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Characteristics of Baroque Architecture

Baroque architecture originated in the early 17th century in Rome as a reaction against the strict order and symmetry of Renaissance architecture. It emphasized dramatic, dynamic features like curved shapes, undulating walls and ceilings, and theatrical lighting effects. Key characteristics included deserting symmetry and static forms in favor of more organic, flowing designs. Major architects included Bernini, Borromini, and Guarini. Examples of Roman Baroque churches cited were the Church of Gesu with its broken pediments and narthex plan, St. Peter's Basilica with its bronze baldachin and Bernini's colonnade, and San Ivo della Sapienza with its curved plan and elevation.

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73 views7 pages

Characteristics of Baroque Architecture

Baroque architecture originated in the early 17th century in Rome as a reaction against the strict order and symmetry of Renaissance architecture. It emphasized dramatic, dynamic features like curved shapes, undulating walls and ceilings, and theatrical lighting effects. Key characteristics included deserting symmetry and static forms in favor of more organic, flowing designs. Major architects included Bernini, Borromini, and Guarini. Examples of Roman Baroque churches cited were the Church of Gesu with its broken pediments and narthex plan, St. Peter's Basilica with its bronze baldachin and Bernini's colonnade, and San Ivo della Sapienza with its curved plan and elevation.

Uploaded by

Aishwarya
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© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd

Q1) Explain the origin and characteristics of Baroque architecture with examples of Roman Baroque

Churches.

“Baroque” is the French translation of the Portuguese phrase “pérolabarroca,” which means “irregular
pearl or misshapen pearl”

Prior to baroque a growing dissatisfaction with the strict, rational ordering of the elements of building,
which was the essence of the renaissance style; people had begun to find it mechanical, boring or
constricting. The quest for the ideal and for perfect equilibrium no longer seemed significant. Thus,arose
the need for a different kind of architectural style- Baroque.

This style started in Rome, initially was confined to: Italy, Spain, Austria, Hungary and catholic Germany.
France came in the story only at the end of the period

The movement:
• Artistically, the baroque was a very rich movement in painting, sculpture, interior decoration
and music
• The renaissance proper had not concentrated especially on music; but now the baroque
countries led the field
• It was probably this time that the process of composing music to fit the room was reversed and
start was made on the science of acoustics in architecture. Rooms were built that had the
reverberation time that music required
• Theatre made a comeback at this period
• Opera which had originated in Italy at the end of 16th century

Characteristics
• Baroque architects deserted symmetry and equilibrium to experiment with new and vigorous
massing.
• Deserted: Static form of the square and circle for the shapes that swirl and move: S-curves,
undulating facades and plans based on ovals.
• Twisted the four quadrants of a basically oval plan inwards to give undulating walls, and then
placed semicircular arches over cornice to bring the walls back to the oval, from whence springs
the coffered dome
• Third breakway feature was: extreme form of theatricality, which involved the creating of
illusion: trompe-l’oeil.
New baroque elements:
• Using open loggias (a gallery or room with one or more open sides, especially one that forms
part of a house and has one side open to the garden)
• Grand staircases
• A general emphasize on entrances
Architects:
• Gian Lorenzo Bernini(1598-1680): Sculptor
• Francesco Borromini(1599 -1667): Sculptor and mason
• GuarinoGuarini (1624-1683) : Priest, Mathematician and Writer
• FilippoJuvarra (1678-1736) : Stage set designer

ROMAN BAROQUE: CHURCHES


• This style of Baroque was dominated by the Roman Catholic religious ideals and motivations.
• Centered in Italy.
• Aesthetic values subordinated to spiritual purposes.
• Strongly supported by the Popes.
• Grand buildings and elaborate decorations in proclaiming power & richness of the Church

Examples:
1. First structure:Church of the Gesù, Rome: Giacomo Barozzi da Vignola:to break with the
Renaissance traditions of following strict formulas, in both the design of the exterior as well as
the interior.
(elevation- volutes, broken pediments, idiosyncratic combination of an arched pediment
surrounding a triangular pediment; plan- narthrex)

