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15 arc 5.4 –History Of

Architecture- IV
- 5TH SEMESTER – P4

BAROQUE ARCHITECTURE
• Baroque came to English from a French word meaning
"irregularly shaped."
• The seventeenth and early eighteenth centuries marked the
Baroque period in Europe and America. The style began
around 1600 in Rome, Italy, and spread to most of Europe.
• The architecture of the period departed from the
traditionalist forms seen in Renaissance designs and moved
toward grander structures with flowing, curving shapes.
• Baroque architects often incorporated landscape design
with their plans and were responsible for many of the great
gardens, plazas and courtyards of Italy.
• New architectural concerns for color, light and shade,
sculptural values and intensity characterize the Baroque.
• The three principal architects of this period were the
sculptor Gian Lorenzo Bernini, Francesco Borromini and the
painter Pietro da Cortona and each evolved his own
distinctively individual architectural expression.

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• The fundamental characteristic of Baroque art is dynamism (a

sense of motion). Strong curves, rich decoration, and general
complexity are all typical features of Baroque art.
• The full Baroque aesthetic emerged during the Early Baroque,
and High Baroque; both periods were led by Italy.
• The Baroque age concluded with the French-born Rococo style
(ca. 1725- 1800), in which the violence and drama of Baroque
was quieted to a gentle, playful dynamism.
• The Late Baroque and Rococo periods were led by France
Baroque

• The style used exaggerated motion

and clear, easily interpreted detail
to produce drama, tension,
exuberance, and grandeur in
sculpture, painting, architecture,
literature, dance, theater, and
music.
• The popularity and success of the
Baroque style was encouraged by
the Catholic Church, in response to
the Protestant Reformation, that
the arts should communicate
religious themes in direct and
emotional involvement.
• The aristocracy also saw the
dramatic style of Baroque
architecture and art as a means of
impressing visitors and expressing
triumph, power and control.
• Baroque palaces are built around
an entrance of courts, grand
staircases and reception rooms of
sequentially increasing opulence.

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• Distinctive features/characteristics of Baroque architecture

• In churches, broader naves and sometimes given oval forms. Long narrow naves replaced by
broader or circular forms
• Fragmentary or deliberately incomplete architectural elements.
• Dramatic use of light; either strong light-and-shade contrasts or uniform lighting by means of several
windows.
• Opulent use of colour and ornaments (putti or figures made of wood (often gilded), plaster or stucco,
marble or faux finishing).
• Large-scale ceiling frescoes.
• An external façade often characterized by a dramatic central projection.
• The interior is a shell for painting, sculpture and stucco
• Illusory effects like an art technique involving extremely realistic imagery in order to create the
optical illusion that the depicted objects appear in three dimensions and the blending of painting and
architecture.
• Pear-shaped domes in the Bavarian, Czech, Polish and Ukrainian Baroque
• Marian and Holy Trinity columns- Marian columns are religious monuments depicting Virgin Mary on
the top, (plague columns) or for some other help. erected in Catholic countries, often in thanksgiving
for ending a plague.
• They evolved from the Renaissance forms
• Movement toward grand structures with flowing, curving shapes
• Landscape was frequently incorporated
• New elements as gardens, squares , courtyards and fountains.
• Appealing to the spirit through the senses and heightened sensuality combined with spirituality.
• Conflict, paradox (Contradiction) and contrast are some important features
• Naturalistic rather than ideal, emotional rather than rational

• for Baroque architects a building was to some extent a kind of

large sculpture. Hence the ground-plans became complex, rich,
dynamic designs, more appropriate to constructions which were no
longer thought of as 'built', or created by the union of various
parts each with its own autonomy, but rather as hollowed out,
shaped from a compact mass by a series of demarcations of
contour

Ground plan
of S. Carlo alle
Quattro Fontane

Ground plan of Sant'Ivo alla Sapienza 6

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• Long narrow naves replaced by broader or circular forms

• In the facade too, the elements - columns, pilasters,

cornices, or pediments - projecting from the wall
surface, related in various ways to the centre, which
thus came to dominate the sides.
• Although at first sight such a facade might seem to be
divided horizontally, more careful consideration
revealed that it was organized vertically, in slices, as it
were.
• In the centre is the more massive, more important
section, and the sides, as the eye recedes froth it,
appear less weighty. The final effect is that of a building
which has been shaped according to sculptural
concepts.

