• The first great basilica in Florence.
• Gothic and early Renaissance.
• Novella (New).
• Alberti attempted to bring the ideals of humanist architecture, proportion and classically-inspired detailing, to bear on the design while also creating harmony with the already existing medieval part of the facade.
• His contribution consists of a broad frieze decorated with squares and everything above it, including the four white-green pilasters and a round window, crowned by a pediment with the Dominican solar emblem, and flanked on both sides by enormous S-curved volutes. The four columns with Corinthian capitals on the lower part of the facade were also added. The pediment and the frieze are clearly inspired by the antiquity, but the S-curved scrolls in the upper part are new and without precedent in antiquity. The scrolls (or variations of them), found in churches all over Italy, all find their origin here in the design of this church.

• Palazzo Rucellai is a fifteenth-century palace
• Its splendid facade was one of the first to announce the new ideas of Renaissance architecture based on pilasters and entablatures in proportional relationship to each other, in a design that probably owed a great deal to Alberti's studies of Roman architecture, particularly the Colosseum, but which is also full of originality.
• The rusticated masonry creates an impression of strength, particularly at the ground floor, which contained storerooms. The three storeys of the facade have different classical orders, as in the Colosseum, but with the Tuscan order at the base, an Alberti original in place of Ionic order at the second level, and a very simplified Corinthian order at the top level. Double windows at the upper storeys combine with arches with highly articulated voussoirs that spring from pilaster to pilaster.

•  A competition was held for the actual design of the station buildings and hotel in May 1865. Eleven architects were invited to compete, submitting their designs in August. In January 1866 the brick Gothic revival designs of the prominent George Gilbert Scott were chosen.

•  Neo-Baroque style
• The Palais Garnier was designed as part of the great Parisian reconstruction of the Second Empire initiated by Emperor Napoleon III
• An ornate building, the style is monumental and considered typically Beaux-Arts, with use of axial symmetry in plan, and its exterior ornamentation.
• The Palais is opulently decorated with elaborate multicolored marble friezes, columns, and lavish statuary, many of which portray the deities from Greek mythology. Between the columns of the theatre's front façade, there are bronze busts of many of the great composers, Mozart, Rossini, Daniel Auber, Beethoven, Meyerbeer, Fromental Halévy, Spontini, and Philippe Quinault.

• built using load-bearing wall construction; in order for the structure to support its own weight, the walls at the base of the structure are six feet (1.83 m) thick. The building was so heavy that it sank into the ground after it was built, requiring steps to be installed at the entrances. The walls then curve in slightly at the second story, and flare out at the top of the building, lending it a form similar to that of an Egyptian pylon. 

• he lodge's public (northern) facade is relatively flat and austere; its southern facade, by contrast, is highly shaped with protrusions and a large porch featuring carvings by Augustus Saint-Gaudens. 

Seagram Building

New York, NY

Mies van der Rohe, with Phillip Johnson

1954-58

•  It stands as one of the finest examples of the functionalist aesthetic and a masterpiece of corporate modernism
• This structure, and the International Style in which it was built, had enormous influences on American architecture. One of the style's characteristic traits was to express or articulate the structure of buildings externally.^[1] A building's structural elements should be visible, Mies thought. The Seagram Building, like virtually all large buildings of the time, was built of a steel frame, from which non-structural glass walls were hung. Mies would have preferred the steel frame to be visible to all; however, American building codes required that all structural steel be covered in a fireproof material, usually concrete, because improperly protected steel columns or beams may soften and fail in confined fires.^[2] Concrete hid the structure of the building — something Mies wanted to avoid at all costs — so Mies used non-structural bronze-toned I-beams to suggest structure instead. These are visible from the outside of the building, and run vertically, like mullions, surrounding the large glass windows. Now, observers look up and see a "fake and tinted-bronze" structure covering a real steel structure

• Although constructed with different systems, all of the buildings on the site give a common image and appear as a unified whole. The architects achieved this by the use of some common elements in all the buildings. The first one is the use of floor-to-ceiling glass windows on steel frames that go around the corners of the buildings without a visible (most of the time without any) structural support. The other unifying element is the use of brick. All buildings have a base of about 40cm of black brick and the rest is built of yellow bricks. The combined effect is a feeling of lightness or as Gropius called it “etherealization”.

• Has become an icon of postmodern architecture.