2. St. Peter’s,Rome, Bernini


(bronze Baldacchino, throne, st. Peters square)

3. San Ivo della Sapienza, Rome Borromini


(Plan and elevation- curves)

(*** Draw plans, elevation of each of the examples by labeling the baroque features)
Q2) Explain in brief and through sketches about the palace of Versailles

FRENCH BAROQUE:
• Principally in France
• Embraced grandeur & opulence, but more classical in style
• Exemplified in Palace of Versailles, lifestyle of Louis XIV
• Secular focus, identified with absolutism
• Impersonal, controlled, & measured in their arts
• Simplistic & dignified
• This style of Baroque fit well with the absolutist policies of Louis XIV

Example:
Palace of Versailles is a royal château in Versailles, France. It is also known as the Château de Versailles.
The important spaces with the palace are as follows Hall of Mirrors, Hall of Battles, Royal opera, Royal
Chapel, Royal court, Palace landscape and sculptured fountains.

1) Hall of Mirrors
• It is the central gallery of the palace of Versailles, France.
• The principal feature of this hall is the 17 mirror-clad arches that reflect the 17 arcaded windows
that overlook the gardens.
• Each arch contains 21 mirrors with a total complement of 357 used in the decoration of the
galerie des glaces.
• The arches themselves are fixed between marble pilasters whose capitals depict the symbols of
France.
• Many of the other attributes of the hall of mirrors were lost to war for financial purposes, such
as the silver table pieces, which were melted by order of Louis xiv in 1689 to finance the war.
• Dimensions are 73.0 m × 10.5 m × 12.3 m
• (***sketch)

2) Hall of Battles
• It is a 120m long and 13m wide gallery (paintings & busts) occupying the first floor, joining onto
the grand apartments.
• It was intended to glorify French military history from the Battle of Tolbiac (dated 495AD) to the
Battle of Wagram (5–6 July 1809).
• The architects François-Leonard Fontaine& Frederic Nepveu created a solemn decorative
scheme for it, with a wide cornice supporting a coffered painted ceiling with entablatures
supported by Corinthian columns along the length of the gallery.
• Bronze tablets on the wall are inscribed with the names of princes, constables & warriors killed
or wounded fighting for France.
• (***sketch)

3) Royal opera
• It is the main theatre and opera house of the Palace of Versailles.
• The interior decoration: almost entirely of wood, painted to resemble marble in a technique
known as faux marble.
• The excellent acoustics of the opera house are at least partly due to its wooden interior.
• Accommodates 1200 spectators
• (***sketch)

4) Royal Chapel
• The fifth and final chapel of the château of Versailles is an unreserved masterpiece.
• Designed by Mansart, it was to become the largest of the royal chapels at Versailles, and in fact
the height of its vaulting alone was allowed to disturb the severe horizontality of the palace's
roof-line.
• Dedicated to St Louis.
• Corinthian colonnade.
• Accessed by a vestibule.
• Decorated with white stone & sculpture.
• The floor is inlaid with marbles.
• (***sketch)

5) Royal court
(***sketch)

6) Palace landscape and sculptured fountains


(***sketch)
Q3) Write short notes on

a) St. Pauls Church, London


b) Baroque Staircase

Q4) Write in brief about the baroque domestic architecture in England

The later of 17th century England saw an increase in the influence of baroque architecture. Wren being
the most prominent of the Baroque architects.

• Christopher Wren’s role as a royal architect left him virtually no time or interest in private
country house commissions.
• The Chatsworth country house in Derbyshire is the first example of the splendor of baroque
architecture in England.
• The architects adapted the Baroque style to fit English tastes in houses.
• Another exemplified example of domestic Baroque architecture in England is the Castle Howard,
Yorkshire by Talman. The castle was a symbol of wealth and pride of landownership.

