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By Caroline Cannon-Brookes

London: Paul Hamlyn, 1969. high quality hardcover in nice dustjacket, no markings, ARCH505851. 1st Print. not easy hide. Fine/Fine. octavo - over 7

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Ubelherr (transept and chancel). Further, the sculpture is by J. M. Feichtmayr, another Bavarian master, and thus the Bavarian influence is unexpectedly strong. J. Bohemian and Moravian the early 1 was dominated throughout Georg Dientzenbut by 1678 he and his five sons, all architecture The abbey church of Kladruby in southwest Bohemia restored by Giovanni Santini, 1712-26. The original structure was Romanesque, but Santini rebuilt the vaults with strange abstract patterns of ribbing derivedfrom Bohemian Late Gothic architecture, and the climax is reached in the exotic 'Gothic' High Altar.

The problem of the transverse axis was sidestepped by Bernini degli Incurabili, carried by organising the side chapels so that the axis intersects the oval at a flat pilaster and not on the axis of a side chapel with its subsidiary points of interest. Further, this lack of accent is emphasised by the relatively pale colour of the pilasters compared to the rich red mottled marble of the remainder of the church. The entablature is continuous round the interior of the church until the entrance to the sanctuary is reached, where it breaks forward and forms part of the pediment of an aedicule motif carried by pairs of Corinthian columns.

Malhey, 1679-88. The dry classicism of this Dijon-born architect is in complete contrast to the massive, almost lumpish, forms previously in favour in Bohemia, and it signalled the end of Italian domination in Prague. , Left, the abbey church ofBfevnov on the outskirts of Prague, built by Christoph Dientzenhofer 708-2 The irregular plan is emphasised by a series ofjagged pedimental forms which combine to give the exterior a certain wild vigour. 1 1 . Below, the vaulting of the pilgrimage church at Kftiny designed by Giovanni Santini in 171 0.

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