View allAll Photos Tagged BaroqueArchitecture
Mdina the ancient capital city of Malta. The Silent City with St Paul's Cathedral as its centre of worship. Mdina is a UNESCO World Heritage Site
A short walk from the Plaza de Armas is another iconic landmark of Old Havana, Cuba - the Havana Cathedral. It is located in the Cathedral square, and it is one of the best examples of Baroque architecture in Cuba. Unlike other Spanish colonial cities I have seen, the Havana Cathedral is not located in the main square of the city. Old Havana and its fortifications are a UNESCO World Heritage Site.
The view from Festung Hohensalzburg (Hohensalzburg Fortress) in Altstadt the historic centre of Salzburg, Austria.
Archaeological excavations have shown that a Roman fort existed at the highest point of the site. Construction of the current fortress began in 1077 under Archbishop Gebhard von Helfenstein. The original design was a basic bailey with a wooden wall. In the Holy Roman Empire, the archbishops of Salzburg were already powerful political figures and they expanded the fortress to protect their interests. The fortress was gradually expanded during the following centuries. The ring walls and towers were built in 1462 under Prince-Archbishop Burkhard II von Weißpriach.
The only time that the fortress actually came under siege was during the German Peasants' War in 1525, when a group of miners, farmers and townspeople tried to oust Prince-Archbishop Matthäus Lang, but failed to take the fortress. During the Thirty Years' War, Archbishop Count Paris of Lodron strengthened the town's defences, including Hohensalzburg.
The fortress was surrendered without a fight to French troops under General Jean Victor Marie Moreau during the Napoleonic War in 1800 and the last Prince-Archbishop Count Hieronymus von Colloredo fled to Vienna. In the 19th century, it was used as barracks, storage depot and dungeon before being abandoned as a military outpost in 1861.
Hohensalzburg Fortress was refurbished from the late 19th century onwards and became a major tourist attraction and stands today as one of the best preserved castles in Europe. During the early 20th century it was used as a prison, holding Italian prisoners of war during World War I and Nazi activists before Germany's annexation of Austria in March 1938.
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No. 14 Wilkes Street (known as Wood Street up to the late nineteenth century) was part of the Wood-Michell Estate, developed by Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple between 1718 and 1728. No 14 (then 8 Wood Street) was built by James Pitman, citizen and carpenter of London, under a lease granted by Wood and Mitchell in March 1723/24 (O.S.) This house formed part of a development of four together with 16 Wilkes Street (then 9 Wood Street), and 18, 20, and 22 Hanbury Street (then nos 10 Wood Street and 8 Brown's Lane). In September 1725 Pitman assigned the lease and houses to a mercer for £1,540. In 1750 and 1773 No 14 Wilkes Street was occupied by John Freemount and Company, weavers, a reflection of the popularity of Spitalfields for the silk industry in the eighteenth century. However, these were not strictly-speaking "weavers' houses" as such, since the occupants were generally wealthy merchants and silk masters. The glazed weavers' garrets found in these houses today were added later when the area declined. No. 14 was substantially refaced in the nineteenth century (while retaining the fenestration pattern), when the terracotta bands between storeys were inserted, but its interior survives. It is two rooms deep with a hall to the south side. The sash windows are six over six and largely modern replacements.
Church of the Theotokos of Kazan was built in 1780s – 1790s under supervision of the architect Karl Blank, though the likely designers could be Vasily Bazhenov or Matvey Kazakov.
Two adjacent doorcases in wood with the cornice supported by brackets at nos 2 and 3, Old Palace Terrace at Richmond Green. This was a speculative development of 1692 by Vertue Radford, a barrister, which was built by William Wollings, a carpenter. It is an early example of a terrace outside London. The houses are of brown brick with red dressings. The doors seen here contain later eighteenth-century fanlights.
