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By Henry A. Millon

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Completely from Hildebrandt's original scheme), in the pilgrim- 46 age church of Vierzehnheiligen (1744), and in his haps best work, the Augustinian Abbey Church and perNeresheim last at (1745). Balthasar Neumann, the outstanding manipulator of space in eighteenth-century Germany, presented in his work a trium- of delightful variations on spaces first begun by Bnmelleschi three hundred years earlier. In Wiirzburg the additions Neumann made to the Residenz, a suite of phant, ringing finale to a series stairs, chapel, etc.

The central half of the block which projects forward slightly has placed against it four equally spaced columns on bases. The bare walls flanking the central section have, at the ground floor, a mired for generations single tall window in the center of an ample wall contrast, the center section seems to be umns—open The instead of closed. light with only the all surface. In windows and col- outer sections are bathed in moldings around the windows and beneath The on the other hand, is richly articulated by deep masses of shadows under the entablature and delicate linear shadows on the flutings of the columns.

The urban palace of the buildfamily-are equally exciting (plate 94). The Schoenborn ing-mad superb rooms, multiple spatial and light effects on the ground level are almost made real (plate 95). Spaces seem to melt and merge into one another as light dissolves their substance, but, as one mounts the stairs, the multiplicity of view is replaced by a single, grand, immense space hovering above, into which Piranesian fantasies the stair ascends. The more multiple spatial effects of Wiirzburg are even thor- oughly and more excitingly explored in Vierzehnheiligen and Neresheim.

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Baroque & Rococo Architecture by Henry A. Millon

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