Late Baroque (1675–1750)
During the period of the Late Baroque (1675–1750), the style appeared across Europe, from England and France to Central Europe and Russia, from Spain and Portugal to Scandinavia, and in the colonies of Spain and Portugal in the New World and the Philippines. It often took different names, and the regional variations became more distinct. A particularly ornate variant appeared in the early 18th century, called Rocaille in France and Rococo in Spain and Central Europe. The sculpted and painted decoration covering every space on the walls and ceiling. The most prominent architects of this style included Balthasar Neumann, noted for the Basilica of the Fourteen Holy Helpers and the Wurzburg Residence (1749–51). These works were among the final expressions of the Rococo or the Late Baroque.[6]
By the early 18th century, Baroque buildings could be found in all parts of Italy, often with regional variations. Notable examples included the Basilica of Superga, overlooking Turin, by Filippo Juvarra (1717–1731), which was later used as model for the Panthéon in Paris. The Stupinigi Palace (1729–31) was a hunting lodge and one of the Residences of the Royal House of Savoy near Turin. It was also built Filippo Juvarra.[24]
The Late Baroque period in France saw the evolving decoration of the Palace of Versailles, including the Hall of Mirrors and the Chapel. Later in the period, during the reign of Louis XV, a new, more ornate variant, the Rocaille style, or French Rococo, appeared in Paris and flourished between about 1723 and 1759.[25] The most prominent example was the salon of the Princess in Hôtel de Soubise in Paris, designed by Germain Boffrand and Charles-Joseph Natoire (1735–40).
Christopher Wren was the leading figure of the late Baroque in England, with his reconstruction of St. Paul's Cathedral (1675–1711) inspired by the model of St. Peter's Basilica in Rome, his plan for Greenwich Hospital (begun 1695), and Hampton Court Palace (1690–96). Other British figures of the late Baroque included Inigo Jones for Wilton House (1632–1647 and two pupils of Wren, John Vanbrugh and Nicholas Hawksmoor, for Castle Howard (1699–1712) and Blenheim Palace (1705–1724).[28]
In the 17th century Late Baroque style buildings in Lithuania were built in an Italian Baroque style, however in the first half of the 18th century a distinctive Vilnian Baroque architectural style of the Late Baroque was formed in capital Vilnius (in which architecture was taught at Vilnius Jesuit Academy, Jesuits colleges, Dominican schools) and spread throughout Lithuania.[29][30][31][32] The most distinctive features of churches built in the Vilnian Baroque style are very tall and slender towers of the main façades with differently decorated compartments, undulation of cornices and walls, decorativeness in bright colors, and multi-colored marble and stucco altars in the interiors.[29][30][32] The Lithuanian nobility funded renovations and constructions of Late Baroque churches, monasteries (e.g. Pažaislis Monastery) and their personal palaces (e.g. Sapieha Palace, Slushko Palace, Minor Radvilos Palace).[33][34]
Notable architects who built buildings in a Late Baroque style in Lithuania are Johann Christoph Glaubitz, Thomas Zebrowski, Pietro Perti (cooperated with painters Michelangelo Palloni, Giovanni Maria Galli), Giambattista Frediani, Pietro Puttini, Carlo Puttini, Jan Zaor, G. Lenkiewicz, Abraham Würtzner, Jan Valentinus Tobias Dyderszteyn, P. I. Hofer, Paolo Fontana [it], etc.[30][32][34]
, reconstructed in the 18th century by
, Giambattista Frediani and completed in 1701
in Vilnius, reconstructed in a Late Baroque style in the 17th century
Interior of the Church of the Visitation in the
, designed by Pietro Puttini, Carlo Puttini and Giovanni Battista Frediani and completed in 1690
Many of the most extraordinary buildings of the Late Baroque were constructed in Austria, Germany, and Czechia. In Austria, the leading figure was Fischer von Erlach, who built the Karlskirche, the largest church of Vienna, to glorify the Habsburg emperors. These works sometimes borrowed elements from Versailles combined with elements of the Italian Baroque to create grandiose new effects, as in the Schwarzenberg Palace (1715). Johann Lukas von Hildebrandt used grand stairways and ellipses to achieve his effects at the upper and lower Belvedere Palace in Vienna (1714–1722). In The Abbey of Melk, Jakob Prandtauer used an abundance of polychrome marble and stucco, statuary and ceiling paintings to achieve harmonious and highly theatrical effects.[39]
Another important figure of German Baroque was Balthasar Neumann (1687–1753), whose works included the Würzburg Residence for the Prince-Bishops of Würzburg, with its famous staircase.[40]