Valletta Harbour. Beautiful place and a huge very deep water harbour. You can see why us British used is as a base for the HQ for the Royal Navy's Mediterranean Fleet back in the day
Great Ormond Street was developed by Nicholas Barbon from 1686 onwards, and continued after his death by Sir William Millman. The houses at the east end of the street date from 1710-15. No. 7 was built by John Cooper and Edward Chapman. It is of brown brick with red brick dressings, and has four storeys with a basement. The wooden Doric doorcase has fluted pilasters and an entablature. The hood is carried by foliated console brackets. The door is panelled and has a rectangular radial overlight. The railings have a cast-iron lamp holder.
Sculpted by Pierre Le Gros (the Younger) 1702-03. By tradition, this suite of rooms is where the young Polish saint died.
Wolfgang Amadeus Mozart's birthplace in Altstadt the historic centre of Salzburg, Austria.
The Mozart family resided on the third floor from 1747 to 1773 and he was born there 1756. He was the seventh child of Leopold Mozart, who was a musician of the Salzburg Royal Chamber.
Since 1880, the building houses a museum that depicts the early life of Mozart, his first musical instruments, his friends, and his passionate interest in opera.
The third-floor exhibits Mozart's childhood violin as well as portraits, documents, and early editions of his music, and the second floor is devoted to Mozart's interest in opera and includes the clavichord on which he composed The Magic Flute.
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Igreja de São Francisco: baroque interior installed in a gothic church
Porto, Portugal
16 November 2017
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Canted bay with sash windows and modillion eaves cornice on the north front of Ham House. The core of the house was built by Thomas Vavasour, a naval captain, between 1608 and 1610. It had an H-plan and was of standard Jacobean type, built of brick with stone dressings, but was much altered in the later seventeenth century. In 1626 the house was acquired by William Murray, a courtier close to Charles I, who modernised it in 1637-39. Murray supported the king during the Civil War and was created earl of Dysart in 1651 but died in 1655 before the Restoration. Following the death of Murray's wife, Katherine Bruce, in 1649, the house passed to their eldest daughter, Elizabeth Dysart, who had married Sir Lionel Tollemache in 1648. After his death in 1669 she married John Maitland, 2nd earl of Lauderdale, a member of Charles II's cabal, and Secretary of State for Scotland. Between 1672 and 1674 they employed the gentleman architect Sir William Samwell to add a new south front to Ham with matching suites of apartments for themselves on the ground floor and a state apartment for Catherine of Braganza on the floor above. Some of Vavasour's house remains visible on the north front. The lead busts in oval niches below the first-floor windows on this front were inserted c.1800 having been removed from the forecourt wall. Some of the windows on the north front retain their stone mullions and transoms. The modillion cornice replaced the original gables. The canted bays (that replaced earlier turrets ending with ogee caps) on this front have sash windows, as do those on the south front (1672-74) which has sashes dating from the 1730s.
Carved spandrels and keystone above the door to the east front of Wentworth Castle by Daniel Harvey (or Hervé). Wentworth Castle was built by Thomas Wentworth, 3rd Lord Raby, who after 1711 became 1st earl of Strafford (of the second creation). Raby purchased Stainborough Park in 1708 which he renamed Wentworth Castle in 1731. The estate was chosen because it was only six miles away from Wentworth Woodehouse which Raby considered he should have inherited instead of Thomas Watson. The enlargement and renaming of Stainborough was therefore done in a spirit of bitter rivalry and as a bid for the extinct earldom of Strafford (which Raby eventually obtained). The house was enlarged with a new east range designed by Johann de Bodt between 1710 and 1720, although his plans were modified by James Gibbs and William Thornton, the Yorkshire carpenter and builder. Bodt (1670-1745) was a Huguenot who had worked in the Netherlands, and briefly in England in 1698, but subequently became the Prussian court architect. William III sent Raby to the court of Frederick I in 1701. This successfull mission led to Raby's appointment in 1703 as envoy and in 1706 as ambassador-extraordinary to Brandenburg-Prussia, where he served until April 1711. He clearly got to know Bodt and his work at this time. The front at Wentworth Castle has a strongly continental character and recalls German palaces of the date. The decorative carving on the east front is by Daniel Harvey (or Hervé). Raby, now earl of Strafford, failed to retain the favour of George I and in 1717 he retired to his Yorkshire estates, where he remained politically and socially isolated in the 1720s and 1730s. A second phase of building and decoration at Wentworth Castle was initiated by the 2nd earl who built the Palladian south front around 1760.
