In XVIII century scales of construction in Italy were reduced, as many Italian states have been captured by an economic crisis. Architect Filippo Juvara (1678—1736) carried out orders in Portugal and Spain (the master has died in Madrid in an operating time over the project of a royal palace). However its best constructions are in Turin (in the northwest of Italy). First of all it is majestic and simultaneously very harmonious monastery and Superhectare church
(1715-1731), located on a high hill and cities defining shape. In the plan the temple reminds an ancient Roman Pantheon: центрическое the building with a monumental portico is topped by a dome. In 1718 Juvara has attached to a medieval castle in the centre of Turin the additional case which has received the name of a palace (palace) of Madama (1718-1720) . Its most part is occupied with a huge lobby with two wide ladders. Decorative registration is executed with a delicate taste, and ladders give to all construction monumentalism. The largest work of Juvary — royal hunting lock Stupinidzhi near Turin (1729 1734) .
To the central part of a powerful dvortsovo-park complex — to a two-story oval hall with a dome — conducts a number of court yard with narrow avenues. Behind a hall the park is located. In Rome in XVIII century built not so much and in an original way, as earlier. In ensemble of the well-known fountain of Trevi and palaces Weed (1732-1762), architect Nikkolo Salvi, sculptors of Petro Brachchi and Giovanni Battista Maini) the big sizes of architectural details and sculptural furniture make impression not monumentalisms, and bulkinesses are faster. In this complex already there is no grace of the best monuments of baroque. And still in the Roman architecture of late baroque there was originally fine construction is a magnificent ladder on the area of Spain (1721 — 1725, architects of Alessandro Spekki and Franchesko де Sanktis). Masters should connect space of the small area of Spain to a temple of Santa-Trinita деи to Monti located on a high hill. The ladder bordered with a balustrade, at first describes an oval before a facade of a temple and an obelisk standing at an input, then as if the river, is divided into two "sleeves", again merges and, at last, extends before area space. On wide and low steps it is very convenient to rise and go down. This ladder visually increases the sizes of the area and helps to feel, as the strict facade of church is good.
(1715-1731), located on a high hill and cities defining shape. In the plan the temple reminds an ancient Roman Pantheon: центрическое the building with a monumental portico is topped by a dome. In 1718 Juvara has attached to a medieval castle in the centre of Turin the additional case which has received the name of a palace (palace) of Madama (1718-1720) . Its most part is occupied with a huge lobby with two wide ladders. Decorative registration is executed with a delicate taste, and ladders give to all construction monumentalism. The largest work of Juvary — royal hunting lock Stupinidzhi near Turin (1729 1734) . To the central part of a powerful dvortsovo-park complex — to a two-story oval hall with a dome — conducts a number of court yard with narrow avenues. Behind a hall the park is located. In Rome in XVIII century built not so much and in an original way, as earlier. In ensemble of the well-known fountain of Trevi and palaces Weed (1732-1762), architect Nikkolo Salvi, sculptors of Petro Brachchi and Giovanni Battista Maini) the big sizes of architectural details and sculptural furniture make impression not monumentalisms, and bulkinesses are faster. In this complex already there is no grace of the best monuments of baroque. And still in the Roman architecture of late baroque there was originally fine construction is a magnificent ladder on the area of Spain (1721 — 1725, architects of Alessandro Spekki and Franchesko де Sanktis). Masters should connect space of the small area of Spain to a temple of Santa-Trinita деи to Monti located on a high hill. The ladder bordered with a balustrade, at first describes an oval before a facade of a temple and an obelisk standing at an input, then as if the river, is divided into two "sleeves", again merges and, at last, extends before area space. On wide and low steps it is very convenient to rise and go down. This ladder visually increases the sizes of the area and helps to feel, as the strict facade of church is good.In second third XVIII centuries neoclassicism trends gradually get into the Italian architecture. It can be seen in shape reconstructed раннехристианской basils the Dignity-dzhovanni ин Laterano in Rome (1735, architect Alessandro of Galilee), erected in IV century during lifetime of emperor Konstantin Velikogo. In an interior updated basils prevail lines of late baroque — luxury and grandiosity. And the aspiration was embodied in a facade to the ordered, harmonious and strict forms. The easy and graceful sculpture in a Baroque taste crowns the top balustrade. Such end does the Dignity-dzhovanni ин by Laterano similar to St. Peter's Cathedral — two Roman temples as if enter dialogue. Lines of arising neoclassicism are visible and in the updated facade basils of V century to Santa-Marija Madzhore (1734-1750, architect Ferdinando the Fugue) though abundance of a sculpture and modelled furniture reminds of traditions of baroque. Excavation in Pompey and Herculaneum and the edition in 1764 In Rome capital work «History of art of an antiquity» of the German theorist of art Johann Ioahima Vinkelmana have definitively inclined architects on the neoclassicism party. It is possible to consider as the most interesting example of this style a majestic royal castle of Kazerta near Naples (1752 1774). It was constructed by two talented architects — Luigi Vanvitelli (1700—1773) and its pupil Juseppe Permarini (1734—1808). The monumental furniture of smart halls reminding theatrical sceneries, park with the huge water cascade and fountains are characteristic for baroque. However a palace lay-out in shape to a penalty (quadrangle) with several courtyards, strict registration of facades of work of Permarini completely answer spirit of neoclassicism.
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