and there was a dynamic movement and energy of human forms— they spiralled around an empty central vortex, or reached outwards into the surrounding space. Baroque sculpture often had multiple ideal viewing angles, and reflected a general continuation of the Renaissance move away from the relief to sculpture created in the round, and designed to be placed in the middle of a large space—elaborate fountains such as Bernini's Fontana dei Quattro Fiumi (Rome, 1651), or those in the Gardens of Versailles were a Baroque speciality. The Baroque style was perfectly suited to sculpture, with Gian Lorenzo Bernini the dominating figure of the age in works such as The Ecstasy of St Theresa (1647–1652). Much Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains, or fused sculpture and architecture to create a transformative experience for the viewer. Artists saw themselves as in the classical tradition, but admired Hellenistic and later Roman sculpture, rather than that of the more "Classical" periods as they are seen today. The Protestant Reformation brought an almost total stop to religious sculpture in much of Northern Europe, and though secular sculpture, especially for portrait busts and tomb monuments, continued, the Dutch Golden Age has no significant sculptural component outside goldsmithing. Partly in direct reaction, sculpture was as prominent in Roman Catholicism as in the late Middle Ages. Statues of rulers and the nobility became increasingly popular. In the 18th century much sculpture continued on Baroque lines—the Trevi Fountain was only completed in 1762. Rococo style was better suited to smaller works, and arguably found its ideal sculptural form in early European porcelain, and interior decorative schemes in wood or plaster such as those in French domestic interiors and Austrian and Bavarian pilgrimage churches. Neo-Classical The Neoclassical style that arrived in the late 18th century gave great emphasis to sculpture. Jean-Antoine Houdon exemplifies the penetrating portrait sculpture the style could produce, and Antonio Canova's nudes the idealist aspect of the movement. The Neoclassical period was one of the great ages of public sculpture, though its "classical" prototypes were more likely to be Roman copies of Hellenistic sculptures. In sculpture, the most familiar representatives are the Italian Antonio Canova, the Englishman John Flaxman and the Dane Bertel Thorvaldsen. The European neoclassical manner also took hold in the United States, where its pinnacle occurred somewhat later and is exemplified in the sculptures of Hiram Powers. Asia Greco-Buddhist