Baroque architecture

The Baroque & Rococo

• The Age of Freedom of Spirit :
• Explosion of the arts – sponsored by the monarchies
•Fine Arts – Painting, Sculpture, Architecture
• Bernini, Rubens, Velasquez, Rembrandt
• Literary Arts – Moliere, Cervantes, Milton
• Music – The beginnings of Opera
•polyphony
•Mozart, Bach, Beethoven, handel, Monteverdi,
Vivaldi
The Baroque & Rococo
• The Beginnings:
• Architects started to write books about Architecture
• How to use orders (Vignola)
• How to Break the Rules (Palladio)
• Manneristic of High Renaissance overtook the rules of Classicism
•Emphasize Creativity
•Michelangelo made it ok to break the rules because he did so in the holiest
of places – St. Peters
• The Definitions:
• Baroque = an emphasis of sculptural & painted forms
• display shapes of nature – leaves, shells, scrolls (floral elements)
• More complex geometric forms
• Compiled with Painting to create illusion of depth
• Predominately used in religious buildings
• Italy, France, Spain, Germany & Austria, 17th & 18th Century
The Baroque & Rococo
The Definitions:
• Rococo = A subset of Baroque
•display shapes of nature – leaves, shells, scrolls (floral elements) in surface
ornament
• More simplified forms
• Painted Details over built forms
• Compiled with Painting to create illusion of depth
• Predominately used in Secular Buildings
• France, Germany, Austria, 18th Century
• The Paintings:
• Quadratura – Painted on a horizontal surface in illusionistic perspective
• Quadro Riportato – Images in illusionary framing
• Di Sotto in Su – Painted on a ceiling or dome - upwardly illusionistic
• Parallax
•The architecture & Artwork create an exaggerated sense of perspective. Gives
an increased illusion of depth
The Baroque & Rococo
• The Actions
•Baroque Architecture took cues from Theater Design. The use of stage sets and
back drops gave the illusion of infinite space.
•The use of the proscenium arches between the stage and the crowd delineated
space
•Theatrical lighting – I.e. spot lighting, shadows, ambient lighting all play roles in
how to address space.
• A return to Gothic elements – Windows, elaborate vaulting
The Baroque & Rococo – Italy
• Giacomo Vignola (1507 – 1573) Vignola wrote treatise on how to use the orders in
the Renaissance style. He like Palladio &
• Il Gesu 1565-1573 Michelangelo before him broke the rules & created a
new type of design. In a way he contradicts his own
writings.
Il Gesu is the home church of the Jesuit order. Being
that, the church took on a higher prominence.
It needed to be special. The Jesuit order is similar to
the “Marines” of the Catholic Faith. They are very
strict & Devout. The Church is almost a
contradiction to how they practice.

Il Gesu - Painting
The Baroque & Rococo – St.
Peters
• St. Peters Cathedral
•Michelangelo imparts his mannerisms
onto the design and creates a large
dome. (Mannerisms hint at freedom of
expression) He dies in 1564. Giacomo
Della Porta finishes his dome.
•Carlo Maderno Finishes the Cathedral
in Baroque Fashion (adds onto nave &
Creates transept narthex with colonnade
1607 – 1626
•Gianlorenzo Bernini in 1624 begins
work on the Baldacchino & the Piazza
Colonnade
St. Peters Cathedral
The Baroque & Rococo – St.
Peters

St. Peter’s – Nave looking east

Michelangelo broke the rules first. He did so in

the papal church. Pilasters broke the Classical
Mold. The addition of the sculpture broke the
classical mold. It gave license to the other
architects to begin to break the rules of the
Renaissance
St. Peter’s – Nave looking west
The Baroque & Rococo – St.
Peters • St. Peters Cathedral - The Artistry

The Pieta – Bernini 1657-1666 The Baldacchino – Bernini 1624-1633

The Baroque & Rococo – Italy
• Gianlorenzo Bernini (1598 – 1680)
• San Andrea Al Quirinale 1658-1661

San Andrea - Exterior San Andrea - Nave

The Baroque & Rococo – Italy
• Francesco Borromini (1599 – 1667)
• San Carlo alla Quattro Fontane 1634-1643
• Best example of the Italian Baroque

Borromini used complex

geometric constructs to
create the shapes of his
buildings. By overlapping
the shapes and
interpolating, he could
create dynamic form. He
experimented with
complex curves more than
anyone else of his time.