In Bohemia, the leading Baroque architect was Christoph Dientzenhofer, whose building featured complex curves and counter-curves and elliptical forms, making Prague, like Vienna, a capital of the late Baroque.[41]
Political and economic crises in the 17th century largely delayed the arrival of the Baroque in Spain until the late period, though the Jesuits strongly promoted it. Its early characteristics were a lavish exterior contrasting with a relatively simple interior and multiple spaces. They carefully planned lighting in the interior to give an impression of mystery. Early 18th century,[42] Notable Spanish examples included the new west façade of Santiago de Compostela Cathedral, (1738–50), with its spectacular towers, by Fernando de Casas Novoa. In Seville, Leonardo de Figueroa was the creator of the Palacio de San Telmo, with a façade inspired by the Italian Baroque. The most ornate works of the Spanish Baroque were made by Jose Benito de Churriguera in Madrid and Salamanca. In his work, the buildings are nearly overwhelmed by the ornament of gilded wood, gigantic twisting columns, and sculpted vegetation. His two brothers, Joaquin and Alberto, also made important, if less ornamented, contributions to what became known simply as the Churrigueresque style.[42]
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The Baroque style was imported into Latin America in the 17th century by the Spanish and the Portuguese, particularly by the Jesuits for the construction of churches. The style was sometimes called Churrigueresque, after the family of Baroque architects in Salamanca. A particularly fine example is Zacatecas Cathedral in Zacatecas City, in north-central Mexico, with its lavishly sculpted façade and twin bell towers. Another important example is San Cristobal de las Casas in Mexico.[43] A notable example in Brazil is the São Bento Monastery in Rio de Janeiro. begun in 1617, with additional decoration after 1668. The Metropolitan Tabernacle the Mexico City Metropolitan Cathedral, to the right of the main cathedral, built by Lorenzo Rodríguez between 1749 and 1760, to house the archives and vestments of the archbishop, and to receive visitors.[44]
Portuguese colonial architecture was modeled after the architecture of Lisbon, different from the Spanish style. The most notable architect in Brazil was Aleijadinho, who was native of Brazil, half-Portuguese, and self-taught. His most famous work is the Church of Saint Francis of Assisi (Ouro Preto).[45]
in Mexico, built between 1729-1772, an example of the
, Mexico City, built between 1571-1813, by several architects
, Cuba, built between 1748-1777
, church built between 1617-1747 by Spaniard
. It is a World Heritage Site by UNESCO
Complete façade of the
, built between 1550-1680
, Peru, built between 1576-1668, by Jean-Baptiste Gilles and Diego Martínez de Oviedo.
Panorama of the façade of the
, built between 1657-1672 by the Portuguese
and the Liman Manuel Escobar, is a World Heritage City by UNESCO
Baroque architecture often used visual and theatrical effects, designed to surprise and awe the viewer:
Emulation by embedded chips
Although most modern computers do not have physical ISA buses, almost all PCs — IA-32, and x86-64 — have ISA buses allocated in physical address space. Some Southbridges and some CPUs themselves provide services such as temperature monitoring and voltage readings through ISA buses as ISA devices.[citation needed]
IEEE started a standardization of the ISA bus in 1985, called the P996 specification. However, despite books being published on the P996 specification, it never officially progressed past draft status.[11]
There still is an existing user base with old computers, so some ISA cards are still manufactured, e.g. with USB ports[12] or complete single-board computers based on modern processors, USB 3.0, and SATA.[13]
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The architecture of residential and public buildings includes the design of such objects as individual residential buildings, educational institutions, and industrial buildings. Graduates of this educational program can design the layout and three-dimensional spatial appearance of buildings and structures.
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Internal expansion bus in early PC compatibles
Industry Standard Architecture (ISA) is the 16-bit internal bus of IBM PC/AT and similar computers based on the Intel 80286 and its immediate successors during the 1980s. The bus was (largely) backward compatible with the 8-bit bus of the 8088-based IBM PC, including the IBM PC/XT as well as IBM PC compatibles.
Originally referred to as the PC bus (8-bit) or AT bus (16-bit), it was also termed I/O Channel by IBM. The ISA term was coined as a retronym by IBM PC clone manufacturers in the late 1980s or early 1990s as a reaction to IBM attempts to replace the AT bus with its new and incompatible Micro Channel architecture.