• "House of Building" or "Building School") is the common term for the [image] Staatliches Bauhaus

• The site selected for a new, permanent building was on Shockoe Hill, a major hilltop overlooking the falls of the James River. Thomas Jefferson is credited with the architectural design of the new Virginia State Capitol building, which was modeled after the Maison Carrée at Nîmes in southern France, an ancient Roman temple.^[4] The only other state to accurately copy an ancient model is the Vermont State House, which based its portico on the Temple of Theseus in Athens. Jefferson had the architect, Charles-Louis Clérisseau, substitute the Roman Ionic Order over the more ornate Corinthian column designs of the prototype in France.

• considered a monument of modernism in architecture

• rococo style in France

• Looking at how the style drastically changes in 30 years, not only in all buildings but in a room (Salon de la Princesse) within a building (Hotel de la Soubise).

   

• the Willits house is considered the first of the great Prairie houses. Built in the Chicago suburb of Highland Park, Illinois, the house presents a symmetrical facade to the street. The plan is a cruciform with four wings that extend out from a central hearth. In addition to art-glass windows and wooden screens that divide rooms, Wright also designed most of the furniture in the house.

• The palace's principal façade is composed of three bays, the central bay projecting slightly. The two end bays have logge on the piano nobile level, while the central bay is closed. The façade has two superimposed orders of columns, Doric on the lower level with Ionic above. The roofline is decorated by statuary.

• Jones is credited with the introduction of Palladianism with the construction of the Queen's House. Although it diverges from the mathematical constraints of Palladio and it is likely that the immediate precedent for the H shaped plan

•  Also prairie style

• It is in the Ionic order and is still more familiar by its erroneous designation.

• The corners are articulated with a massive order of engaged columns that stand on a high ashlar basement. The capitals are Corinthian, but with prominent volutes of the Ionic order projecting laterally above the acanthus foliage—the earliest example of the composite order. Above the main cornice rises a high weighty attic on which is a central tablet bearing the dedicatory inscription. The entablatures break forward over the columns and the wide central arch, and the profile of the column shafts transforms to square. Flanking the central arch, the side bays now each contain a shallow niche-like blind aedicular window, a discreet early 19th century restoration. 

• The cella of the temple, for instance, is almost twice as wide (45m) as it is deep (24m), as is the pronaos. In the cella a row of Corinthian columns rose from a continuous plinth projecting from the wall, which divided the cella into bays, each containing a niche. The capitals of these columns had pairs of leaping rams in place of the corner volutes. Only the platform now remains, partially covered by a road up to the Capitol.

• he building is circular with a portico of three ranks of huge granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment opening into the rotunda, under a coffered, concrete dome, with a central opening (oculus), the Great Eye, open to the sky. A rectangular structure links the portico with the rotunda. Though often still drawn as a free-standing building, there was a building at its rear into which it abutted; of this building there are only archaeological remains. 

• Hagia Sophia is one of the greatest surviving examples of Byzantine architecture.
•  Justinian's basilica was at once the culminating architectural achievement of late antiquity and the first masterpiece of Byzantine architecture. Its influence, both architecturally and liturgically, was widespread and enduring in the Eastern Orthodox, Roman Catholic, and Muslim worlds alike.
• The vast nave is covered by a central dome which has a maximum diameter of 31.24 metres (102 ft 6 in) and a height from floor level of 55.6 metres (182 ft 5 in), about one fourth smaller and greater, respectively, than the dome of the Pantheon. The dome seems rendered weightless by the unbroken arcade of 40 arched windows under it, which help flood the colourful interior with light. Due to consecutive repairs in the course of its history, the dome has lost its perfect circular base and has become somewhat elliptical with a diameter varying between 31.24 m (102 ft 6 in) and 30.86 m (101 ft 3 in).
• The dome is carried on pendentives — four concave triangular sections of masonry which solve the problem of setting the circular base of a dome on a rectangular base. At Hagia Sophia the weight of the dome passes through the pendentives to four massive piers at the corners. Between them the dome seems to float upon four great arches. These were reinforced with buttresses during Ottoman times, under the guidance of the architect Sinan.

