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Previous Topics in History of Western
Architecture
1. Mesopotamian Architecture
2. Egyptian Architecture
3. Greek Architecture
4. Roman Architecture
5. Romanesque Architecture
6. Early Gothic Architecture
7. Renaissance Architecture
8. Baroque Architecture
9. Rococo Architecture
Baroque
Architecture
-BY JAGMOHAN SINGH
Baroque Architecture-Introduction
The building style of the Baroque era, begun in late 16th- century Italy, that took the Roman
vocabulary of Renaissance architecture and used it in a new theatrical fashion, often to express
the triumph of the Catholic Church and the absolutist state.

It was characterized by new explorations of form, light and shadow, and dramatic intensity.

In Spain the term 'Baroque‘ originally denoted an irregular, oddly-shaped pearl, whereas in Italy it
meant a pedantic, contorted argument of little dialectic value.

Instead of straight lines of classicism, curved and broken line appeared.

Decoration became more important and elaborate, and shapes became more complex.
HISTORY OF BAROQUE
ARCHITECTURE (1550- 1790)
As the 16th century unfolded, the religious political and philosophical certainties which had
prevailed during the Early (c.1400-85) and High (1486-1520) Renaissance periods, began to
unravel.

In 1517, Martin Luther sparked the Protestant Reformation casting European-wide doubt on the
Integrity and theology of the Roman Church. This was the catalyst for several wars involving
France, Italy, Spain and England, and led directly to the Counter- Reformation movement,
launched by Rome, to attract the masses away from Protestantism.

For the rest of the century this more dynamic style was known as Mannerism (style-ishness), and
thereafter, Baroque - a term derived from the Portuguese word barocco, meaning 'an Irregular
pearl.
HISTORY OF BAROQUE
ARCHITECTURE (1550- 1790)
Baroque architecture and its embellishments were on the one hand more accessible to the
emotions and on the other hand, a visible statement of the wealth and power of the Church.

The new style manifested itself in particular in the context of the new religious orders, like the
Theatines and the Jesuits who aimed to improve popular piety.

A synthesis of Bernini, Borromini and Cortona's architecture can be seen in the late Baroque
architecture of northern Europe which paved the way for the more decorative Rococo style.

In general, Baroque architecture constituted part of the struggle for religious superiority and for
the hearts and minds of worshippers across Europe.
HISTORY OF BAROQUE
ARCHITECTURE (1550- 1790)
Michelangelo's late Roman buildings, particularly St. Peter's Basilica, may be considered
precursors to Baroque architecture.

His pupil Giacomo della Porta continued this work in Rome, particularly in the facade of the Jesuit
church Il Gesu, which leads directly to the most important church facade of the early Baroque,
Santa Susanna (1603), by Carlo Maderno.

Its facade is "the first truly baroque facade", introducing the baroque style into architecture
CHARACTERISTIC FEATURES:
Baroque paintings are brilliant, colorful, theatrical and passionate.

They are fascinated with light, they have used light and colour to dissolve form, by having dark
background.

Portrayed emotional intensity- facial expressions and dramatic movements.

The skills of reproducing realistic effects in all media were developed, e.g.- marble, oil on canvas,
etching etc.

Baroque mingled what was real with what was only apparent created a feeling of illusion.
TIME PERIODS OF BAROQUE
EARLY BAROQUE
HIGH BAROQUE
LATE BAROQUE
EARLY BAROQUE
The foremost pioneer of Baroque architecture was Carlo Maderno, whose masterpiece is the
facade of Saint Peter's Basilica, Vatican City. (Constructed under various architects throughout the
sixteenth and seventeenth centuries, Saint Peter's features a mixture of Renaissance and
Baroque components, the facade being one of the latter.)

Prior to Maderno, Saint Peter's had featured a central plan design, upon which various architects
had worked (especially Michelangelo). Maderno converted the building into a Latin cross basilica
by extending the nave, thus pushing the main entrance of the church forward. Saint Peter’s can
therefore be roughly divided into two parts: the core (designed largely by Michelangelo) and the
front extension (designed by Maderno). The great dome of Saint Peter's is also chiefly
Michelangelo's work, though Maderno did adjust its proportions (by stretching It vertically).
St. PETER’S BASILICA
HIGH BAROQUE
The two foremost names in Baroque architecture are Bernini and Borromini, both of whom worked
primarily in Rome.
HIGH BAROQUE
Two masterpieces of Gian
Lorenzo Bernini are found at St
Peter's. One is the four-story
baldachin that stands over the
high altar.(A baldachin is an
indoor Canopy over a respected
object, such as an altar or
throne.) The other is the curving
colonnades that frame St
Peter's Square.
HIGH BAROQUE
Bernini's most famous building is
likely the small church of Sant
'Andrea al Quirinale ("Saint
Andrew's on Quirinal Hill").
Quirinal hill is one of the "seven
hills of Rome".
HIGH BAROQUE
Francesco Borromini was the
master of curved-wall
architecture. Though he designed
many large buildings, Borromini’s
most famous and influential work
may be the small church of San
Carlo alle Quattro Fontane ("Saint
Charles at the Four Fountains").
This building is also found on
Quirinal Hill.
LATE BAROQUE
The Late Baroque marks the
ascent of France as the heart of
Western culture. Baroque art of
France (and northern Europe
generally) tends to be restrained,
such that it can be described as
a Classical-Baroque compromise.
The most distinctive element of
French Baroque architecture is
the double-sloped mansard roof
(a French innovation).
LATE BAROQUE
The most famous Baroque structures
of France are magnificent chateaux
(grand country residences), greatest of
which is the Palace of Versailles. One
of the largest residences on earth,
Versailles was built mainly under Louis
XIV, whose patronage of the arts
helped propel France to the crest of
Western culture.
 LATE BAROQUE
The palace facade admirably illustrates the
classical-Baroque compromise of northern
Europe. The walls are characterized largely by
simple planar classicism, although they do
contain such Baroque elements as sculpted
busts, a triple stringcourse, double pilasters, and
colossal pilasters.
Additionally, the mansard roof features a sinuous
metal railing and rich moulding around the
dormer windows. Versailles became Europe's
model of palace architecture, inspiring similarly
grand residences throughout the continent. .