Chatsworth- Baroque characteristics

• No attics or hipped roof, but instead two main stories supported by a rusticated basement-
typically English
• The facade is dramatic and sculptural with ionic pilasters and a heavy entablature and
balustrade.
• An elegant curved double staircase.
• The emphasis is placed on the end bays, each highlighted by double pairs of pilasters, of which
the inner pairs project outwards.

(***Sketch elevation and naming the baroque features)

Castle Howard- Baroque characteristics

• Two symmetrical wings projecting to either side of a north-south axis


• The crowning central dome was added to the design at a late stage, after building had begun.
• All are exuberantly decorated in Baroque style, with coronets, cherubs, urns and cyphers.
• Roman Doric pilasters on the north front and Corinthian on the South

(***Sketch plan and elevation and naming the baroque features)


Q5) Explain what is Rococo architecture, with examples of hotel interiors

Rococo architecture

• The word 'Rococo' stems from the French word rocaille meaning 'decorative rock' or 'shell
work'.
• Donned interior works than architecture
• Originated in Paris popular amongst aristocrats. It was a time of pleasure and rejoicing. An era of
'showing off' the leisurely activities of the upper class.
• Spread till Germany and Austria
• Composition of delicate flowing lines and forms
• Female version of baroque
• Lighthearted, whimsy and frivolity
• Utopian landscapes, portraits, and depictions of love

Characteristics
• Pastel colors. Pink was used on the exterior of buildings, and was also a popular color for boys'
rooms at the time. Pink was thought to be a masculine color, as it was just a lighter version of
red. The pastels emphasized the lightness and happiness of the era, by keeping with the theme
of lighthearted. Previously, especially in Baroque art, dark colors and shadows were used.
• The use of curved lines was another characteristic of this period. The curve was particularly
popular in not only the art and ornamentation (mimicking shells, rocks and nature), but also the
architectural features became more curved, such as in the ceilings. Rounded rooms gained in
popularity as did entertaining a circle of friends while discussing poetry.
• Elaborate decoration was another characteristic of the Rococo style. The use of gold was
especially prominent, helping to add clarity, harmony, sophistication, and level of luxury to the
pastel colors.
• The use of asymmetry. The Baroque movement was defined by symmetry and balance,
ultimately eluding to control and perfection. In the Rococo style, though borrowing much from
the Baroque styles, things became asymmetrical and less controlled. This helped to emphasize
freedom, independence and movement within the architecture and art of the time period.
• This time period was also a shift from religious control to a more free loving time period. Love
and sexuality began to creep into art and architecture decorations. Promiscuity was revealed
and in general the mood of paintings and art from this time period were mostly about enjoying
life and having fun.

Example: Hotel de Matignon, Paris


(*** sketch the hotel interir by labeling the baroque features)

Common questions

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The transition from Baroque to Rococo architecture marked a cultural shift towards more personal expression and leisure among the aristocracy. Rococo, originating in Paris, embraced delicate, flowing lines and lighter, pastel colors, contrasting the darker, more dramatic Baroque style. Interiors featured asymmetry and whimsical decorative elements, reflecting an era of pleasure and indulgence. This transition coincided with a move away from religious themes towards personal enjoyment and secular artistic expression, showing an increased focus on individualism and the pleasures of aristocratic life, as seen in places like the Hotel de Matignon .

Roman Baroque churches were heavily influenced by religious and political motivations, aiming to visually express the power and glory of the Catholic Church during the Counter-Reformation. The architecture was grand and elaborate, emphasizing verticality and vast interiors to inspire awe and reinforce spiritual authority. Supported by popes, these churches like the Church of the Gesù broke with Renaissance traditions to project a complex interplay of light and shadow, using innovative elements such as volutes and arched pediments to symbolize the Church's resilience and adaptability. The design sought to engage believers in an immersive, emotional religious experience, reinforcing the Church's dominance .

