Red Gate
The Red Gate was originally constructed in 1709 to commemorate the Battle of Poltava. But in 1724, Catherine I replaces the Red Gate with a new structure to commemorate her own coronation. This arched structure burnt down eight years later but was restored in 1742 for Elizabeth’s coronation procession, which proceeded from the Moscow Kremlin to the Lefortovo Palace through the edifice.
1753, the wooden arch was demolished and replaced with a stone arch. The design by Prince Dmitry Ukhtomsky faithfully followed that of Catherine I’s architects. This was a refined specimen of baroque sensibility, with red-blood walls, snow-white reliefs, golden capitals, and 15 bright paintings representing "Tsardoms of the Russian Empire", coats of arms of Russian provinces, etc. A large portrait of Empress Elizabeth, surrounded by a lambent halo, was replaced with a double-headed eagle for Nicholas I's coronation in 1825. The structure was crowned by a golden statue of trumpeting angel. Around the gates, a spacious square was laid out.
1753, the wooden arch was demolished and replaced with a stone arch. The design by Prince Dmitry Ukhtomsky faithfully followed that of Catherine I’s architects. This was a refined specimen of baroque sensibility, with red-blood walls, snow-white reliefs, golden capitals, and 15 bright paintings representing "Tsardoms of the Russian Empire", coats of arms of Russian provinces, etc. A large portrait of Empress Elizabeth, surrounded by a lambent halo, was replaced with a double-headed eagle for Nicholas I's coronation in 1825. The structure was crowned by a golden statue of trumpeting angel. Around the gates, a spacious square was laid out.
Kingdom of Hungary
The Kingdom of Hungary is composed of many baroque ideas. The first of building in the kingdom of Hungary is the Jesuit Church of Trnava by Pietro Spozzo in 1629–37, modeling it after the Church of the Gesu in Rome. Jesuits were the main propagators of the new style of churches in Gyor, Kosice, Egerm, and Szekesfehervar. The reconstruction of the territories devastated by the Ottomans was carried out in the Baroque style of the 18th century. Many townscapes of baroque style can be found in Gyor, Szekesfehervar, Eger, Veszprem, Esztergom, and the Castle District of Buda. Hungarian Baroque is shows a double influence of Austrian and Italian artistic patterns and many German and Italian architects came to Hungary to work as well which altered the style slightly.
Chateau de Maisons
The Château de Maisons was built between the Seine and the forest of Saint-Germain-en-Laye, with its garden front oriented to the southeast. Originally it comprised the garden, a small park of 33 hectares and a large outer park of 300 hectares. The visitor arrived by one of two avenues that crossed in a T intersection before the gate to the cour d'honneur[2] The principal central axis led to the forest, the cross axis through the village to the southwest and to the river, thence on to Paris. Three gateways stood at the far ends of the avenues.
On one side and the other of the avant-cour, Mansart constructed the stables, masterworks of architecture whose monumental character gave a preview of those that would be built at Versailles and Chantilly. Of these works there exists only a grotto, that served also to water the horses.
The château itself stood on a rectangular platform outlined in the French manner with a dry moat. The cour d'honneur was defined by terraces. The central block extends symmetrically into short wings, composed of several sections, each with its own roofline, with raked roofs and tall chimney stacks, in several ranges, with a broken façade reminiscent of the planning in work of Pierre Lescot and Philibert Delorme in the preceding century. The single pile construction typical of its epoch carries three storeys, a basement supporting a ground floor and piano nobile with three attic floors above.
On one side and the other of the avant-cour, Mansart constructed the stables, masterworks of architecture whose monumental character gave a preview of those that would be built at Versailles and Chantilly. Of these works there exists only a grotto, that served also to water the horses.
The château itself stood on a rectangular platform outlined in the French manner with a dry moat. The cour d'honneur was defined by terraces. The central block extends symmetrically into short wings, composed of several sections, each with its own roofline, with raked roofs and tall chimney stacks, in several ranges, with a broken façade reminiscent of the planning in work of Pierre Lescot and Philibert Delorme in the preceding century. The single pile construction typical of its epoch carries three storeys, a basement supporting a ground floor and piano nobile with three attic floors above.
St. Michael's Golden-Domed Monastery
The religious architecture of St. Michael's Golden-Domed Monastery incorporates elements that have evolved from styles prevalent during Byzantine and Baroque periods. The St. Michael's Golden-Domed Cathedral (Ukrainian: Михайлівський Золотоверхий Cобор) is the monastery's main church, built in 1108–1113 at the behest of Sviatopolk II Iziaslavych. The cathedral was the largest of three churches of St. Demetrius Monastery.
