Guarini of Modena built in Turin the churches of S. Lorenzo, S. Filippo Neri, the Porta del Po, the palace of Prince Philibert of Savoy, and the façade of the Palazzo Carignano.
—One of the most influential masters of the seventeenth cen tury was Lorenzo Bernini; in 1629 he designed the façade of St. Peter's at Rome with two towers, only one of which was executed, and this was soon demolished. The tabernacle of the high altar at St. Peter's is also his work, as well as the grand colonnades enclosing the entrance-court of the same church; these were added a little before his death. Some masters had before this employed in their decorations parts of pediments —that is to say, the lower portions only—as had been done in the East in the latest period of the antique. Bernini gave these portions a curved form; he also took from the columns their supporting power by twisting them. He formed the upper part of the high altar of St. Peter's with curved colonnettes propped against one another in the centre. In short, he gave the signal to introduce everywhere curved forms in place of straight lines. At once these curved forms conquered all the countries of the West. There was through Europe an intellectual unity such as had never existed before. There was no longer any nationality: common cul ture had everywhere brought about a common taste. Architecture formed but one great school, the centre of which was Italy—was Ber nini h imself.
rival, Francesco Borromini, sought to surpass him in originality—that is to say, in the invention of wild forms. Ground-plans and elevations threw away straight lines and were com posed of curves twisted outward and inward in a wild topsy-turvy.
The painter Domenichino, who built at Rome the Church of S. Ignazio, the entrance of the Palazzo Lanzelotti, and the Villa Ludovisi, preserved somewhat better proportions. Alessandro Algardi built the façade of S. Ignazio and the Villa Pamfili. Pietro Berettini of Cortoua built also at Rome a series of churches, the most imposing of which was Sta. Maria in Via Lata. Cosima Fansaga of Bergamo, Bernini's pupil, built at Naples the Chiesa Nuova del Gesii, that of the Madonna della Pietra Santa, and the Fontana Medina.
The circular structure, on account of the beautifully artistic effect of space which it rendered possible, had not been entirely discarded from church-architecture. One of the finest examples is the cupola of Sta.
Maria della Salute at Venice (pl. 40, fig. 4), erected in 1631 by Lon ghena. This cupola the church; so that the other parts only appear to be attached between its abutments.
The Church of the Sorbonne at Paris (fi/. 48, jigs. 2, 3), together with the palace belonging to it, is the work of Jacques Lemercier, and was fin ished in 1653. In r6So, Giuseppe Sardi built the Church of Sta. Maria Zobenigo at Venice.
Jules Hardonin Mansard, nephew of the before-mentioned master, was the most influential architect of Louis XIV.'s court. He built the Château Clagny for Madame de Montespan, also the Châteaux of Marly and Grand Trianon, the Hotel de Ville of Lyons, and, above all, the magnificent Château of Versailles, in which Louis XIV. erected a monu ment at once to his power and to his individuality. The external archi tecture is somewhat sober, yet distinctive, but the interior decoration of the apartments is luxurious almost to excess. The principal work of this master, and the one in which he showed himself a born artist, is the Eglise des Invalidcs, with its immense dome (A>. r), whose finely-curved lines exceed in elegance those of the lantern of St. Peter's at Rome. In the crypt of the Fglise des Invalides is the sarcophagus to which the mortal remains of Napoleon I. were transferred in 1861k The Louvre.—The building of the Louvre, as in earlier times that of the cathedrals, was not the work of a generation. From 1624, Lemercier had continued the construction of the court and practically retained the style of the older parts; Leveau about 166o worked upon the structure, also preserving the style of the older parts, and designed a correspond ing eastern facade. The intrigues of the court of Louis XIV. extended even to this department, and Leveau was not permitted to erect this facade, for the king had summoned the sovereign of Italian architec ture, the then old Bernini, from Rome to Paris, where he overwhelmed him with princely honors, without, however, delivering the construction into his hands.