a Crucifixion and Saints by Perugino, a Massacre of the Innocents by Matteo di Giovanni, the Coming of the Magi by Sodoma, and a St Anthony by Spagnoletto (?); the beautiful church of the Servites (15th century), which contains another Massacre of the Innocents by Matteo di Giovanni and other good examples of the Sienese school; San Francesco, designed by Agostino and Agnolo about 1326, and now restored, which once possessed many fine paintings by Duccio Buoninsegna, Lorenzetti, Sodoma and Beccafumi, some of which perished in the great fire of 1655; San Domenico, a fine 13th-century building with a single nave and transept, containing Sodoma's splendid fresco the Swoon of St Catherine, the Madonna of Guido da Siena, 1281, and a crucifix by Sano di Pietro.
According to the well-known law, however, the Renaissance, made for the people of the plains, never fully took root in Siena, as in other parts of Tuscany, and the loss of its independence and power in 1555 led to a suspension of building activity, which to the taste of the present day is most fortunate, inasmuch as the baroque of the 17th and the false classicism of the 18th centuries have had hardly any effect here; and few towns of Italy are so unspoilt by restoration or the addition of incongruous modern buildings, or preserve so many characteristics and so much of the real spirit (manifested to-day in the grave and pleasing courtesy of the inhabitants) of the middle ages, which its narrow and picturesque streets seem to retain.
1177); the church of St Peter, reconstructed by Fischer von Erlach in 1702-13, and the University church, erected by the Jesuits in 1625-31, both in the baroque style with rich frescoes; lastly, the small church of St Ruprecht, the oldest church in Vienna, first built in 740, and several times reconstructed; and the old Rathaus.
The rest of the edifice was in the baroque style; the high altar (containing the supposed letter of the Virgin Mary to the people of Messina), richly decorated with marbles, lapis lazuli, &c., was begun in 1628 and completed in 1726.
The dome is an unsuitable addition of 1731 by the Sicilian architect Filippo Juvara (1685-1735), and its baroque decorations spoil the effect of the fine Gothic interior.
The present church is baroque in style, but contains some works of art of earlier periods.
Giovanni Battista is a good baroque edifice of 1617; by it stands a fine 13th-century campanile.
Agostino, containing works of sculpture in honour of the house of Este) is a baroque building by Bibbiena; it also contains the tombs of Sigonio and Muratori.
Eloquent testimony is given by the beautiful churches and palaces of Prague - largely Gothic and baroque in style - to the architectural genius of the nation.
Two baroque chapels were added in the 17th and 18th centuries, which are fortunately shut off from the rest of the church.
Many of the palaces have fine pillared courtyards of the baroque period, some of which are the work of Guarini.
The choir is painted in perspective (there was no room to build one), the earliest example of this device, which was so frequently used in baroque architecture.
Celso (the interior and the baroque facade are by Alessi).
Maria Maggiore, founded in 1137 and completed in 1355, with a baroque interior and some interesting works of art.
The internal façade of the Palazzo Ginetti is finely decorated with stucco, and has a curious detached baroque staircase by Martino Lunghi the younger, which Burckhardt calls unique if only for the view to which its arched colonnades serve as a frame.
Other buildings remarkable for their size and interest are: the national museum (1836-1844); the town-hall (1869-1875), in the early Renaissance style; the university, with a baroque facade (rebuilt 1900), and the university library (opened in 1875), a handsome Renaissance building; the palace of justice (1896), a magnificent edifice situated not far from the Houses of Parliament.
Agatha, containing the relics of the saint, retains its three original Norman apses (1091), but is otherwise a large baroque edifice.
The interior was restored in the baroque style in 1712.
This edifice, in the Italian baroque style, surmounted by a dome, possesses but little architectural merit, and its position is so confined that great ingenuity had to be employed in its internal arrangements to meet the demands of space, but its collection of pictures is one of the finest in Europe.
The Franciscan church, with an elegant tower built in 1866, is an interesting example of the transition style of the 13th century, with later baroque additions.
The cathedral has a baroque façade; but traces of Romanesque work (12th century) can be seen at the sides and in the campanile.
On the highest ground in the city rises the cathedral, the interior of which was built after his death according to the plans of Giulio Romano; it has double aisles, a fine fretted ceiling, a dome-covered transept, a bad baroque façade, and a large unfinished Romanesque tower.
Of the gates only two remain, the Porta Nuova and the Porta Felice; both are fine examples of the baroque style, the former was erected in 1584 to commemorate the return of Charles V.