The 16-bit ISA bus was also used with 32-bit processors for several years. An attempt to extend it to 32 bits, called Extended Industry Standard Architecture (EISA), was not very successful, however. Later buses such as VESA Local Bus and PCI were used instead, often along with ISA slots on the same mainboard. Derivatives of the AT bus structure were and still are used in ATA/IDE, the PCMCIA standard, CompactFlash, the PC/104 bus, and internally within Super I/O chips.
Even though ISA disappeared from consumer desktops many years ago, it is still used in industrial PCs, where certain specialized expansion cards that never transitioned to PCI and PCI Express are used.
The original PC bus was developed by a team led by Mark Dean at IBM as part of the IBM PC project in 1981.[2] It was an 8-bit bus based on the I/O bus of the IBM System/23 Datamaster system - it used the same physical connector, and a similar signal protocol and pinout.[3] A 16-bit version, the IBM AT bus, was introduced with the release of the IBM PC/AT in 1984. The AT bus was a mostly backward-compatible extension of the PC bus—the AT bus connector was a superset of the PC bus connector. In 1988, the 32-bit EISA standard was proposed by the "Gang of Nine" group of PC-compatible manufacturers that included Compaq. Compaq created the term Industry Standard Architecture (ISA) to replace PC compatible.[4] In the process, they retroactively renamed the AT bus to ISA to avoid infringing IBM's trademark on its PC and PC/AT systems (and to avoid giving their major competitor, IBM, free advertisement).
IBM designed the 8-bit version as a buffered interface to the motherboard buses of the Intel 8088 (16/8 bit) CPU in the IBM PC and PC/XT, augmented with prioritized interrupts and DMA channels. The 16-bit version was an upgrade for the motherboard buses of the Intel 80286 CPU (and expanded interrupt and DMA facilities) used in the IBM AT, with improved support for bus mastering. The ISA bus was therefore synchronous with the CPU clock until sophisticated buffering methods were implemented by chipsets to interface ISA to much faster CPUs.
ISA was designed to connect peripheral cards to the motherboard and allows for bus mastering. Only the first 16 MB of main memory is addressable. The original 8-bit bus ran from the 4.77 MHz clock of the 8088 CPU in the IBM PC and PC/XT. The original 16-bit bus ran from the CPU clock of the 80286 in IBM PC/AT computers, which was 6 MHz in the first models and 8 MHz in later models. The IBM RT PC also used the 16-bit bus. ISA was also used in some non-IBM compatible machines such as Motorola 68k-based Apollo (68020) and Amiga 3000 (68030) workstations, the short-lived AT&T Hobbit and the later PowerPC-based BeBox.
Companies like Dell improved the AT bus's performance[5] but in 1987, IBM replaced the AT bus with its proprietary Micro Channel Architecture (MCA). MCA overcame many of the limitations then apparent in ISA but was also an effort by IBM to regain control of the PC architecture and the PC market. MCA was far more advanced than ISA and had many features that would later appear in PCI. However, MCA was also a closed standard whereas IBM had released full specifications and circuit schematics for ISA. Computer manufacturers responded to MCA by developing the Extended Industry Standard Architecture (EISA) and the later VESA Local Bus (VLB). VLB used some electronic parts originally intended for MCA because component manufacturers already were equipped to manufacture them. Both EISA and VLB were backward-compatible expansions of the AT (ISA) bus.
Users of ISA-based machines had to know special information about the hardware they were adding to the system. While a handful of devices were essentially plug-n-play, this was rare. Users frequently had to configure parameters when adding a new device, such as the IRQ line, I/O address, or DMA channel. MCA had done away with this complication and PCI actually incorporated many of the ideas first explored with MCA, though it was more directly descended from EISA.
This trouble with configuration eventually led to the creation of ISA PnP, a plug-n-play system that used a combination of modifications to hardware, the system BIOS, and operating system software to automatically manage resource allocations. In reality, ISA PnP could be troublesome and did not become well-supported until the architecture was in its final days.
A PnP ISA, EISA or VLB device may have a 5-byte EISA ID (3-byte manufacturer ID + 2-byte hex number) to identify the device. For example, CTL0044 corresponds to Creative Sound Blaster 16 / 32 PnP.