• the cathedral established several new architectural features never seen before, flying buttresses and the arches used.
• The plan is cruciform, with a 28 metres (92 ft) long nave, and short transepts to the south and north. The east end is rounded with an ambulatory which has five semi-circular chapels radiating from it. The cathedral extensively used flying buttresses in its original plan, and these supported the weight of the extremely high vaults, at the time of being built, the highest in France. The new High Gothic cathedral at Chartres used four rib vaults in a rectangular space, instead of six in a square pattern, as in earlier Gothic cathedrals such as at Laon. The skeletal system of supports, from the compound piers all the way up to the springing and transverse and diagonal ribs, allowed large spaces of the cathedral to be free for stained glass work, as well as a towering height.

• ts façades, especially that on the south, exhibit all the richness of the late Gothic style. The carved wooden doors of both the north and the south portals are masterpieces respectively of Gothic and Renaissance workmanship. The church possesses an elaborate astronomical clock (1866) and tapestries of the 15th and 17th centuries; but its chief artistic treasures are stained glass windows of the 13th, 14th and 16th centuries, the most beautiful of them from the hand of the Renaissance artist, Engrand Le Prince, a native of Beauvais. To him also is due some of the stained glass in St-Etienne, the second church of the town, and an interesting example of the transition stage between the Romanesque and Gothic styles.

• Gothic cathedral
• Notre Dame de Paris was among the first buildings in the world to use the flying buttress [arched exterior supports]. The building was not originally designed to include the flying buttresses around the choir and nave. After the construction began and the thinner walls (popularized in the Gothic style) grew ever higher, stress fractures began to occur as the walls pushed outward. In response, the cathedral's architects built supports around the outside walls, and later additions continued as such. 

•  

  The Gothic façade of the Orvieto Cathedral is one of the great masterpieces of the Late Middle Ages. The three-gable design is attributed to Maitani, who had clearly undergone some influence by the design scheme for the façade in Tuscan Gothic style of the Siena Cathedral by Giovanni Pisano (1287-1297) and the plan for façade of the Florence Cathedral by Arnolfo di Cambio (1294-1302).

  The most exciting and eye-catching part is its golden frontage, which is decorated by large bas-reliefs and statues with the symbols (Angel, Ox, Lion, Eagle) of the Evangelists created by Maitani and collaborators (between 1325 and 1330) standing on the cornice above the sculptured panels on the piers. In 1352 Matteo di Ugolino da Bologna added the bronze Lamb of God above the central gable and the bronze statue of Saint Michael on top of the gable of the left entrance. 

• The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th century Gothic Revival facade by Emilio De Fabris. 

• The church is immediately recognizable from its wide marble façade, decorated by sculptures probably made by Agostino di Duccio and Matteo de' Pasti. Alberti aspired to renew and rival the Roman structures of Antiquity, though here his inspiration was drawn from the triumphal arch,^[2] in which his main inspiration was the tripartite Arch of Constantine in Rome, though as Rudolf Wittkower remarked,^[3] he drew details (the base, the half-columns, the discs, mouldings) from the Arch of Augustus). The large arcades on the sides are reminiscent of the Roman aqueducts. In each blind arch is a sarcophagus, a gothic tradition of interment under the exterior side arches of a church.^[4]
• The entrance portal has a triangular pediment over the door set within the center arch; geometrical decorations fill the tympanum. In the interior, where Matteo de' Pasti took credit as architect in an inscription, under the large arcades on the right side, are seven chapels with the tombs of illustrious Riminese citizens, including that of the philosopher Gemistus Pletho, whose remains were brought back by Sigismondo Pandolfo from his wars in the Balkans. The left side has no chapels (outside is a 16th century bell tower). 

• The façade, built abutting a pre-existing bell tower (1414), is based on the scheme of a Roman triumphal arch. It is largely a brick structure with hardened stucco used for the surface. It is defined by a large central arch, flanked by Corinthian pilasters. There are smaller openings to the right and left of the arch. A novel aspect of the design was the integration of a lower order, comprising the fluted Corinthian columns, with a giant order, comprising the taller, unfluted pilasters. The whole is surmounted by a pediment and above that a vaulted structure, the purpose of which is not exactly known, but presumably to shade the window opening into the church behind it.
• An important aspect of Alberti’s design was the correspondence between the façade and the interior elevations, both elaborations of the triumphal arch motif. The nave of the interior is roofed by a barrel vault, one of the first times such a form was used in such a monumental scale since antiquity, and quite likely modeled on the Basilica of Maxentius in Rome. Alberti most likely had planned for the vault to be coffered, much like the smaller barrel vault in the entrance, but lack of funds led to the vault being constructed as a simple barrel vault with the coffers then being painted on. Originally, the building was planned without a transept, and possibly even without a dome. This phase of construction more or less ended in 1494.