The British Columbia Parliament Building was completed in 1897. It is a beautiful example of the Baroque and Romanesque Revival styles of architecture.
O Palácio Fronteira, em Lisboa, erguido no século XVII por D. João de Mascarenhas, 1.º Marquês de Fronteira, apresenta-se como um exemplar notável da arquitetura residencial maneirista e barroca portuguesa. Originalmente concebido como pavilhão de caça e residência de campo, o palácio distingue-se pela sua galeria de entrada, marcada por um pórtico com colunas toscanas em pedra que suportam uma arcada. O teto estucado exibe o brasão heráldico da família Mascarenhas, anunciando a riqueza decorativa interior. O acesso à escadaria nobre e aos painéis de azulejos historiados, uma das mais importantes coleções do país, revela a influência do modelo italiano nos jardins e na azulejaria dos séculos XVII e XVIII. Classificado como Monumento Nacional, o Palácio Fronteira, que terá resistido ao Terramoto de 1755, mantém-se habitado pelos descendentes da família Mascarenhas e parcialmente aberto a visitas.
The Fronteira Palace in Lisbon, built in the 17th century by João de Mascarenhas, the 1st Marquis of Fronteira, is an outstanding example of Portuguese Mannerist and Baroque residential architecture. Originally conceived as a hunting lodge and country residence, the palace is distinguished by its entrance gallery, marked by a portico with Tuscan stone columns supporting an arcade. The stuccoed ceiling displays the heraldic coat of arms of the Mascarenhas family, announcing the rich decoration inside. Access to the noble staircase and the historicized tile panels, one of the most important collections in the country, reveals the influence of the Italian model on the gardens and the 17th and 18th century tiles. Classified as a National Monument, the Fronteira Palace, which is said to have withstood the 1755 earthquake, is still inhabited by descendants of the Mascarenhas family and is partially open to visitors.
Escadórios do Bom Jesus
Santuário do Bom Jesus do Monte, Tenões, Braga, Portugal
17 November 2017
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Chiesa di Santa Cita
in 1952 renamed San Mamiliano
named for Saint Zita of Lucca
▪ some sort of chapel off the cloister
Castellammare district, Palermo, Sicily
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Quattro Canti
Palermo, Sicily
Oct. 2022
at this intersection are the corners of all four of the ancient quarters (Cantons or Canti) of Palermo
"[Architect Giulio} Lasso's most famous work is the Quattro Canti, an eight sided piazza in the centre of Palermo. The result of a road straightening and widening scheme, the Quattri Canti is one of Sicily's first examples of the Baroque style of architecture, and is also an early example of architectural town planning. "
He died in 1617 and did not live to see his work completed. {T]he project was eventually finished under the supervision of Mariano Smiriglio,
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Early morning in Lucerne, seen from the balcony of our room at the Hotel des Alpes. Mount Pilatus rises high above the Kapellbrucke and the Jesuitenkirche.
The Kapellbrücke (Chapel Bridge) is the image that comes to mind when most people think of Lucerne, especially those who have been to the city in the Swiss Lakes and seen it for themselves.
A covered wooden footbridge over the Reuss River in Lucerne’s Altstadt (Old Town), it was built in the 14th century and named after the nearby St Peter’s Chapel. However, subsequent fire and destruction means not everything you see is original.
The bridge originally served as part of the city’s defences, helping protect it from attacks from the nearby Lake Lucerne.
Just about everyone who comes to the city will walk across its creaky wooden boards at least once during a visit, passing by the octagonal Wasserturm (water tower) that stands in the middle of the river, and taking in the 17th century panels by Heinrich Wägmann depicting events from Swiss history and mythology.
It is the oldest covered wooden bridge in Europe, while the Wasserturm is older still, having originally stood alone in the rover and served variously as a prison, treasury and town archive.