PCI slots were the first physically incompatible expansion ports to directly squeeze ISA off the motherboard. At first, motherboards were largely ISA, including a few PCI slots. By the mid-1990s, the two slot types were roughly balanced, and ISA slots soon were in the minority of consumer systems. Microsoft's PC-99 specification recommended that ISA slots be removed entirely, though the system architecture still required ISA to be present in some vestigial way internally to handle the floppy drive, serial ports, etc., which was why the software compatible LPC bus was created. ISA slots remained for a few more years, and towards the turn of the century it was common to see systems with an Accelerated Graphics Port (AGP) sitting near the central processing unit, an array of PCI slots, and one or two ISA slots near the end. In late 2008, even floppy disk drives and serial ports were disappearing, and the extinction of vestigial ISA (by then the LPC bus) from chipsets was on the horizon.
PCI slots are rotated compared to their ISA counterparts—PCI cards were essentially inserted upside-down, allowing ISA and PCI connectors to squeeze together on the motherboard. Only one of the two connectors can be used in each slot at a time, but this allowed for greater flexibility.
The AT Attachment (ATA) hard disk interface is directly descended from the 16-bit ISA of the PC/AT. ATA has its origins in the IBM Personal Computer Fixed Disk and Diskette Adapter, the standard dual-function floppy disk controller and hard disk controller card for the IBM PC AT; the fixed disk controller on this card implemented the register set and the basic command set which became the basis of the ATA interface (and which differed greatly from the interface of IBM's fixed disk controller card for the PC XT). Direct precursors to ATA were third-party ISA hardcards that integrated a hard disk drive (HDD) and a hard disk controller (HDC) onto one card. This was at best awkward and at worst damaging to the motherboard, as ISA slots were not designed to support such heavy devices as HDDs. The next generation of Integrated Drive Electronics drives moved both the drive and controller to a drive bay and used a ribbon cable and a very simple interface board to connect it to an ISA slot. ATA is basically a standardization of this arrangement plus a uniform command structure for software to interface with the HDC within the drive. ATA has since been separated from the ISA bus and connected directly to the local bus, usually by integration into the chipset, for much higher clock rates and data throughput than ISA could support. ATA has clear characteristics of 16-bit ISA, such as a 16-bit transfer size, signal timing in the PIO modes and the interrupt and DMA mechanisms.
The PC/XT-bus is an eight-bit ISA bus used by Intel 8086 and Intel 8088 systems in the IBM PC and IBM PC XT in the 1980s. Among its 62 pins were demultiplexed and electrically buffered versions of the 8 data and 20 address lines of the 8088 processor, along with power lines, clocks, read/write strobes, interrupt lines, etc. Power lines included −5 V and ±12 V in order to directly support pMOS and enhancement mode nMOS circuits such as dynamic RAMs among other things. The XT bus architecture uses a single Intel 8259 PIC, giving eight vectorized and prioritized interrupt lines. It has four DMA channels originally provided by the Intel 8237. Three of the DMA channels are brought out to the XT bus expansion slots; of these, 2 are normally already allocated to machine functions (diskette drive and hard disk controller):
The PC/AT-bus, a 16-bit (or 80286-) version of the PC/XT bus, was introduced with the IBM PC/AT. This bus was officially termed I/O Channel by IBM.[citation needed] It extends the XT-bus by adding a second shorter edge connector in-line with the eight-bit XT-bus connector, which is unchanged, retaining compatibility with most 8-bit cards. The second connector adds four additional address lines for a total of 24, and 8 additional data lines for a total of 16. It also adds new interrupt lines connected to a second 8259 PIC (connected to one of the lines of the first) and 4 × 16-bit DMA channels, as well as control lines to select 8- or 16-bit transfers.
The 16-bit AT bus slot originally used two standard edge connector sockets in early IBM PC/AT machines. However, with the popularity of the AT architecture and the 16-bit ISA bus, manufacturers introduced specialized 98-pin connectors that integrated the two sockets into one unit. These can be found in almost every AT-class PC manufactured after the mid-1980s. The ISA slot connector is typically black (distinguishing it from the brown EISA connectors and white PCI connectors).
Motherboard devices have dedicated IRQs (not present in the slots). 16-bit devices can use either PC-bus or PC/AT-bus IRQs. It is therefore possible to connect up to 6 devices that use one 8-bit IRQ each and up to 5 devices that use one 16-bit IRQ each. At the same time, up to 4 devices may use one 8-bit DMA channel each, while up to 3 devices can use one 16-bit DMA channel each.
