18th and 19th Centuries Modern Architecture

MODERN ARCHITECTURE, 18TH AND 19TH CENTURIES. This article deals with the development of archi tecture in Europe and America during the last two centuries prior to the general use of skeleton construction and design characteris tic of it. (See ARCHITECTURE.) Certain European developments during the 18th century are also treated in this work in the arti cles BAROQUE ARCHITECTURE and RENAISSANCE ARCHITECTURE. Contemporary architecture is treated in this work under a num ber of headings which are given in the article ARCHITECTURAL ARTICLES.

Continental architecture from the end of the 15th to the be ginning of the 19th century presents a continuous development on the lines of the Renaissance. But Renaissance is here used only for the first phase of the epoch, embracing about a century and a half. The ensuing stage, extending to the first decades of the 18th century, is termed baroque. The style of the following period is called rococo. From about 1770 the so-called neo-classi cism dominates most European countries.

Development.

Architectural development from the time of the Renaissance takes very different forms in the different coun tries. This difference can be traced to the different character within each country of the Renaissance itself (see RENAISSANCE ARCHITECTURE). In Italy the Renaissance was never an estab lished and defined style and it rapidly passes over to the daring expressive forms and the grandiosity of the baroque. In France, the style of the Renaissance, cultivated by academic tradition, pervades monumental French architecture right up to the time of Napoleon. Whereas in Italy the Renaissance is a direct reaction against the Gothic style, in France it stands in many ways as the heir of this style. The architecture of Spain also early acquired a characteristic style, which has never entirely disappeared. The Moorish influence allied itself easily and organically with the Gothic style and also became a welcome element in the baroque. The architecture of Central Europe is less determined in char acter. The ornamentation of the German Renaissance contains a seed of the turgidity of the baroque. North Germany is influenced by Holland, whose architecture adheres to the Italian Renaissance, especially as it has been developed by Palladio. Belgium stands under the influence of Spain, Italy, or France, each in turn. The architecture of the northern countries reflects their isolated position. In Denmark the Renaissance is dependent on Dutch, and

in Sweden mostly on north German models. The latter country came into closer contact with the rest of Europe during the latter part of the 17th century and acquired a monumental architecture, which is specially allied to the Roman high Renaissance.

At the beginning of the 18th century Russia remained culturally and artistically isolated, the upper classes importing f oreign Italian, German or French—architects. (See RUSSIAN ARCHI In Italy the first phase of the 18th century is on the whole an echo of the 17th. A few characteristic buildings from this time, however, deserve mention: La Superga at Turin by Juvara (1685– 1735), Fontana di Trevi in Rome by Salvi (1699-1751), and the facade of the Lateran basilica in Rome by Galilei (1691-1737).

Galilei received his training in England and was obviously in fluenced by Wren. Italian architecture is already under the restraining influence of other countries.

During the I7th century France developed her academic classi cal style of buildings, which bears the name of Louis XIV. At the beginning of the 18th century comes a certain stagnation, although, during the whole of the century, France still sets the fashion for the rest of the Continent.

The changes of style, however, affect the exterior architecture —which on the whole still follows the academic pattern—less than the interior. The regency period marks a relaxation in the severe etiquette of Louis XIV. It aims at pleasantness, ease, and domestic comfort. The foremost French architects during this time are Oppenort (1672-1742) and de Cotte The Rococo Style with its peculiar ornamentation, developed from baroque and oriental—especially Chinese—art, has a typical exponent in Meissonier (1693-1750). Boffrand (1667-1754) is more refined, and in his private palaces, such as the Hotel de Montmorency, he has created the ideal of a comfortable and dis tinctive dwelling. But although the rococo originated in France, it was of relatively short duration there, and its influence on architecture was limited. As early as 1732 signs of new ideals of style appear in the competition for the facade of the St. Sulpice church in Paris, in which Servandoni (1695-1766) carried off the prize with a project in "Palladio style" in competition with Meis sonier's project in sumptuous rococo. It is significant that both of these men of extremes came from the Italian school.