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• The external facade is often characterized by a dramatic

central projection

Les Invalides in Paris

St Peter's
Basilica

Karlskirche
Vienna

• Marked by elaborate and ornate ornamentation especially

the puttos i.e. cherubs, which are winged angelic being
made of wood (often gilded / covered with gold), plaster or
stucco, marble or faux finishing

Cherubs at Lecce, Italy

Palace of Versailles,10France

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Domes

• Guarino Guarini

San Lorenzo Church, Turin Italy

by Guarino Guarini

Dome of St. Andrea al Quirinale, Rome

by Bernini

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Pear domes

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• Undulated motifs that create movement

• Regular curves and counter-curves, arches
Interior of Sant'Ivo alla
Sapienza, Rome

Facade of Church of San Carlo alle

Quattro Fontane by Francesco 13
Borromini

Arches in San Lorenzo

Church, Turin Italy by
Guarino Guarini

Twisted column from the

baldacchino, Saint Peter's
basilica
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Church of San Giacomo Maggiore, Bologna, Italy

Intersecting ribbed arches springing from the corner and nave piers
support an oval drum above the nave. This is then topped with a
smaller oval drum with dome resting on an undulating cornice
supported by two pairs of arches of unequal height. 15

• Interplay of concave and convex shapes

Borromini used the
combination of convex
& concave curves to
create the parallax**
condition to give the
illusion that this
monastic church was
larger. The paired
columns allowed him
to frame art &
Openings.

**the apparent displacement of

an observed object due to a
San Carlo change in the
position of the observer.
NAVE *

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• Highly decorative walls

Johann Balthasar Neumann's Residence, Germany

• The interior is often no more than a shell for painting

and sculpture

Interior of the
Basilica of the
Fourteen Holy
Helpers, Bad
Staffelstein, Bavaria.

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Dramatic use of light - strong light-and-shade

contrasts, chiaroscuro effects ( Where three-dimensional
volume is suggested in the drawing, painting or print by the value
gradation of colour and the analytical division of light and shadow
shapes)

Church of
Weltenburg
Abbey, Bavaria,
Germany

• The external facade is often characterized by a dramatic

central projection

Les Invalides in Paris

St Peter's
Basilica

Karlskirche
Vienna

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• Illusory effects or use of an

art technique involving
extremely realistic imagery in
order to create the optical
illusion that the depicted
objects appear in three
dimensions.
• The blending of painting with
architecture.

Fresco with trompe l'œil (deceive

the eye) dome painted on low
vaulting, Jesuit Church,Vienna,
by Andrea Pozzo
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Inside the church of Weltenburg Abbey

Holy Trinity Column in Olomouc, Czech

Republic

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The Baroque period

The Baroque period lasted roughly a century and is commonly
divided into
• Early Baroque, 1590–1625
The early style was preeminent under papal patronage in Ro-
me where Carracci and Caravaggio and his followers diverged
decisively from the artifice of the preceding mannerist style.
• High Baroque, 1625–1660
The exuberant trend in Italian art was best represented by Be-
rnini and Borromini in architecture.
• Late Baroque, 1660–1725
During this time Italy lost its position of artistic dominance to
France, From Europe the baroque spread across the Atlantic
Ocean to the New World. Gradually the massive forms of the
Baroque yielded to the lighter , more graceful outlines of the
Rococo architecture.

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St. Peter's Square

• is a large plaza located directly in front of St.Peter’s Basilica in the
Vatican city, the papal enclave inside Rome,
• Both the square and the basilica are named after St.Peter.
• At the centre of the square is an ancient Egyptian Obelisk, erected at
the current site in 1586.
• Gian Lorenzo Bernini designed the square including the massive
Tuscan colonnades, four columns deep
• A granite fountain constructed by Bernini in 1675 matches another
fountain designed by Carlo Maderno in 1613.

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• The open space which lies before

the basilica was redesigned by Gian
Lorenzo Bernini from 1656 to 1667,
under the direction of Pope
Alexander VII, as an appropriate
forecourt.
• designed so that the greatest
number of people could see the
Pope give his blessing, either from
the middle of the façade of the
church or from a window in the
Vatican Palace
• The obelisk marked a centre, and a
granite fountain by Maderno stood
to one side: Bernini made the
fountain appear to be one of the
focal points embraced by his
colonnades and eventually matched
it on the other side, in 1675.
• The trapezoidal shape of the piazza,
which creates a heightened
perspective for a visitor leaving the
basilica and has been praised as a
masterstroke of Baroque theater, is
largely a product of site constraints

• Colonnades
• The colossal Tuscan colonnades, four
columns deep, frame the trapezoidal
entrance to the basilica and the massive
elliptical area which precedes it.
• The piazza’s long axis, parallel to the
basilica's façade, creates a pause in the
sequence of forward movements that is
characteristic of a Baroque monumental
approach.
• The colonnades define the piazza. The
elliptical center of the piazza, which
contrasts with the trapezoidal entrance,
encloses the visitor with "the maternal
arms of Mother Church" in Bernini's
expression.
• On the south side, the colonnades define
and formalize the space, with the Barberini
Gardens
• On the north side, the colonnade masks an
assortment of Vatican structures; the upper
stories of the Vatican Palace rise above.
• Major axis of the piazza- 1115.4 ft
• Minor axis – 787.3 ft

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• The defining characteristic of the piazza are

the 284 travertine thirty-nine feet high
colonnades, which frame the piazza and give
it an elliptical shape.