Originally, the bus clock was synchronous with the CPU clock, resulting in varying bus clock frequencies among the many different IBM clones on the market (sometimes as high as 16 or 20 MHz), leading to software or electrical timing problems for certain ISA cards at bus speeds they were not designed for. Later motherboards or integrated chipsets used a separate clock generator, or a clock divider which either fixed the ISA bus frequency at 4, 6, or 8 MHz[6] or allowed the user to adjust the frequency via the BIOS setup. When used at a higher bus frequency, some ISA cards (certain Hercules-compatible video cards, for instance), could show significant performance improvements.
Major Baroque architects and works, by country
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Vancouver138 W 8th Avenue,Vancouver, BC, V5Y 1N2
MontrealSuite 606,460 Ste-Catherine O,Montreal, QC, H3B 1A7
From Wikipedia, the free encyclopedia
A slot comprises the operation issue and data path machinery surrounding a set of one or more execution unit (also called a functional unit (FU)) which share these resources.[1][2] The term slot is common for this purpose in very long instruction word (VLIW) computers, where the relationship between operation in an instruction and pipeline to execute it is explicit. In dynamically scheduled machines, the concept is more commonly called an execute pipeline.
Modern conventional central processing units (CPU) have several compute pipelines, for example: two arithmetic logic units (ALU), one floating point unit (FPU), one Streaming SIMD Extensions (SSE) (such as MMX), one branch. Each of them can issue one instruction per basic instruction cycle, but can have several instructions in process. These are what correspond to slots. The pipelines may have several FUs, such as an adder and a multiplier, but only one FU in a pipeline can be issued to in a given cycle. The FU population of a pipeline (slot) is a design option in a CPU.
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Baroque architecture, architectural style originating in late 16th-century Italy and lasting in some regions, notably Germany and colonial South America, until the 18th century. It had its origins in the Counter-Reformation, when the Catholic Church launched an overtly emotional and sensory appeal to the faithful through art and architecture. Complex architectural plan shapes, often based on the oval, and the dynamic opposition and interpenetration of spaces were favoured to heighten the feeling of motion and sensuality. Other characteristic qualities include grandeur, drama and contrast (especially in lighting), curvaceousness, and an often dizzying array of rich surface treatments, twisting elements, and gilded statuary. Architects unabashedly applied bright colours and illusory, vividly painted ceilings. Outstanding practitioners in Italy included Gian Lorenzo Bernini, Carlo Maderno, Francesco Borromini, and Guarino Guarini. Classical elements subdued Baroque architecture in France. In central Europe, the Baroque arrived late but flourished in the works of such architects as the Austrian Johann Bernhard Fischer von Erlach. Its impact in Britain can be seen in the works of Christopher Wren. The late Baroque style is often referred to as Rococo or, in Spain and Spanish America, as Churrigueresque.
16th–18th-century European architectural style
Baroque architecture is a highly decorative and theatrical style which appeared in Italy in the late 16th century and gradually spread across Europe. It was originally introduced by the Catholic Church, particularly by the Jesuits, as a means to combat the Reformation and the Protestant church with a new architecture that inspired surprise and awe.[1] It reached its peak in the High Baroque (1625–1675), when it was used in churches and palaces in Italy, Spain, Portugal, France, Bavaria and Austria. In the Late Baroque period (1675–1750), it reached as far as Russia, the Ottoman Empire and the Spanish and Portuguese colonies in Latin America. In about 1730, an even more elaborately decorative variant called Rococo appeared and flourished in Central Europe.[2][3]
Baroque architects took the basic elements of Renaissance architecture, including domes and colonnades, and made them higher, grander, more decorated, and more dramatic. The interior effects were often achieved with the use of quadratura (i.e. trompe-l'œil painting combined with sculpture): the eye is drawn upward, giving the illusion that one is looking into the heavens. Clusters of sculpted angels and painted figures crowd the ceiling. Light was also used for dramatic effect; it streamed down from cupolas, and was reflected from an abundance of gilding. Twisted columns were also often used, to give an illusion of upwards motion, and cartouches and other decorative elements occupied every available space. In Baroque palaces, grand stairways became a central element.[4]
The Early Baroque (1584–1625) was largely dominated by the work of Roman architects, notably the Church of the Gesù by Giacomo della Porta (consecrated 1584) façade and colonnade of St. Peter's Basilica by Carlo Maderno (completed 1612) and the lavish Barberini Palace interiors by Pietro da Cortona (1633–1639), and Santa Susanna (1603), by Carlo Maderno. In France, the Luxembourg Palace (1615–45) built by Salomon de Brosse for Marie de' Medici was an early example of the style.[5]
The High Baroque (1625–1675) produced major works in Rome by Pietro da Cortona, including the (Church of Santi Luca e Martina) (1635–50); by Francesco Borromini (San Carlo alle Quattro Fontane (1634–1646)); and by Gian Lorenzo Bernini (The colonnade of St. Peter's Square) (1656–57). In Venice, High Baroque works included Santa Maria della Salute by Baldassare Longhena. Examples in France included the Pavillon de l’Horloge of the Louvre Palace by Jacques Lemercier (1624–1645), the Chapel of the Sorbonne by Jacques Lemercier (1626–35) and the Château de Maisons by François Mansart (1630–1651).
