years later Martin Frantz enlarged Kotzenau palace (Chocianów) and created one of the finest baroque garden in Silesia, and even some Palais entre cour et jardin emerged in Gröditzberg and Briese (by Johann Blasius Peintner from Austria). Entire landscape gardens however are rarely preserved and only known thanks to illustrations by Friedrich Bernhard Werner. After 1680 all great Silesian monasteries were altered. Of special importance here is the abbey of Leubus with its famous representation rooms by Michael Willmann, F.A. Scheffler, Ph. Chr. Bentum and Franz Joseph Mangoldt. St. Elisabeth chapel at the cathedral of Breslau was the most significant import of Italian inspired baroque and the last major work carried out by Italians. 30 years later Johann Bernhard Fischer von Erlach created the pendant, the electors chapel, which already anticipated neo-classical ideas. The ideas of the Bohemian Baroque were spread by members of the Dientzenhofer family and its students. The first church of this type was the Jesuit church in Liegnitz, built by Christoph and Kilian Ignaz Dientzenhofer between 1714 and 1727. Later works can be found in Neiße, Liebenthal (Lubomierz), Leubus or Brieg. They were mostly propagated by Silesian Christoph Hackner from Jauer, Martin Frantz from Reval/Tallinn and his students Karl Martin Frantz from Liegnitz (Legnica) and Johann Innocenz Töpper from Neustadt (Prudnik). A reason for the intensified construction activity in the first half of the 18th century was the implementation of the Treaty of Altranstädt, which demanded the restitution of 104 and the erection of 6 new Protestant churches, the so-called Gnadenkirchen (churches of mercy). The abolishment of building regulation except for the erection outside of the townwalls caused the heterogeneity of this group. The churches in Sagan, Freystadt (Kożuchów) and Militsch (Milicz) were timber-framed, the churches in Hirschberg and Landeshut by Martin Frantz modeled after Katarina Church in Stockholm, whereas the Protestant church in Teschen (Cieszyn, Těšín), modeled after Catholic Jesuit churches, was an exception. The biggest metropolitan ensembles were carried out in Neiße, Breslau and Liegnitz. Important palaces, which combined residential and professional requirements, in Breslau were built by the family von Hatzfeld, von Spätgen, Hornes and von Schreyvogel, the latter being designed by Johann Lukas von Hildebrandt. The biggest secular urban developments of that time were the Ritterakademie (knights academy) in Liegnitz, built for aristocratic children of both religious conviction, and the destroyed episcopalian spital in Neiße. Almost no city hall was constructed during