• it by windows in bays that are articulated by pilasters corresponding to the beams of the ceiling, with a tall constricted vestibule (executed to Michelangelo's design in 1559 by Bartolomeo Ammanati^[1]) that is filled with a stair that flows down from the library itself, the Library is often instanced as a prototype of Mannerism in architecture.^[2]

  Beneath the current wooden floor of the library in the Reading Room is a series of 15 rectangular red and white terra cotta floor panels. These panels, measuring 8 foot-6-inches (2.6 m) on a side, when viewed in sequence demonstrate basic principles of geometry. The tiles are believed to have been arranged to have been exposed based on a furniture layout that was later changed to increase the number of reading desks in the room.

• was a major project of the High Renaissance at Rome, reverberating in its details in courtyards, formalized piazzas and garden plans throughout Western Europe for centuries. Bramante himself never saw it completed, and within the century it had been irretrievably altered by a bisecting wall.
•  

• It was well known for its stone masonry that includes rustication and ashlar.^[3] The tripartite elevation was used here as a revelation of the Renaissance spirit of rationality, order, and classicism of human scale. This tripartite division is emphasized horizontal stringcourses that divide the building into stories of decreasing height. This makes the building seem lighter as the eye moves up to the extremely heavy cornice that caps and clearly defines the building's outline.
• The Palazzo Medici Riccardi was one of the numerous palazzi built during the period of Florentine prosperity. The building reflects the accumulated wealth of the Medici family, yet it is somewhat reserved.

• Its splendid facade was one of the first to announce the new ideas of Renaissance architecture based on pilasters and entablatures in proportional relationship to each other, in a design that probably owed a great deal to Alberti's studies of Roman architecture, particularly the Colosseum, but which is also full of originality.

  The rusticated masonry creates an impression of strength, particularly at the ground floor, which contained storerooms. The three storeys of the facade have different classical orders, as in the Colosseum, but with the Tuscan order at the base, an Alberti original in place of Ionic order at the second level, and a very simplified Corinthian order at the top level. Double windows at the upper storeys combine with arches with highly articulated voussoirs that spring from pilaster to pilaster.

   

• Rustification 

• It is a fine example of the mannerist style of architecture, the acknowledged masterpiece of Giulio Romano.

• Like the Villa Farnesina in Rome, the suburban location allowed for a mixing of both Palace and Villa architecture. The four exterior façades have flat pilasters against rusticated walls, the fenestration indicating that the piano nobile is on the ground floor with a secondary floor above. The East façade differs from the other three by having Palladian motifs on its pilaster and an open loggia at its centre rather than an arch to the courtyard. The facades are not as symmetrical as they appear, and the spans between the columns are irregular. The centre of the North and South facades are pierced by two-storey arches without portico or pediment, simply a covered way leading to the interior courtyard.

  Few windows overlook the inner courtyard ("cortile"); the colonnaded walls are decorated on all sides by deep niches and blind windows, and the intervening surfaces are spattered by 'spezzato' (broken and blemished plaster) giving life and depth to the surfaces. 

• It is a fine example of the mannerist style of architecture, the acknowledged masterpiece of Giulio Romano.

• Like the Villa Farnesina in Rome, the suburban location allowed for a mixing of both Palace and Villa architecture. The four exterior façades have flat pilasters against rusticated walls, the fenestration indicating that the piano nobile is on the ground floor with a secondary floor above. The East façade differs from the other three by having Palladian motifs on its pilaster and an open loggia at its centre rather than an arch to the courtyard. The facades are not as symmetrical as they appear, and the spans between the columns are irregular. The centre of the North and South facades are pierced by two-storey arches without portico or pediment, simply a covered way leading to the interior courtyard.

  Few windows overlook the inner courtyard ("cortile"); the colonnaded walls are decorated on all sides by deep niches and blind windows, and the intervening surfaces are spattered by 'spezzato' (broken and blemished plaster) giving life and depth to the surfaces. 

