The Exchange at Copenhagen (r624-164o) is a stately structure dis playing its length between two canals. It has a high roof ending in a tall gable on the ends facing the canals; nnder these gables stately flights of steps lead up to marble portals. The side has a great gable with a central tower, the summit of which is composed of four dragons with intertwined tails. Numerous dormers with fantastic gables diversify the roof, and the walls are rich with Hermes figures and other adornments. The hall is embellished with paintings from the history of Denmark.
The Castle of Kronburg, near Helsingor (1629), is a square edifice sur rounding a rectangular court, and is decorated with towers and high gables like Frederiksborg.
The Hcriot Hospital, at Edinburgh, erected 162S-166o, has four tower like pavilions at the angles; it has scarcely any Gothic in its details, but exhibits the classical forms, which are adopted in the most baroque and misapplied manlier, built up into a whole which is without grandeur, but so much the more picturesque.
Late Renaissance: Baroque the entire North accepted the Italian Renaissance, but only to a certain extent as a predominant factor in the details and in some peculiarities of the plan. Its introduc tion was in the face of great opposition. In the second half of the six teenth century France followed Italy for the most part—at least, in the adoption of the palatial, symmetrical, regularly-planned edifice, which in Germany was carried out only occasionally, chiefly in great palaces for the construction of which masters were imported from Italy when secular or clerical princes, by adopting Italian art, and following their Catholic tend encies, desired to knit themselves more closely to the land which was at once the centre of the Church and of culture. Even in the beginning of the seventeenth century Italy was still the centre of culture, and still more the centre of all art-aspirations. Thither every master, in whatever land be might work, must repair to gain inspiration in his art; there he must seek his motifs.
We have before stated (p.237) that in Italy the main impression of the edifices was produced by the massive strength of the details, and that cha racterization was scarcely thought of; pomp being chiefly relied upon to produce a grand effect; this character of pompous ostentation came more and more into the foreground. Since the internal tectonic needs had for so long a period had no share in the formation of the members of a build ing and had so long worn a foreign garment, men no longer saw any reason why they should continue to reverence the ancient historic form of the details; if they could invent something that was to some extent a novelty, they could not understand why they should for ever continue to use the same well-known pilasters and entablatures.
Yet the palaces of Filippo Durazzi and Balbi, the Palazzo Reale, and that of Tursi Doria (now del Municipio) at Genoa—the latter, commenced in 1590, being the work of Rocco Lurago—are somewhat severe in appearance. The facade of the Doria palace has two series of pilasters, each corresponding to a principal and a mezzanine storey. The windows have framelike architraves partly of very flowing forms. Among the more rigorous works is the Palazzo Borghese, the court of which (pt. 41, fig. 5) is surrounded by massive colonnades.
At the end of the sixteenth century, and until 1604, Giacomo della Porta, a pupil of Michelangelo and Vignola, was active at Rome. After the death of Michelangelo he finished the dome of St. Peter's according to the master's designs and completed the Capitol. He also built the Corte della Sapienza and the palazzi Godofredi, Marescoti, and Marchetti, as well as the Villa Aldobrandini near Frascati. At the same period Domenico Fontana built the Lateran Palace and the Piazza del Monte Cavallo, and also began the royal palace at Naples, with its great three-storey façade. Carlo Maderno built the Barberini and ,Mattei palaces, and after 1605 added the nave to St. Peter's. Flaminio Ponzio built the Palazzo Sciarra and the Quirinal. The Villa Borghese, erected by Fiammingo, is in plan like the Villa Medici.
Classic Revival.—That dominance over the minds of the Northern nations which the Church, as such, had failed to attain was at last acquired by a spirit which, though emanating from within the Church, did not arise from its teachings: this spirit was that which had become saturated with classical ideas—that humanism of the Renaissance with its science and its art, which attained domination only after shedding its gay and specifically Italian elegance, only after Palladio and his successors by the hollow and imposing pomp which they introduced rendered pos sible a new style. This new style was no longer Italian, but became universal, just as the general culture had become universal and was no longer Italian. Italy had indeed remained the centre of this culture until toward the end of the seventeenth century, and then only abdicated a portion of its dominance to France, which had regained under Louis XIV. that European preponderance which it had enjoyed during the twelfth and thirteenth centuries. But France, like Italy, was only a central point: the whole of Western Europe was the realm out of whose broad area all forces worked toward the same end—the diminution of national differences and the advancement of sentiments and interests which swayed all countries alike.