The ancient cathedral was modeled on the Assumption Cathedral of the Kiev Monastery of the Caves. It used the Greek cross plan prevalent during the time of the Kievan Rus, six pillars, and three apses. A miniature church, likely a baptistery, adjoined the cathedral from the south. There was also a tower with a staircase leading to the choir loft; it was incorporated into the northern part of the narthex rather than protruding from the main block as was common at the time. It is likely that the cathedral had a single dome, although two smaller domes might have topped the tower and baptistery. The interior decoration was lavish as its high-quality shimmering mosaics, probably the finest in Kievan Rus, still testify.[7]
When the medieval churches of Kiev were rebuilt in the late seventeenth and early eighteenth centuries in the Ukrainian Baroque style, the cathedral was enlarged and renovated dramatically. By 1746, it had acquired a new baroque exterior, while maintaining its original Byzantine interior. Six domes were added to the original single dome, but the added pressure on the walls was counteracted by the construction of buttresses.[1] The remaining medieval walls, characterised by alternative layers of limestone and flat brick, were covered with stucco. Ivan Hryhorovych-Barskyi was responsible for window surrounds and stucco ornamentation.
Inside the church, an intricate five-tier icon screen funded by Hetman Pavlo Skoropadsky and executed by Hryhoryi Petriv from Chernigov was installed in 1718. During the eighteenth and nineteenth centuries, almost all of the original Byzantine mosaics and frescoes on the interior walls were painted over. Some restoration work on the mosaics and frescoes that remained unpainted was carried out towards the end of the nineteenth century. However, there were no major and serious investigations of the walls done, so it is possible that medieval frescoes or mosaics were preserved under the newer coats of plaster.
The refectory of the monastery is a rectangular brick building which contains a dining hall for the brethren as well as several kitchens and pantries. The church of St. John the Divine adjoins it from the east. The outside is segmented by pilasters and displays window surrounds reminiscent of traditional Muscovite architecture. The refectory was erected in 1713 in place of the wooden one. Its interior was overhauled in 1827 and 1837 and restoration work was undertaken in 1976–1981. The monastery belltower was built in three tiers in 1716–1720, and is surmounted by a pear-shaped dome.
The ancient cathedral was modeled on the Assumption Cathedral of the Kiev Monastery of the Caves. It used the Greek cross plan prevalent during the time of the Kievan Rus, six pillars, and three apses. A miniature church, likely a baptistery, adjoined the cathedral from the south. There was also a tower with a staircase leading to the choir loft; it was incorporated into the northern part of the narthex rather than protruding from the main block as was common at the time. It is likely that the cathedral had a single dome, although two smaller domes might have topped the tower and baptistery. The interior decoration was lavish as its high-quality shimmering mosaics, probably the finest in Kievan Rus, still testify.[7]
When the medieval churches of Kiev were rebuilt in the late seventeenth and early eighteenth centuries in the Ukrainian Baroque style, the cathedral was enlarged and renovated dramatically. By 1746, it had acquired a new baroque exterior, while maintaining its original Byzantine interior. Six domes were added to the original single dome, but the added pressure on the walls was counteracted by the construction of buttresses.[1] The remaining medieval walls, characterised by alternative layers of limestone and flat brick, were covered with stucco. Ivan Hryhorovych-Barskyi was responsible for window surrounds and stucco ornamentation.
Inside the church, an intricate five-tier icon screen funded by Hetman Pavlo Skoropadsky and executed by Hryhoryi Petriv from Chernigov was installed in 1718. During the eighteenth and nineteenth centuries, almost all of the original Byzantine mosaics and frescoes on the interior walls were painted over. Some restoration work on the mosaics and frescoes that remained unpainted was carried out towards the end of the nineteenth century. However, there were no major and serious investigations of the walls done, so it is possible that medieval frescoes or mosaics were preserved under the newer coats of plaster.
The refectory of the monastery is a rectangular brick building which contains a dining hall for the brethren as well as several kitchens and pantries. The church of St. John the Divine adjoins it from the east. The outside is segmented by pilasters and displays window surrounds reminiscent of traditional Muscovite architecture. The refectory was erected in 1713 in place of the wooden one. Its interior was overhauled in 1827 and 1837 and restoration work was undertaken in 1976–1981. The monastery belltower was built in three tiers in 1716–1720, and is surmounted by a pear-shaped dome.