•  The most notable feature of the edifice is the loggia, which shows one of the first examples of the what came to be known as the Palladian window, designed by a young Andrea Palladio, whose work in architecture was to have a significant effect on the field during the Renaissance and later periods.

  The building was originally constructed in the 15th century and was known as the Palazzo della Ragione. The building was the seat of government and also housed a number of shops on the ground floor. When part of the building collapsed in the sixteenth century, the Council of One Hundred commissioned many architects to submit designs and selected Palladio to reconstruct the building in April 1549. Palladio added a new outer-shell of marble classical forms, a loggia and a portico that now obscure the original Gothic architecture.

  The Basilica was an expensive project and took a long time to complete. Palladio received an income for the work during most of his life. Only in 1614 - thirty years after his death - did the building stand complete.

   

• The palace's principal façade is composed of three bays, the central bay projecting slightly. The two end bays have logge on the piano nobile level, while the central bay is closed. The façade has two superimposed orders of columns, Doric on the lower level with Ionic above. The roofline is decorated by statuary.

• The façade is brilliantly white and represents Palladio's solution to the problem of adapting a classical temple motif with the form of the Christian church, with its high nave and low side aisles, by placing a wide pediment across the top of the aisles with the architrave continuing across the church facade, whilst the nave supports its narrower pediment atop monumental pilasters. This solution is similar to the nearly contemporary project for San Francesco della Vigna. ^[1] Beside the central portal are the statues of St George and Saint Stephen, to whom the church is also consecrated.
• The interior also is very bright with massive pilasters on undecorated, white-surfaced walls, creating an interior that expresses the Classical feel of a Renaissance design. As the façade, the interior plan is original in combining the central plan of classical tradition with the cruciform plan; this reveals the beginning influence of Counter-Reformation on the Renaissance tendencies in church architecture. As a matter of fact the dome divides both the church axis in two equal parts, with the longitudinal longer than the transversal. The aisles and the vast choir behind the presbytery sum up to this plan; therefore the best position to realize it is maybe under the dome. Many remarkable paintings are displayed in the church. The most important are: Madonna in throne with Saints by Sebastiano Ricci; Last Supper and Fall of manna by Jacopo Tintoretto (in the presbytery); other paintings by Palma il Giovane, Domenico Tintoretto, Jacopo Bassano.

• The façade is brilliantly white and represents Palladio's solution to the problem of adapting a classical temple motif with the form of the Christian church, with its high nave and low side aisles, by placing a wide pediment across the top of the aisles with the architrave continuing across the church facade, whilst the nave supports its narrower pediment atop monumental pilasters. This solution is similar to the nearly contemporary project for San Francesco della Vigna. ^[1] Beside the central portal are the statues of St George and Saint Stephen, to whom the church is also consecrated.
• The interior also is very bright with massive pilasters on undecorated, white-surfaced walls, creating an interior that expresses the Classical feel of a Renaissance design. As the façade, the interior plan is original in combining the central plan of classical tradition with the cruciform plan; this reveals the beginning influence of Counter-Reformation on the Renaissance tendencies in church architecture. As a matter of fact the dome divides both the church axis in two equal parts, with the longitudinal longer than the transversal. The aisles and the vast choir behind the presbytery sum up to this plan; therefore the best position to realize it is maybe under the dome. Many remarkable paintings are displayed in the church. The most important are: Madonna in throne with Saints by Sebastiano Ricci; Last Supper and Fall of manna by Jacopo Tintoretto (in the presbytery); other paintings by Palma il Giovane, Domenico Tintoretto, Jacopo Bassano.

• The long low proportions and the sculptural decorations are Italianate, in the new antique taste, but the bastion corners capped by pointed cones, the vertical stacks of grouped windows separated by emphatic horizontal string courses, and the high sloped slate roof are unmistakably French. The playful fortifications and the medieval donjon towers gave an air of traditional nobility to the king's newly-ennobled treasurer. The central staircase is the main feature a visitor meets with upon entering. It is embodied within the building, rather than rising helically, partly embedded in the wall and visible from outside in the French way, a feature that is familiar at the Château de Blois.

  The sculptural details at Azay are particularly remarkable. On the ground floor, fluted pilasters on high bases support the salamander and the ermine, emblems of François I and Claude de France.