The Late Baroque (1675–1750) saw the style spread to all parts of Europe, and to the colonies of Spain and Portugal in the New World. National styles became more varied and distinct. The Late Baroque in France, under Louis XIV, was more ordered and classical; examples included the Hall of Mirrors of the Palace of Versailles and the dome of Les Invalides. An especially ornate variant, appeared in the early 18th century; it was first called Rocaille in France; then Rococo in Spain and Central Europe. The sculpted and painted decoration covered every space on the walls and ceiling. Its most celebrated architect was Balthasar Neumann, noted for the Basilica of the Fourteen Holy Helpers and the Würzburg Residence (1749–51).[6]
Early Baroque (1584–1625)
Rome (consecrated 1584)
Interior view of dome of the Church of the Gesù by
, the first Paris church with a façade in the new Baroque style (1616–20)
, India, completed in 1604 AD. It holds the body of St.
Baroque architecture first appeared in the late 16th and early 17th century in religious architecture in Rome as a means to counter the popular appeal of the Protestant Reformation. It was a reaction against the more severe and academic earlier style of earlier churches, it aimed to inspire the common people with the effects of surprise, emotion and awe. To achieve this, it used a combination of contrast, movement, trompe-l'œil and other dramatic and theatrical effects, such as quadratura—the use of painted ceilings that gave the illusion that one was looking up directly at the sky. The new style was particularly favored by the new religious orders, including the Theatines and the Jesuits, who built new churches designed to attract and inspire a wide popular audience.[7]
One of the first Baroque architects, Carlo Maderno, used Baroque effects of space and perspective in the new façade and colonnade of Saint Peter's Basilica, which was designed to contrast with and complement the gigantic dome built earlier by Michelangelo.[8] Other influential early examples in Rome included the Church of the Gesù by Giacomo della Porta (consecrated 1584), with the first Baroque façade and a highly ornate interior, and Santa Susanna (1603), by Carlo Maderno.[9]
The Jesuits soon imported the style to Paris. The Church of St-Gervais-et-St-Protais in Paris (1615–1621) had the first Baroque façade in France, featuring, like the Italian Baroque façades, the three superimposed classical orders.[10] The Italian style of palaces was also imported to Paris by Marie de' Medici for her new residence, the Luxembourg Palace (1615–1624) by architect Salomon de Brosse, and for a new wing of the Château of Blois by François Mansard (1635–38). Nicolas Fouquet, the superintendent of finances for the young King Louis XIV, chose the new style for his château at Vaux-le-Vicomte (1612–1670) by Louis Le Vau. He was later imprisoned by the King because of the extravagant cost of the palace.[11]
In the Southern Netherlands, the Baroque architecture was introduced by the Catholic Church in the context of the Counter-Reformation and the Eighty Years' War. After the separation of the Netherlands Baroque churches were set up across the country. One of the first architects was Wenceslas Cobergher (1560-1634), who built the Basilica of Our Lady of Scherpenheuvel from 1609 until 1627 and the Church of Saint Augustine, Antwerp. Other churches are for example the St. Charles Borromeo Church, Antwerp (1615-1621) and the St. Walburga Church (Bruges) (1619-1641), both built by Pieter Huyssens. Later, secular buildings, such as the Guildhalls on the Grand-Place in Brussels and several Belfries, were constructed too.[citation needed]
The first example of early Baroque in Central Europe was the Corpus Christi Church, Nesvizh in the Polish–Lithuanian Commonwealth, built by the Jesuits on the Roman model between 1586 and 1593 in Nieśwież (after 1945 Niasvizh in Belarus).[12][13] The church also holds a distinction of being the first domed basilica with a Baroque façade in the Commonwealth and Eastern Europe.[13] Another early example in Poland is the Church of Saints Peter and Paul Church, Kraków, built between 1597 and 1619 by the Italian Jesuit architect Giovanni Maria Bernardoni.[14]
/16-bit incompatibilities
Memory address decoding for the selection of 8 or 16-bit transfer mode was limited to 128 KB sections, leading to problems when mixing 8- and 16-bit cards as they could not co-exist in the same 128 KB area. This is because the MEMCS16 line is required to be set based on the value of LA17-23 only.