The Jesuitenkirche (Jesuit Church) on the banks of the Reuss River in Lucerne was built in 1666 by Father Christoph Vogler, and was the first religious building in Switzerland constructed in the baroque style.
It was redecorated in the mid-18th century, with ceiling paintings depicting the apotheosis of St Francis Zavier, and onion-domed twin towers were add in the 19th century.
Mount Pilatus rises high over the shores of Lake Lucerne, only a short bus ride away from the centre of Lucerne itself.
The mountain rose to prominence in the 19th century, when Wagner – a famous resident of Lucerne – hailed its vistas and Queen Victoria visited its summit on horseback.
The peak rises 2,132m (7,000ft) high and popular legend has it that it was named after Pontius Pilate, whose corpse was thrown into a lake at its summit and whose ghost haunted the mountain ever since. However, it is more likely named for the Latin word ‘pileatus’, meaning cloud-covered, given the weather conditions which often surround it.
While Queen Victoria rode her horse to the summit, it is now possible to take either a cable car or a funicular train to reach the top – the latter is dependent on the season, as snow covers the tracks during winter.
At the summit, there is a visitor centre, hotels and restaurants, as well as various footpaths which lead you to viewpoints over Lake Lucerne on one side and the Swiss Alps in the distance on the other.
Perspective view French Baroque castle (Est.1658) and forecourt platform surrounded by a medieval moat. The moat is the only remain of a defensive type of castle replaced by the new one.
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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Marble Church, Copenhagen
~ built 1749-1770; construction ceased; Construction begun anew 1874 funded by entrepreneur Carl Frederik Tietgen. Completed 1894.
~ the dome spans 102 feet / 31 meters.
` initial architect: Nicolai Eigtved
` Tietgen's architect: Ferdinand Meldahl
cartoon photo edit
Detail of a chimneypiece with paired columns from the Long Gallery at Wentworth Castle, Yorkshire. Wentworth Castle was built by Thomas Wentworth, 3rd Lord Raby, who after 1711 became 1st earl of Strafford (of the second creation). Raby purchased Stainborough Park in 1708 which he renamed Wentworth Castle in 1731. The estate was chosen because it was only six miles away from Wentworth Woodehouse which Raby considered he should have inherited instead of Thomas Watson. The enlargement and renaming of Stainborough was therefore done in a spirit of bitter rivalry and as a bid for the extinct earldom of Strafford (which Raby eventually obtained). The house was enlarged with a new east range designed by Johann de Bodt between 1710 and 1720, although his plans were modified by James Gibbs and William Thornton, the Yorkshire carpenter and builder. The Long Gallery by Gibbs extends the full length of the east front. The two matching chimneypieces have paired columns and a pediment with a griffin in the tympanum.
Grand kitchen castle interior, for that time very modern equiped. The kitchen is opposite the dining room, but communicates with the buffet on the ground floor through the longitudinal corridor. Two lateral corridors were added in 1659 on the orders of Vatel, then head waiter of Nicolas Fouquet.
The basement is partly buried, which allows the establishment of a massed plan. A longitudinal corridor crosses the basement, occupied by the kitchens, pantries and officers' rooms..
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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The very architecturally grand "Griffin Hotel" of 1905 stands on the northern half of Standishgate in Wigan town centre.
It was built in 1905 by the Oldfield Brewery company (hence the gilded terracotta "OBL" above the central window in this photo) in an ornate "Edwardian Baroque" style
The building was in use as a pub until fairly recently but has been closed since sometime in 2018. It is an English Heritage Grade II listed building.
Will the Griffin arise again?
Night falls on the church of Santa Maria della Salute in Venice.
The white stone edifice of Santa Maria della Salute – the Salute – was built in the 17th century by a Venetian government who prayed for an end to plague and had their prayers answered.
The Senate had decreed a church to honour the Virgin Mary would be built and they honoured their promise, commissioning Baldassare Longhena to construct the present building.