  The Romantic generation rediscovered the appeal of Azay-le-Rideau. Honoré de Balzac called it "a facetted diamond set in the Indre."^[1] Now Azay-le-Rideau is surrounded by a distinctly nineteenth-century parklike English landscape garden with many specimen trees, especially exotic conifers: Atlas cedar, and bald cypress and sequoias from the New World.

   

• The royal Château de Chambord at Chambord, Loir-et-Cher, France is one of the most recognizable châteaux in the world because of its very distinct French Renaissance architecture that blends traditional French medieval forms with classical Italian structures

• PURE RENNISANCE 

• is one of the sites where the Italian Renaissance was introduced, full-blown, to France. 
• he exteriors of the ranges have a rusticated ground storey, Doric pilasters, niches on the piano nobile. In the central court, an unbroken corbelled cornice runs above two storeys, where rectangular windows alternate with shell-headed niches that are flanked by double pilasters with Corinthian capitals. Niches that span the corners are an anomaly. On the ground floor the fenestration is in blind arcading. The main door, approached by a flight of steps has a typically Serlian runsticated arch, crammed tightly between pilasters.

• a Renaissance town hall building
• The building, with its great hall on the upper floor, is reputed to have the largest roof unsupported by columns in Europe; the hall is nearly rectangular, its length 81.5m, its breadth 27m, and its height 24 m; the walls are covered with allegorical frescoes; the building stands upon arches, and the upper storey is surrounded by an open loggia, not unlike that which surrounds the basilica of Vicenza.

• The façade is brilliantly white and represents Palladio's solution to the problem of adapting a classical temple motif with the form of the Christian church, with its high nave and low side aisles, by placing a wide pediment across the top of the aisles with the architrave continuing across the church facade, whilst the nave supports its narrower pediment atop monumental pilasters.

• London, is the grandest and best known survivor of the architectural genre of banqueting house, and the only remaining component of the Palace of Whitehall. The building is important in the history of English architecture as the first classical building to be completed in a style which was to transform English architecture.
• The design of the Banqueting House is classical in concept. It introduced a refined Italianate Renaissance style that was unparalleled in the free and picturesque Jacobean architecture of England, where Renaissance motifs were still filtered through the engravings of Flemish Mannerist designers. The roof is all but flat and the roofline is a balustrade. On the street façade, all the elements of two orders of engaged columns, Corinthian over Ionic, above a high rusticated basement, are interlocked in a harmonious whole.
• The building is on three floors. The ground floor, a warren of cellars and store rooms, is low; its small windows indicating by their size the lowly status and usage of the floor, above which is the double-height banqueting hall, which falsely appears from the outside as a first-floor piano nobile with a secondary floor above. The seven bays of windows divided by Ionic pilasters of the "first floor" are surmounted by alternating triangular and segmental pediments, while the windows of the "second floor" are unadorned casements. Immediately beneath the entablature, which projects to emphasize the central three bays, the capitals of the Corinthian pilasters are linked by swags in relief above which the entablature, crowned by a balustrade, is supported by dental corbel table. Under the upper frieze, festoons and masks suggest the feasting and revelry associated with the concept of a royal banqueting hall.^[8]

• The palace's principal façade is composed of three bays, the central bay projecting slightly. The two end bays have logge on the piano nobile level, while the central bay is closed. The façade has two superimposed orders of columns, Doric on the lower level with Ionic above. The roofline is decorated by statuary.

• The Jesuit Mother Church was built according to the new requirements formulated during the Council of Trent. There is no narthex in which to linger: the visitor is projected immediately into the body of the church, a single nave without aisles, so that the congregation is assembled and attention is focused on the high altar. In place of aisles there are a series of identical interconnecting chapels behind arched openings,^[5] to which entrance is controlled by decorative balustrades with gates. Transepts are reduced to stubs that emphasize the altars of their end walls.
• The plan synthesizes the central planning of the High Renaissance,^[6] expressed by the grand scale of the dome and the prominent piers of the crossing, with the extended nave that had been characteristic of the preaching churches, a type of church established by Franciscans and Dominicans since the thirteenth century. Everywhere inlaid polychrome marble revetments are relieved by gilding, frescoed barrel vaults enrich the ceiling and rhetorical white stucco and marble sculptures break out of their tectonic framing. The example of the Gesù did not completely eliminate the traditional basilica church with aisles, but after its example was set, experiments in Baroque church floor plans, oval or Greek cross, were largely confined to smaller churches and chapels.