ISA is still used today for specialized industrial purposes. In 2008, IEI Technologies released a modern motherboard for Intel Core 2 Duo processors which, in addition to other special I/O features, is equipped with two ISA slots. It was marketed to industrial and military users who had invested in expensive specialized ISA bus adaptors, which were not available in PCI bus versions.[7]
Similarly, ADEK Industrial Computers released a modern motherboard in early 2013 for Intel Core i3/i5/i7 processors, which contains one (non-DMA) ISA slot.[8] Also, MSI released a modern motherboard with one ISA slot in 2020.[9]
The PC/104 bus, used in industrial and embedded applications, is a derivative of the ISA bus, utilizing the same signal lines with different connectors. The LPC bus has replaced the ISA bus as the connection to the legacy I/O devices on current motherboards; while physically quite different, LPC looks just like ISA to software, so the peculiarities of ISA such as the 16 MiB DMA limit (which corresponds to the full address space of the Intel 80286 CPU used in the original IBM AT) are likely to stick around for a while.
As explained in the History section, ISA was the basis for development of the ATA interface, used for ATA (a.k.a. IDE) hard disks. Physically, ATA is essentially a simple subset of ISA, with 16 data bits, support for exactly one IRQ and one DMA channel, and 3 address bits. To this ISA subset, ATA adds two IDE address select ("chip select") lines (i.e. address decodes, effectively equivalent to address bits) and a few unique signal lines specific to ATA/IDE hard disks (such as the Cable Select/Spindle Sync. line.) In addition to the physical interface channel, ATA goes beyond and far outside the scope of ISA by also specifying a set of physical device registers to be implemented on every ATA (IDE) drive and a full set of protocols and device commands for controlling fixed disk drives using these registers. The ATA device registers are accessed using the address bits and address select signals in the ATA physical interface channel, and all operations of ATA hard disks are performed using the ATA-specified protocols through the ATA command set. The earliest versions of the ATA standard featured a few simple protocols and a basic command set comparable to the command sets of MFM and RLL controllers (which preceded ATA controllers), but the latest ATA standards have much more complex protocols and instruction sets that include optional commands and protocols providing such advanced optional-use features as sizable hidden system storage areas, password security locking, and programmable geometry translation.
In the mid-1990s, the ATA host controller (usually integrated into the chipset) was moved to PCI form.[10] A further deviation between ISA and ATA is that while the ISA bus remained locked into a single standard clock rate (for backward hardware compatibility), the ATA interface offered many different speed modes, could select among them to match the maximum speed supported by the attached drives, and kept adding faster speeds with later versions of the ATA standard (up to 133 MB/s for ATA-6, the latest.) In most forms, ATA ran much faster than ISA, provided it was connected directly to a local bus (e.g. southbridge-integrated IDE interfaces) faster than the ISA bus.
Before the 16-bit ATA/IDE interface, there was an 8-bit XT-IDE (also known as XTA) interface for hard disks. It was not nearly as popular as ATA has become, and XT-IDE hardware is now fairly hard to find. Some XT-IDE adapters were available as 8-bit ISA cards, and XTA sockets were also present on the motherboards of Amstrad's later XT clones as well as a short-lived line of Philips units. The XTA pinout was very similar to ATA, but only eight data lines and two address lines were used, and the physical device registers had completely different meanings. A few hard drives (such as the Seagate ST351A/X) could support either type of interface, selected with a jumper.
Many later AT (and AT successor) motherboards had no integrated hard drive interface but relied on a separate hard drive interface plugged into an ISA/EISA/VLB slot. There were even a few 80486-based units shipped with MFM/RLL interfaces and drives instead of the increasingly common AT-IDE.
Commodore built the XT-IDE-based peripheral hard drive and memory expansion unit A590 for their Amiga 500 and 500+ computers that also supported a SCSI drive. Later models – the A600, A1200, and the Amiga 4000 series – use AT-IDE drives.