It took 50 years to erect and is a masterpiece of baroque architecture, owing much to Andrea Palladio. The octagonal structure, with a great dome rising from the base, contains several altars and works of art by painters such as Titian.
Every year on November 21 – the feast of the Presentation of the Virgin – the church is the home of great celebrations and prayers for health and wellness.
Mdina the ancient capital city of Malta. The Silent City with St Paul's Cathedral as its centre of worship. Mdina is a UNESCO World Heritage Site
Baroque architecture run wild. I confess I am turned off by such displays of riches and opulence in what is supposed to be a "house of God."
This is one of the reasons we had a Reformation Movement.
The Formal Gardens of Blenheim Palace owe much to the 9th Duke of Marlborough who, in the 1920’s, with the help of the French landscape architect Achille Duchêne, redesigned the previously uninspiring gardens to provide the Palace with the formal majestic setting that visitors see today.
April 22, 2022 - On the right is "Saint Charles Borromeo's Church, locally known under the Latin name of Sint-Carolus Borromeus, was built between 1614 and 1621 on instructions of the Jesuit order. Hardly a square foot was untouched by art works, and there are dozens of 17th century depictions of the church, it apparently being a popular travel destination at the time.
Among the art works, were 39 ceiling paintings by Peter Paul Rubens (his studio, and with assistance of Anthony Van Dyck), Antwerp's foremost and one of the world's most famed baroque painters. Unfortunately they have all gone now, after a fire destroyed them and many other works in 1718. The church was subsequently rebuilt and opened its doors again. Sketches of about half of the ceiling paintings by Rubens have been preserved and are distributed in various art collections around the world.
The church received its present name only in 1803, when the church became a parish church, after the Jesuit order was disbanded by the pope.
The facade of the church is impressive and is higher than the church building itself. It is inspired by the Jesuit's mother church in Rome, the Gesu, which was built some 4 decades earlier. The sumptuous decoration on the facade is partly attributable to Peter Paul Rubens.
The High Altar of the church is most remarkable. Behind the altar is a large chest which contains 4 different canvasses. With a system of pulleys, the paintings can be changed throughout the year, according to the liturgical religious year. Two of the original paintings by Peter Paul Rubens, were requisitioned by Empress Maria Theresia of Austria in 1776.
Impressive art works in the church further include two long rows of wooden confessionals, all with sculptures of angels in front. Wooden panels also depict the lives of two of the Jesuit's order principal saints : Saint Ignatius and Saint Francis Xavier.
The Lady Chapel on the right side of the church, is exuberantly decorated with marble, paintings and sculptures. The chapel is dedicated to the Virgin Mary. The painting 'The Assumption of the Blessed Virgin Mary', a copy after Peter Paul Rubens, is displayed behind the altar. Also here, the original painting by Rubens, was 'purchased' by the Empress Maria Theresia in 1776. The ceiling relief in stucco was also designed by Rubens (who seems to have been a profligate designer as well as a painter).
Some parts of the church are only open on certain days (wednesday when we checked lately). They include the Sacristy, which is a repository for textile hangings and vestments from the 17th and 18th centuries, and the Lace Room.
The tower of Saint Charles Borromeo's Church is not visible when you enter from the main facade. It is located along Sint-Katelijnevest, and dates from around 1617 to 1721. The splendid tower has only recently been restored.
Saint Charles Borromeo's Church offers outstanding baroque architecture, outside and inside. It is unfortunate that so many buildings have been built adjacent to the church, preventing it being viewed unhindered." Previous text from the following website: www.discoverflanders.com/antwerp-carolusborromeus.asp
Communion rail of wrought iron, similar to work by Jean Tijou (active in England 1688-1712) or his pupil Robert Bakewell of Derby (1682-1752), in the Cathedral Church of St Philip, Birmingham, built by Thomas Archer. The church was designed in 1709 and consecrated in 1715. The communion rail was originally installed on the chancel steps behind a triple-decker pulpit (now removed). In 1884 J.A. Chatwin extended the east end of the church and moved the communion rail to its present position.