• The columns lining the nave are from the original 5th century church

• Elliptical in shape, with the entrance and high altar on the short axis of the ellipse, Sant'Andrea has a semicircular porch decorated with the arms of its Pamphilj patron. The stucco decoration was designed by Bernini and executed by Antonio Raggi and others between 1661 and 1666, with putti and cherubim beneath the windows. A Martyrdom of Saint Andrew (1668) by Borgognone stands on the high altar.

• It is an iconic masterpiece of Baroque architecture

• Gothic Style 

• It is an iconic masterpiece of Baroque architecture

• baroque French chateau

• Like many châteaux in the north of France, Vaux is surrounded on three sides by a rectangular moat, with the axial arrival avenue continued across a bridge to the open forecourt. The structure is symmetrical and tightly integrated, with a slightly projecting central block and end pavilions, and two returned wings that project forward. Traditional tall slate roofs emphasize each structural element with a pyramidal cap.

  At the rear, the structure is dominated by the projection of its central oval salon which rises the full height of the house, under an oval dome.

• he château rises on an elevated platform in the middle of the woods and marks the border between unequal spaces, each treated in a different way. This effect is more distinctive today, with matured woodlands, than it was in the seventeenth century; the site had been farmland, and the plantations were new.

  Le Nôtre's garden was the dominant structure of the great complex, with a balanced composition of water basins and canals contained in stone curbs, fountains, gravel walks, and patterned parterres that remains more coherent than the vast display Le Nôtre was to create at Versailles.^[8]

  The site, unlike Versailles, was naturally well-watered, with two small rivers that met in the park; the canalized bed of one forms the Grand Canal, which leads to a square basin.

  Le Nôtre created a magnificent scene, which could be viewed from the house; this garden served as a stage set for royal fêtes. Shrubberies provided the picture frame.^[9]

   

• It consists of four identical classicizing palace façades with rococo interiors around an octagonal courtyard 

• It was designed by several of the leading Baroque architects. Johann Lukas von Hildebrandt and Maximilian von Welsch, leading representants of the Austrian/South German Baroque were involved as well as Robert de Cotte and Germain Boffrand, who were prominent architects of the French Style. Balthasar Neumann, architect of the court of the bishop of Würzburg, was the principal architect of the Residenz, which was commissioned by the prince bishop of Würzburg Johann Philipp Franz von Schönborn and his brother Friedrich Carl von Schönborn in 1720 and was completed in 1744. The Venetian painter Giovanni Battista Tiepolo, assisted by his son, Domenico, painted frescoes in the building. The most spectacular interiors include the grand staircase, the chapel and the grand salon, and was indeed dubbed the "nicest parsonage in Europe" by Napoleon. The Residenz was heavily damaged in World War II, and restoration has been in progress since 1945.

• was a large Gothic revival country house built at the turn of the 19th century in Wiltshire, England, at the direction of William Thomas Beckford. It was constructed near the site of the Palladian house, later known as Fonthill Splendens, which was constructed by his father, William Beckford, to replace the Elizabethan house that Beckford père had purchased in 1744 and which had been destroyed by fire in 1755.

• The château of the Petit Trianon is a celebrated example of the transition from the Rococo style of the earlier part of the 18th century, to the more sober and refined, Neoclassical style of the 1760s and onward. The exterior of the château is simple and elegant, architecturally correct, and highly original. Essentially an exercise on a cube, the Petit Trianon attracts interest by virtue of its four facades, each thoughtfully designed according to that part of the estate it would face. The Corinthian order predominates, with two detached and two semi-detached pillars on the side of the formal French garden, and pilasters facing both the courtyard and the area once occupied by Louis XV's greenhouses. Overlooking the former botanical garden of the king, the remaining facade was left bare. The subtle use of steps compensates for the differences in level of the château's inclined location.

