GROUP 5

BAROQUE
ARCHITECTURE
MEMBERS:
DELA CRUZ,ISABEL
DULZURA, JAMESSE
GAUANG, JOSH HEINRICH
MANAGUELOD, ZOE GAIL
VILLANUEVA, PATRICIA

PRESENTORS: GAUANG, DULZURA, VILLANUEVA

GEOGRAPHICAL
Baroque Architecture began in Italy during the late 16th century.
ROME-The ruins of ancient Rome, then better preserved than now, supplied the models
for· new buildings which in turn, became models for' all Europe. The popes claimed
temporal rights over the Papal states, extending from the region of Rome northwards
along the east coast to link with Republics of Florence and Venice.
GENOA- Located on a port, the city of Genoa had its maritime wars with its rivals. The
streets of Genoa then was dominated by Baroque architecture.
VENICE- The Venetian state was influenced by her impregnable location along the
venetian lagoon that is protected by a belt of island and with her sea power which were
able to secure maritime trade with the East until new routes was discovered which
saw Venice’s decline.
GEOLOGICAL
ROME- Good building stone of many varieties was available within ready reach of the city, the
finest being travertine, won from quarries around tivoli, a stone much used by the Romans.
VENICE- Devoid of suitable materials, but brick-earths were accessible on the nearby mainland,
and by water-carriage, stones, timber, and marbles could be obtained. Istrian cream-coloured
stone was used extensively in Venice, and red-and-orange-coloured marbles were available
near Verona. Western cities under Venetian have brick-producing zones.
CLIMATIC
ROME- Summer and winter are experienced in Rome. The cramped, narrow streets gave protection against the
climate however it risked of fights which in turn led people to live on upper floors.
GENOA- Genoa has a warm and temperate
climate. Winter months are rainier than
summer months.
VENICE- The extreme heat of summer was here
tempered by sea breeze, and to enjoy them,
belvederes and balconies were usual, these all
the more necessary in that the restricted
island sites have little room for gardens. On the
other hand, the northern latitude and the winds
that swept down from the snow tapped
mountains, mad fireplaces almost essential
and the funnel topped chimneys are a
distinctive Venetian feature.
RELIGIOUS
The most important factors during the Baroque era were the Reformation and the
Counter-Reformation ; the development of the Baroque style was considered to be
closely linked with the Catholic Church. The popularity of the Baroque style was
encouraged by the Catholic Church, which had decided at the Council of Trent that the
arts should communicate religious themes and direct emotional involvement in
response to the Protestant Reformation
COUNCIL OF TRENT

COUNTER
REFORMATION
REFORMATION
SOCIAL
Along with the formation of Western Roman Empire, relations among neighboring
countries gradually improved including politics. The intellectual movements at the
time forged new ways to interact with others. The upheaval caused by the
inventions such as Gunpowder, mariner’s compass, and printing made it possible for
knowledge to be distributed at a faster rate.
Gunpowder changed the character of warfare.
The mariner’s compass made it easier to travel the seas.
Printing by movable types, contributed greatly to the circulation of ideas, and
underlay the rapid expansion of humanist studies, vernacular literature, and from
1520 the protestant reformation. Copperplate engraving also came into use
toward the end of the 15th-century and helped to spread knowledge of
architectural forms.
 HISTORY
Baroque Architecture started in Italy and is linked to the
response called Counter-Reformation to the Protestant
Reformation that caused division in Christianity.
 To convince the people that the
catholic faith is the one true faith,
and the other religions are false,
their artists and architects
designed structures in a grandeur,
dramatic, theatrical, and
extravagant style. It is their way of
showing how powerful and
wealthy the Catholic Church is.
INTERIOR OF CHIESA DI SANT’IGNAZIO DI LOYOLA
(THE CHURCH OF ST. IGNATIUS OF LOYOLA)
 From Italy, Baroque
architecture also spread
to different places such
as France, Central Europe,
England, and Russia. Their
similarities is that they
considered using the
landscapes to be part of
the design, especially in
palaces.

PALACE OF VERSAILLES
Baroque architecture also evolved in
Spain, the only difference is that
rather than investing on wealth,
They rather focus more on the
emotions they try to translate
through architecture.

WESTERN FAÇADE OF SANTIAGO DE COMPOSTELA CATHEDRAL

 The three great architects/artists of the Baroque in Rome were Gian Lorenzo
Bernini, Francesco Borromini, and Pietro da Cortona.

