MODELO DE LOS FACTORES DE LA OFERTA DE CRÉDITO

located behind the Zwinger in Dresden (1776). Nevertheless, in 1799 he was promoted to master builder o f the Oberland in Saxony and, ultimately, to the head o f the Saxon main civil building department. “Christian Traugott Wenlig” in Allgemeines lexikon der bildenden kunstler von der antike bis zur gegenwart; unter mitwirkung von 300fachgelehrten des in- und auslandes, Ulrich Thieme and Felix Becker, eds. (Leipzig, W. Engelmann, 1907-50), vol. 35, pp. 298-99.

67 Wimmel (1786-1845) was a bom in Berlin where his father was a master mason who worked with Carl Gotthard Langhans and David Gilly. He trained as a carpenter with his father but later studied architecture under Langhans in Hamburg 1807-09. Wimmel subsequently spent four years traveling during which he studied in Karlsruhe under Friedrich Weinbrenner and visited Paris and Italy. He returned to Hamburg in 1814 and joined the city building department where he prepared his first city plan in 1816 and became Director o f Building in 1818. He visited Great Britain in 1841 as a member o f a Prussian delegation studying prisons and asylums. “Carl Ludwig Wimmel” in Grove Dictionary o f Art, vol. 33, p 228.

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Friedrich Weinbrenner, Jacques-Ignace Hittorff, and Franz Christian Gau also visited before

68 Klenze (1784-1864) studied with Percier and Fontaine in Paris between 1812 and 1814; Oswald Herder, Friedrich von Gartner (Munich, 1976), pp. 38-39 cited in Kathleen A. Curran, “The German Rundbogenstil and Reflections on the American Round- Arched Style,” Journal ofth e Society o f Architectural Historians, vol. 47 (December 1988), p. 357 n. 23. Curran does not accept Herder’s claim that Klenze also studied with Durand. 69 Fischer (1782-1820) was bom in Mannheim, studied in Vienna, and traveled in France and Italy from 1806 to 1809 before settling in Munich where he was appointed a professor at the Akademie der bildenden Kunste. Friedrich von Gartner was one o f his pupils. He was appointed Koniglicher Oberbaurat the following year by Ludwig, Crown Prince o f Bavaria in his effort to make Munich a suitable capital for the new kingdom o f Bavaria created in 1806. Fischer prepared a comprehensive urban plan (1808-12) that influenced the city’s development throughout the nineteenth-century and designed the Hof- und Nationaltheater (Munich, 1811-18, burned 1823), at the time the largest public opera house in Western Europe. It was based on the Theatre de l’Odeon (Peyre and de Wailly, 1767-70,1779-82, Paris) and employed classical, rather than Baroque, motifs. He prepared unsuccessful schemes for the Glyptotek and Walhalla, both o f which were built by Klenze who also rebuilt Fischer’s theatre. Egon Verheyen, “Karl von Fischer” in Macmillan Encyclopedia o f Architects,

vol. 2, pp. 71-72; Claudia Bolling, “Karl von Fischer” in Grove Dictionary o f Art, vol. 11, pp. 128-29. 70 Albert Rosengarten (1809-93), a German architect, considered Weinbrenner responsible for the collapse o f classicism in Germany. “Classical architecture was diffused in Germany... with a deficiency o f spirit by the School o f Weinbrenner. The method o f this school consisted o f indiscriminately introducing columnar porticos, and especially in forcibly combining modem architectural requirements with the temple forms o f antiquity, after the manner o f Palladio; with this difference, however, that in the Italian productions o f this description a certain skill was associated with taste and a feeling for fine proportions, whilst Weinbrenner’s German school and those architects who followed in his footsteps, cannot boast an equal share o f these merits.” Rosengarten, A Handbook o f Architectural Styles, W. Collett-Sanders, trans. Boston: Longwood Press, 1977), reissue o f translation (London: Chatto and Windus, 1878) o f D ie architektonischen Stylarten: eine kurze, allgemeinfassliche darstellung der charakteristischen verschiedenheiten der architektonischen stylarten,

Braunschweig: F. Vieweg, 1857), p. 461.