Baroque architecture employed elements of illusion and theatricality to evoke emotional responses and enhance aesthetic grandeur. Techniques like trompe-l’oeil created visual illusions that transformed surfaces and spaces, making them appear more dynamic and three-dimensional. Theatricality was achieved through dramatic contrasts, undulating facades, and use of light and shadow to create mood and focus. These elements served to transcend the physical limitations of buildings, elevating the spiritual and emotional experience of spaces like St. Peter’s Basilica and the Church of the Gesù. They emphasized the power and divine authority of the Catholic Church during the Counter-Reformation .

English domestic Baroque architecture, notably in Chatsworth and Castle Howard, featured adaptations to suit English tastes. Chatsworth showcases Baroque drama with its lack of attics, two main stories on a rusticated base, and a facade emphasizing sculptural Ionic pilasters. Its dramatic entrance with a double staircase reflects English Baroque's grandeur. Castle Howard, with its symmetrical wings and central dome, epitomizes Baroque exuberance with elaborate decorations including cherubs and coronets, linking architecture to aristocratic pride and landownership .

Baroque architecture emerged as a response to the dissatisfaction with the strict, rational order of Renaissance architecture, which was seen as mechanical and constricting. Baroque style, which started in Rome, focused on creating a sense of movement and emotion. Architects abandoned symmetry and static forms, exploring vigorous, undulating shapes like S-curves and ovals. This style was artistically rich and aimed to evoke grandeur and spirituality, often used to project the power and wealth of the Roman Catholic Church. Examples include the Church of the Gesù and St. Peter’s Basilica in Rome .

In French Baroque architecture, landscape and garden design played a critical role in exemplifying control and earthly paradise, especially at the Palace of Versailles. Gardens were meticulously structured and symmetrically aligned, reflecting the absolutist ideals of Louis XIV. Designed to convey order and ultimate power over nature, these vast gardens featured expansive lawns, geometrically arranged flowerbeds, and elaborate fountains that underscored the king's divine right to rule. The landscape was an integral extension of the palace's architecture, designed to showcase the grandeur and majesty of the monarchy while providing a setting for royal leisure and events .

During the Baroque period, architecture and music became deeply intertwined, with buildings designed to enhance acoustics. This period saw a shift where music composition began to influence the architectural design rather than vice versa. Hall designs incorporated these advancements to achieve better reverberation times, enhancing musical performances. The theatre and opera saw a revival, matching the grandeur and emotionalism of Baroque art. This demonstrated society's increasing appreciation of music and performance arts as central cultural activities .

French Baroque architecture, while embracing grandeur and opulence similar to its Italian counterpart, retained a more classical and controlled style. Unlike the highly ornate and emotionally driven Italian Baroque, French Baroque, as seen in the Palace of Versailles, focused on symmetry, order, and absolutism, aligning with Louis XIV's policies. Structures exhibited a secular focus, emphasizing power and control through expansive gardens and elaborate interiors, such as the Hall of Mirrors, which showcased the wealth and authority of the French monarchy .

The Hall of Mirrors in the Palace of Versailles is a prime example of French Baroque architecture's blend of grandeur and political symbolism. Its 17 mirror-clad arches, reflecting the arcaded windows overlooking the gardens, create an illusion of space and light, a hallmark of Baroque aesthetics. This opulent gallery symbolized the absolute power and magnificence of Louis XIV, reinforcing his image as the 'Sun King.' The grandeur of the hall, with its mirrored reflections and golden accents, served both as a testament to royal authority and as a venue for political events, underpinning the socio-political narrative of monarchy as divine and unchallenged .

Rococo architecture played a significant role in redefining societal norms by celebrating leisure, sensuality, and personal enjoyment, aligning with the lifestyles of the rising French aristocracy. Its emphasis on elaborate decoration, pastel colors, and asymmetry shifted focus from religious themes typical of earlier styles to personal pleasure and aesthetic beauty. This paralleled a broader cultural shift towards individualism and secularism, as seen in how Rococo styles flourished in salons and private boudoirs of Parisian hotels, which became centers for social gatherings and intellectual discourse .

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