Pietro Da Cortona Francesco Borromini Gian Lorenzo Bernini

Of all the great Italian Baroque
painters, Cortona’s work is the
richest in design.
In contrast to Bernini, Borromini
preferred monochromatic interiors.
He created the Baroque style of
sculpture and developed it to such
an extent that other artists are of
only minor importance in a
discussion of that style.
Fountain of the Four Church of S. Carlino (S.
Rivers in Piazza Carlo alle Quattro
Navona; Bernini Fontane); Borromini

Triumph of Divine Providence of Palazzo Barberini; Cortona

ARCHITECTURAL
STYLE
OF BAROQUE ARCHITECTURE
 PLAN
Renaissance and baroque
period had similarities when it
comes to their floor plans, the
only difference is that the
plans during the baroque
architecture used elliptical or
oval shape in their plans and it
is not centrally planned and
have broader naves. The use of
different massing were
evident as well.
SAN CARLO ALLE
QUATTRA FONTANE
Through different shapes, they were able to come up
with plans that gave a meaning or a message. An
example of this is the St. Peter’s Square by Bernini—
Bernini was the master of Baroque architecture in
Rome.

ST. PETER’S SQUARE

 WALLS
The use of concave or convex shaped walls for the façade
or the building itself were popular during the Baroque era.
They used limestone and slate for the exteriors of the
buildings and red/gray granite for the interior, one of the
reasons why they chose these materials is that they have
an ability to reflect light, as mentioned.
Baroque period were dramatic and theatrical, through the
use of right material, they can utilize the natural light to
provide a more dramatic effect to the structure both
exterior and interior.

INTERIOR OF SAN CARLO ALLE QUATTRO FONTANE CHIESA DI SANT IGNAZIO DI LOYOLA
BAROQUE ARCHITECTURE WAS ALSO KNOWN FOR
USING DIFFERENT COLORS TO GIVE OUT A
DRAMATIC AND EXTRAVAGANT DESIGNS

SANTA MARIA VITTORIA, ROME

FENESTRATIONS
Broken pendentives and hoods were used on the
doorways and windows during the baroque era, which
forms a small arch above them. As for the windows,
they were strategically placed to provide natural
lighting inside the structure and highlight the
sculptures or paintings inside.
 CEILING
The ceilings during the baroque period were filled with frescoes and ornaments painted
and sculpted by different artists. It gave an illusion of boundless sky and the use of mirrors
to trick the perspective of the people. Through the manipulation of light, it gave the ceiling
a more dramatic expression by giving a contrast to a surface with another.

ST. STEPHEN`S
CATHEDRAL IN PASSAU,
GERMANY.
The frescoes painted on the ceiling
were all about the message and
propaganda they tried conveying
during the counter-reformation.
It showed the power and
significance of the catholic church
and catholic faith.
COLUMNS
One of the key features of Baroque Architecture is the
use of solomonic columns.

• Solomonic Columns - also called Barley-sugar

column.
— the shaft of the column is twisted, resembles a
corkscrew-the capital of the column may be in other
shapes but the most common are in ionic in
corinthian capitals.
MOULDINGS
AND
ORNAMENTS

DOOR HOOD

made of wood or stone with

narrow brackets-not as
practical as porch.
 BROKEN PEDIMENT

open or broken at the apex- often f illed with

an urn, cartouche, or other ornaments.

CHUNKY SASH WINDOW

began to replace casement windows

in the 1670s; design allowed inch-by-
inch temperature control.
 CURVED PEDIMENT BOLECTION MOULDING

-also known as segmental pediment. A moulding with a simple profile which is

-takes the form of an arc or circle used to frame openings.
- Commonly seen on wood-panelled walls,
doorways, fireplaces, and external windows.
- Made from plaster, wood, or stone
VA SE SH APE BAL U STE R
The fashion in the early 17th century
was to have a bulge near the top, but
in the mid 17th century the belly
dropped down so the baluster became
vase-shaped.

HEA VY C ORN I CE
The baroque period showcases lavish
decoration, such as the use of bold,
curved shapes, strong lines with
plaster, stucco, or marble as materials.
 FRESCO PAINTINGS
a method of mural painting which uses water-based pigments painted on freshly applied
plaster; illusionary paintings which utilizes the method of chiaroscuro (use of strong contrast
of light and shadows) to bring a sense of great height and openness.

The Creation of Adam by Michelangelo; ceiling of Sistine Chapel

Triumph of Sant' Ignazio of Loyola by Andrea Pozzowhich located in Chiesa diSant' Ignazio, Rome
Annibale Carracci; ceiling of the
Farnese gallery.

Quadratura- Is an illusionistic ceiling Quadro Riportato- Italian phrase for

painting which incorporates ‘carried picture’ or ‘transported painting’. It
architectural elements to create an is a term applied for paintings which aims
illusion of an expanded space. to be looked like as if it was framed.
 Oculus in the Camera degli Sposi- in Camera degli Sposi; by Andrea Mantegna

Di Sotto In Su- Is an Italian phrase which means ‘from below to above’. It is a type of fresco painting which
gives an illusion that it is being seen from above
 Royal Hospice by Pedro De Ribera; San Fernando. Madrid

Churrigueresque- A spanish Baroque style of structural architectural ornament made with stucco marked
by extreme, expressive and florid decorative detailing, normally found above the entrance on the main
facade of a building.
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