The PCMCIA specification can be seen as a superset of ATA. The standard for PCMCIA hard disk interfaces, which included PCMCIA flash drives, allows for the mutual configuration of the port and the drive in an ATA mode. As a de facto extension, most PCMCIA flash drives additionally allow for a simple ATA mode that is enabled by pulling a single pin low, so that PCMCIA hardware and firmware are unnecessary to use them as an ATA drive connected to an ATA port. PCMCIA flash drive to ATA adapters are thus simple and inexpensive but are not guaranteed to work with any and every standard PCMCIA flash drive. Further, such adapters cannot be used as generic PCMCIA ports, as the PCMCIA interface is much more complex than ATA.
High Baroque (1625–1675)
Pope Urban VIII, who occupied the Papacy from 1623 to 1644, became the most influential patron of the Baroque style. After the death of Carlo Maderno in 1629, Urban named the architect and sculptor Gian Lorenzo Bernini as the chief Papal architect. Bernini created not only Baroque buildings, but also Baroque interiors, squares and fountains, transforming the center of Rome into an enormous theater. Bernini rebuilt the Church of Santa Bibiana and the Church of San Sebastiano al Palatino on the Palatine Hill into Baroque landmarks, planned the Fontana del Tritone in the Piazza Barberini, and created the soaring baldacchino as the centerpiece of St Peter's Basilica.[15]
The High Baroque spread gradually across Italy, beyond Rome. The period saw the construction of Santa Maria della Salute by Baldassare Longhena in Venice (1630–31). Churches were not the only buildings to use the Baroque style. One of the finest monuments of the early Baroque is the Barberini Palace (1626–1629), the residence of the family of Urban VIII, begun by Carlo Maderno, and completed and decorated by Bernini and Francesco Borromini. The outside of the Pope's family residence, was relatively restrained, but the interiors, and especially the immense fresco on the ceiling of the salon, the Allegory of Divine Providence and Barberini Power painted by Pietro da Cortona, are considered masterpieces of Baroque art and decoration.[16] Curving façades and the illusion of movement were a speciality of Francesco Borromini, most notably in San Carlo alle Quattro Fontane (1634–1646), one of the landmarks of the high Baroque.[17] Another important monument of the period was the Church of Santi Luca e Martina in Rome by Pietro da Cortona (1635–50), in the form of a Greek cross with an elegant dome. After the death or Urban VIII and the brief reign of his successor, the Papacy of Pope Alexander VII from 1666 until 1667 saw more construction of Baroque churches, squares and fountains in Rome by Carlo Rainaldi, Bernini and Carlo Fontana.[18]
King Louis XIII had sent the architect Jacques Lemercier to Rome between 1607 and 1614 to study the new style. On his return to France, he designed the Pavillon de l’Horloge of the Louvre Palace (beginning 1626), and, more importantly, the Sorbonne Chapel, the first church dome in Paris. It was designed in 1626, and construction began in 1635.[19] The next important French Baroque project was a much larger dome for the church of Val-de-Grâce begun in 1645 by Lemercier and François Mansart, and finished in 1715. A third Baroque dome was soon added for the Collège des Quatre-Nations (now the Institut de France).[20]
In 1661, following the death of Cardinal Mazarin, the young Louis XIV took direct charge of the government. The arts were put under the direction of his Controller-General of Finances, Jean-Baptiste Colbert. Charles Le Brun, director of the Royal Academy of Painting and Sculpture, was named Superintendent of Buildings of the King, in charge of all royal architectural projects. The Académie royale d'architecture was founded in 1671, with the mission of making Paris, not Rome, the artistic and architectural model for the world.[21]
The first architectural project of Louis XIV was a proposed reconstruction of the façade of the east wing of the Louvre Palace. Bernini, then Europe's most famous architect, was summoned to Paris to submit a design. Beginning in 1664, Bernini proposed several Baroque variants, but in the end the King selected a design by a French architect, Charles Perrault, in a more classical variant of Baroque. This gradually became the Louis XIV style. Louis was soon engaged in an even larger project, the construction of the new Palace of Versailles. The architects chosen were Louis Le Vau and Jules Hardouin-Mansart, and the façades of the new palace were constructed around the earlier Marble Court between 1668 and 1678. The Baroque grandeur of Versailles, particularly the façade facing the garden and the Hall of Mirrors by Jules Hardouin-Mansart, became models for other palaces across Europe.[22]