71 Hittorff (1792-1867) was bom in Cologne, the only son o f a family o f prosperous artisans from the Rhineland who became a French citizen after France annexed Cologne in 1794. In that status, Hittorff was able to study in Paris and he entered the Ecole des Beaux-Arts in 1811 where he worked in the atelier o f Charles Percier. After the return o f the Rhineland provinces to Prussia in 1814, he could neither continue his French education nor compete for the Prix de Rome. Consequently, he and another young architect, Joseph Lecointe (1783-1858), were taken on by Frangois-Joseph Belanger, who had been reappointed Architecte des Fetes et Ceremonies Royales after the restoration o f the Bourbons. While in Belanger’s office, Hittorff worked on the iron replacement dome for the Halle aux Ble. When Belanger died, Hittorff and Lecointe assumed Belanger’s commissions, thereby developing a successful practice based on social and governmental connections. His success allowed him to travel briefly to England (1820) and Germany (he met Schinkel in Berlin in 1821), and to take an extended trip to Italy (1822-24) during which he and Karl Ludwig Zanth (1796-1857), a German architect and a member o f HittorfFs atelier, observed traces o f painted polychromatic decoration on Greek temples in Sicily. These experiences led to book, co-authored with Zanth, that advocated use o f such decoration in restorations; Architecture antique de la S id le; ou, Recueil des plu s interessants monuments [sic] d'architecture des villes et des lieux les plus remarquables de la S id le ancienne, Paris: Imprime chez P. Renouard, 1827?). Hittorff presented the results o f his research and his theory o f the polychromy o f ancient buildings to the Academie des Beaux-Arts. Similar evidence and recommendations appeared as early as 1811, but the notion that ancient Greek architecture could employ intense color broke with the aesthetic norms o f neoclassicism. Radical students took up the idea at the end o f the 1820s in support o f Henri Labrouste’s (1801- 75) proposals for restoration o f the Greek temples at Paestum, and by the 1830s, the approach spread throughout northern Europe. While many o f its adherents saw it as proof that the Greek architectural decoration was accumulative and, therefore, free o f academic constraints, Hittorff saw polychromy as evidence o f the orderly nature o f the underlying architecture. Despite the controversy (and because o f his government service), Hittorff received a sizeable number o f commissions in which he was able to demonstrate theoretical

1810. Szambien attributes the presence o f German artists and architects in Paris during that period to their ability to obtain passports relatively easily because Prussia was allied with France. In contrast, architects from London and Vienna were less commonly seen because their homelands had a more contentious relationship with that country. Similarly, during the Napoleonic Wars, there was little building activity in Berlin, in contrast to the southern principalities allied to Napoleon. However, the situation became substantially different after 1850 when political relations changed and the interests o f German architects who visited Paris became more closely allied with those of the Ecole des Beaux-Arts than with the Ecole Polytechnique.73

Although reprinted frequently in France, Durand’s works were not easily obtained elsewhere. Pierson notes that translations o f the Precis circulated in Germany as early as 1806, probably referring to excerpts made available by Carl Friedrich Anton von Conta (1778-1850), a diplomat in the Weimar court.74 Szambien and Valleri also mention unauthorized editions published in Venice

and practical aspects o f his view o f polychromy. Among the most important o f these is St. Vincent-de-Paul (1833-48, Paris), a church whose square plan contrasted strongly with the eclectic assemblage o f architectural elements in its fagades and interiors. Hittorff published a program that described its sculpture, monumental painting, cabinet making, and stained glass, and positing the building as a link between antiquity and modernity. His last work, the Gare du Nord (1858-66, Paris) was similarly unconventional in that its masonry skin wrapped, but did not internally conceal, an iron-framed train shed. David Van Zanten, “Jacques-Ignace Hittorff’ in Macmillan Encyclopedia o f Architects, vol. 2, pp. 391-95; Thomas von Joest, “Jacques-Ignace Hittorff’ in Grove Dictionary o f Art, vol. 14, pp. 592-93.

72 Gau (1790-1854), an architect, writer and archeologist, was bom in Cologne and began studies in Paris at the Ecole de Beaux-Arts in 1811. He was as much a scholar as a practicing architect and traveled in Egypt on a scholarship from the Prussian government and then in Italy (1815-21) gathering material for several books. During the 1820s, he operated a private school o f architecture attended by Gottfried Semper, and during the late 1820s and the 1830s, he obtained several official posts in Paris. In 1839, Gau received a commission to build a Gothic cathedral in Paris intended to be comparable to that in Cologne. Work began in 1846 but he died before it was completed. The building, Ste. Clothilde, became a symbol o f the official recognition o f the Gothic Revival in France and contributed to Viollet-le-Duc’s rejection o f the style. David Van Zanten, “Franz Christian Gau” in Macmillan Encyclopedia o f Architects, vol. 2, pp. 170-01; Barry Bergdoll, “Franz Christian Gau” in Grove Dictionary o f Art, vol. 12, p. 178.

73 Wemer Szambien, Jean-Nicolas-Louis Durand, 1760-1834: de I ’imitation a la norme (Paris: Picard, 1984), pp. 111-12.

74 Grundlinien der burgerlichen Baukunst nach H erm Durand, Prof. D er Baukunst an der Ecole Poly technique