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By Caroline Cannon-Brookes

London: Paul Hamlyn, 1969. wonderful hardcover in effective dustjacket, no markings, ARCH505851. 1st Print. not easy hide. Fine/Fine. eightvo - over 7

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Their return to Bavaria the Asams began a series of brilliant ensembles starting with the abbey church at Weltenburg (begun 1718) where architecture, painting and sculpture are combined together inextricably into a theatrical ensemble. Their intention was their On to make religious experience as intensely real as possible, as in the group of angels bearing the Virgin up to heaven at Rohr (1717-19) while the Apostles around her tomb draw back in amazement. This synthesis of the native German Gothic tradition of realism with the overwhelming theatrical effects of Bernini was to prove 4g hugely successful and a climax is reached in the now sadly damaged interior of St John Nepomuk Munich (1733^6), in built as their private chapel.

Johann Michael Fischer was born in 1692, the son of the municipal master-mason of Bunglenfeld, and after experience in Moravia as well as the Upper Palatinate he became a master-mason in Munich in 1722. The groundplan of his early church of St Anna am Lehel in Munich (1729-39), based on a longitudinal oval nave with a transverse oval chancel, can be compared to that of Steinhausen (1728-31), but the dynamic handling of the piers and the framed oval fresco on the vault are fundamentally Faroque.

Johann Michael Fischer was born in 1692, the son of the municipal master-mason of Bunglenfeld, and after experience in Moravia as well as the Upper Palatinate he became a master-mason in Munich in 1722. The groundplan of his early church of St Anna am Lehel in Munich (1729-39), based on a longitudinal oval nave with a transverse oval chancel, can be compared to that of Steinhausen (1728-31), but the dynamic handling of the piers and the framed oval fresco on the vault are fundamentally Faroque.

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