Chiesa di Sant'Ivo alla Sapienza - Saint Yves at La Sapienza
Location: Rome, Italy
Built: 1642-1660
Architect: Francesco Borromini
Architectural style: Roman Baroque
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July 8, 2023 - On the left is: Igreja dos Carmelitas and on the right is: Igreja do Carmo. Between the churches is: Casa Escondida (Hidden House)
"WHAT LOOKS LIKE ONE ENORMOUS church is actually two separate buildings. A hidden three-foot-wide house separates the two structures. The house is so thin, it’s easy to mistake it for a wall.
Igreja dos Carmelitas Descalços was built in the 17th century for Carmelite nuns, and Igreja do Carmo was built in the 18th century for Carmelite monks. Both churches are extravagant sights to behold, making it easy to completely miss the small, humble house standing between them.
There are a number of local stories about why these churches are side by side. The most common tale says it’s because the archbishops couldn’t get along, so one built a church next door to the other in the ultimate architectural spite move. But in reality, the churches don’t actually touch each other, thanks to the house wedged between them.
Local guides give two different reasons for the skinny house’s existence. Some chalk it up to an old law stipulating that two churches couldn’t share a wall. Others say the strange home was erected to keep the nuns and monks from getting too cozy with one another.
What’s most amazing is that people actually lived within the unbelievably narrow abode. It was even inhabited up until the 1980s. Now, visitors can buy a ticket to peek inside this most unusual sliver of a building." Previous description: www.atlasobscura.com/places/carmo-and-carmelitas-churches
Early morning in Lucerne, seen from the balcony of our room at the Hotel des Alpes. Mount Pilatus rises high above the Kapellbrucke and the Jesuitenkirche.
The Kapellbrücke (Chapel Bridge) is the image that comes to mind when most people think of Lucerne, especially those who have been to the city in the Swiss Lakes and seen it for themselves.
A covered wooden footbridge over the Reuss River in Lucerne’s Altstadt (Old Town), it was built in the 14th century and named after the nearby St Peter’s Chapel. However, subsequent fire and destruction means not everything you see is original.
The bridge originally served as part of the city’s defences, helping protect it from attacks from the nearby Lake Lucerne.
Just about everyone who comes to the city will walk across its creaky wooden boards at least once during a visit, passing by the octagonal Wasserturm (water tower) that stands in the middle of the river, and taking in the 17th century panels by Heinrich Wägmann depicting events from Swiss history and mythology.
It is the oldest covered wooden bridge in Europe, while the Wasserturm is older still, having originally stood alone in the rover and served variously as a prison, treasury and town archive.
The Jesuitenkirche (Jesuit Church) on the banks of the Reuss River in Lucerne was built in 1666 by Father Christoph Vogler, and was the first religious building in Switzerland constructed in the baroque style.
It was redecorated in the mid-18th century, with ceiling paintings depicting the apotheosis of St Francis Zavier, and onion-domed twin towers were add in the 19th century.
Mount Pilatus rises high over the shores of Lake Lucerne, only a short bus ride away from the centre of Lucerne itself.
The mountain rose to prominence in the 19th century, when Wagner – a famous resident of Lucerne – hailed its vistas and Queen Victoria visited its summit on horseback.
The peak rises 2,132m (7,000ft) high and popular legend has it that it was named after Pontius Pilate, whose corpse was thrown into a lake at its summit and whose ghost haunted the mountain ever since. However, it is more likely named for the Latin word ‘pileatus’, meaning cloud-covered, given the weather conditions which often surround it.
While Queen Victoria rode her horse to the summit, it is now possible to take either a cable car or a funicular train to reach the top – the latter is dependent on the season, as snow covers the tracks during winter.
At the summit, there is a visitor centre, hotels and restaurants, as well as various footpaths which lead you to viewpoints over Lake Lucerne on one side and the Swiss Alps in the distance on the other.
Castle basement service area corridor, leading to several rooms in the basement. The corridors in this castle at the basement and on the first floor, which run the length of house, provide privacy to the rooms they access. Up to the middle of the 17th century, corridors were essentially unknown.
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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