• The petit hameau was small, a rustic but in essence ersatz farm (or ferme ornee) meant to evoke a peasant village in Normandy, built on the far side of a landscaped pond.^[1] Created in 1783, to designs of the Queen's favoured architect, Richard Mique, the hamlet was complete with farmhouse, dairy, and mill. Here, it was said, the Queen and her attendants would dress as shepherdesses and milkmaids. Particularly docile, hand-picked cows would be cleaned. These cows would be milked by the ladies, with porcelain milk churns painted to imitate wood specially made by the royal porcelain manufactory at Sèvres. These churns and pails featured the Queen's monogram. The simple and rustic ambiance at the petit hameau has been evoked in paintings by Fragonard; however, inside the farmhouse, the rooms were far from simple, featuring the luxury and comfort to which Marie Antoinette and her ladies were accustomed. Yet, the rooms at the petit hameau allowed for more intimacy than the grand salons at Versailles, or at the Petit Trianon itself. Such model farms operating under principles espoused by the Physiocrats, were fashionable among the French aristocracy at the time, and one primary purpose of the hameau was to add to the ambiance of the Petit Trianon, giving the illusion that the Trianon itself was deep in the countryside rather than within the confines of Versailles.

• baroque French chateau

• The primitive hut had been standard in architectural theory since Vitruvius. Marc-Antoine (Abbe) Laugier brought the idea to life with an image of the hut as the frontpiece for the second edition of Laugier's Essay on Architecture 

•  notable as an early Enlightenment architectural project to rationalize industrial buildings and processes according to a philosophical order.
• The semicircular complex was planned to reflect a hierarchical organization of work. It was to have been enlarged with the building of an ideal city, but that project was never constructed.

• neoclassical 

• Claude-Nicolas Ledoux (March 21, 1736 — November 18, 1806) was one of the earliest exponents of French Neoclassical architecture. He used his knowledge of architectural theory to design not only in domestic architecture but town planning; as a consequence of his visionary plan for the Ideal City of Chaux, he became known as a utopian.^[1] His greatest works were funded by the French monarchy and came to be perceived as symbols of the Ancien Régime rather than Utopia. The French Revolution hampered his career; much of his work was destroyed in the nineteenth century. In 1804 he published a collection of his designs under the title "Architecture considered in relation to art, morals, and legislation." ^[2] In this book he took the opportunity of revising his earlier designs, making them more rigorously neoclassical and up-to-date. This revision has distorted an accurate assessment of his role in the evolution of Neoclassical architecture.^[3] His most ambitious work was the uncompleted Royal Saltworks at Arc-et-Senans, an idealistic and visionary town showing many examples of architecture parlante.^[4] Conversely his works and commissions also included the more mundane and everyday architecture such as approximately sixty elaborate toll gates in the Wall of the Farmers-General around Paris.
• To cut short the protests of the Parisian population, the operation was carried out rapidly: fifty barriers to access were built between 1785 and 1788. Most were destroyed in the nineteenth century and very few remain today,^[12] of which those of La Villette and Place Denfert-Rochereau are the only ones that haven't been altered beyond recognition. In certain cases, the entry was framed with two identical buildings; in others, it consisted of a single building. The forms were archetypal: the rotunda (Heap, Reuilly); the rotunda surmounting a Greek cross (La Villette, Rapée); the cube with peristyle (Picpus); the Greek temple (Gentilly, Courcelles); the column (le Trône). At Place de l'Étoile, the buildings, flanked with columns alternating with cubic and cylindrical elements, evoked the House of the director at Arc-and-Senans; at the Bureau des Bonshommes, an apse opened by a peristyle recalled the pavilion of Madame du Barry and the Hôtel de la Guimard. The order employed was generally Doric Greek. Ledoux also used multiple rustic embossings.

• Modeled after Directors House. 

• cantilever railway bridge 

• he Galleria Vittorio Emanuele II is a covered double arcade formed of two glass-vaulted arcades at right angles intersecting in an octagon; it is prominently sited on the northern side of the Piazza del Duomo in Milan, and connects to the Piazza della Scala. Named after Vittorio Emanuele II, the first king of united Italy, it was originally designed in 1861 and built by Giuseppe Mengoni between 1865 and 1877.

  The street is covered over by an arching glass and cast iron roof, a popular design for nineteenth-century arcades, such as the Burlington Arcade, London, which was the prototype for larger glazed shopping arcades, beginning with the Saint-Hubert Gallery in Brussels (opened 1847) and the Passazh in St Petersburg, (opened 1848) and including the Galleria Umberto in Naples (opened 1890).

  The central octagonal space is topped with a glass dome. The Milanese Galleria was larger in scale than its predecessors and was an important step in the evolution of the modern glazed and enclosed shopping mall, of which it was the direct progenitor. It has inspired the use of the term