• The colonnades are in Doric order (having

simple circular capitals at the top).
• There are four columns in each arm of the
colonnades, which create three continuous
passages, two for pedestrian and one for
carriage.
• The passageways were used for various
ceremonial processions and also provided
shelter from sun, wind, and rain.
• The columns are “radially aligned, as though
set along the spokes of a wheel whose hubs
are points located between the fountains and
the obelisk.” Optical Illusion
The incredible illusion. Standing on a marble
disc labeled "Centro del Colonnato," the four
columns appear like one. 31

• There are temple fronts ending

with a portico in the middle of
each of the two colonnade
arms which allow the
colonnades to be less
monotonous but still have a
natural flow.

• Above the colonnades on the Ionic entablature lie 96

statues, 15 feet in height, each designed by Bernini.
The statues include the most famous saints and martyrs
of the church.
• The entablature gives strength to the columns and a
pleasing contrast to the slender Corinthian columns of
the façade. The statues also welcome the pilgrims into
the piazza and guide the pilgrim to the basilica. 32

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• The colonnades from the Piazza

Obliqua are connected to the
corridors of the Piazza Retta with
the use of pillars with oblique
edges.
• The pillars allow a very smooth
transition between the “curved
geometry of the colonnades to the
linear geometry of the corridors.”

• The corridors of the Piazza Retta line each side of the path
leading to the basilica. Although the corridors look small, the
length of the corridor is similar to the arms of the colonnades.
• The colonnade and the corridors contrast each other, and it is
this contrast that makes each component very complimentary.
• The corridors create a very firm and focused emotion when
walking up to the basilica, while the colonnade creates a very
open and gentle path emerged with “light, atmosphere, and
intermittent view of buildings beyond.” 33

• Obelisk
• At the center of the ovato tondo stands
an uninscribed Egyptian Obelisk of red
granite, 25.5 metres tall, supported on
bronze lions and surmounted by the
Chigi arms in bronze, in all 41 metres to
the cross on its top. The obelisk was
originally erected at Heliopolis, Egypt,
by an unknown pharaoh
• It was moved to its current site in 1586
by the engineer-architect Domenico
Fontana
• The Vatican Obelisk is the only obelisk
in Rome that has not toppled since
ancient Roman times.

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• Paving
• The paving is varied by radiating lines in travertine,
to relieve what might otherwise be a sea of
cobblestones.
• In 1817 circular stones were set to mark the tip of
the obelisk's shadow at noon as the sun entered
each of the signs of the zodiac, making the obelisk
a gigantic sundial..

Difference between Renaissance and Baroque Architecture

Renaissance Architecture
Lighter, more graceful forms
with symmetrical balance and
harmony. Buildings were neatly
divided into a number of similar
sections that included the division of
different levels.
Flat walls that represented a sort
of permanence and simplicity.
Windows and columns on buildings
show a clear progression toward the
center.
Buildings often have rounded domes
at the top that encased the ceiling of
part of the building
Facade broken up by columns,
pilasters, and semi-circular arches,
arch domes, barrels, vaults and edges.
Baroque Architecture
Heavy forms that were massive in
size. Buildings were much more
fragmented, with architects purposely
leaving some elements incomplete.
Curved walls that gave a feeling of
constant movement
Central entrance is characterized by
rich architectural and
ornamental elements.
Sometimes areas of buildings would
have pear-shaped domes that were
mostly ornamental.
Surface of buildings are a continuous
whole, with few columns, pilasters,
and arches. The facades Give more
importance to decoration including
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cornices and columns.

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Difference between Renaissance and Baroque Architecture
Renaissance Architecture
Buildings tend to be shaped more
squarely, with some curved and
rounded elements.
Generally brick was the most
commonly used material in
Renaissance building
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Baroque Architecture
Buildings are more rectangular in
style and can be very massive in
size.
Outside of buildings are highly
ornate, made from a variety of
different materials
It gives more attention to interiors
Emphasis is given on the landscape
More importance is given to details
and how the light enters the space.
The Baroque architects manipulated
space by creating illusions of
increased space and openness.
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