San Carlo - Exterior San Carlo - Exterior

The Baroque & Rococo – Italy
• Francesco Borromini (1599 – 1667)
•San Carlo alla Quattro Fontane 1634-
1643
• Best example of Italian Baroque

San Carlo - NAVE

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
San Carlo - Dome allowed him to frame art
& Openings.
San Carlo - Plan
The Baroque & Rococo – Italy
• Francesco Borromini (1599 – 1667)
• San Ivo della Sapienza 1642-1662
• Experiment in curvature & form

San Ivo - Dome

Borromini used the

combination of convex &
concave curves to create a
complex shape to the nave &
Dome which gave it a
character like no other.
Borromini was the most
aggressive in his use of
curved forms.

San Ivo - Exterior

 The Baroque & Rococo–
Furnishings
• Elaborately carved wood cabinets & Chests.
• Like their Architecture – Very Elaborate and Curving
• Metal or Precious stone inlays
• Elaborately Carved Wood Chairs with Bright Upholstery
• Baroque – Large Dominating Bulging forms
• Rococo – Delicate Curves & Forms
• Metal or Precious stone inlays
• Ornate Marble Fireplace & Mantels
• Silk, Velvet, & Damask wall coverings
• Decorative Crystal & Metal Chandeliers
• Musical Instruments – Harps, Harpsichords.
• Parquet or Marble Tile Floors
• Painted & Gilded Plaster Ornament
The Baroque & Rococo – Austria
Antonio Carlone ( 1686-1708 )
• Monastery St. Florian 1718-1724

Carlone brought the Italian style to

Austria. The obvious influences are
the High Baroque Period/Rococo.
This is evident by the use of the
paired Corinthian columns &
sculptural entablature. But then by
using the smooth sail vaulted ceiling
with Painted architectural elements
& ornament, the Rococo style
becomes evident. Most projects
realize themselves between both the
Baroque & Rococo.

St. Florian – Marble Hall

The Baroque & Rococo – Austria
• Jakob Prandtauer (1660 – 1726 )
• Abbey of Melk 1702-1738

Prandtauer focused the

design energy upward in
the space. In the Nave he
used Quadro Riportato
paintings to depict
religious themes. He used
a typical Corinthian
Pilaster. In between the
pilasters, Prandtauer used
curved walls & arches to
open up the space. The
entablature is highly
ornate with Floral
elements. There are large
arched windows in the
clerestory of the barrel
vaulted nave.

Abbey of Melk – Nave Abbey of Melk – Dome

The Baroque & Rococo – Austria
In the library, Prandtauer focused
• Jakob Prandtauer (1660 – 1726 ) the design energy upward in the
space, once again. He used a sail
• Abbey of Melk 1702-1738 vaulted ceiling with a plaster
entablature. The ceiling is painted
in Di Sotto in Su style. The
painting depicts other architectural
elements and the sky above. The
Corinthian Pilasters and trim soar
upward & hold the balcony. The
library is more Rococo than
Baroque.

Abbey of Melk – Library Abbey of Melk – Exterior

The Baroque & Rococo – Austria
Johann Fischer Von Erlach (1656 – 1723 )
• Karlskirche 1716-1737
• Master of Austria Architecture This church has an oval nave with 2 levels of
windows to bring light in to flood the space. The
Corinthian paired columns frame the arched
openings that lead to adjoining chapels ( 4 major &
2 Minor). The large arched openings create dark
thresholds between well lit sanctuary spaces. An
arch is used to frame the apse for a large sunburst.
This is a baroque Church with a Rococo Dome.
The church is a great example of how to use light
& Shadow.

Karlskirche – Nave Karlskirche – Exterior

The Baroque & Rococo –
Germany This church has an oval nave with
• Domenikus Zimmerman (1685 – 1766 ) large windows to bring light in to
flood the space. The Corinthian
• Die Weis Fussen 1744-1754 paired columns frame the windows.
An arch is used to frame the alter.
This is a Rococo Church. Baroque in
Plan, the elements of the church are
simple & classical. The
ornamentation of it becomes fanciful
with the Di Sotto in Su painting on the
Sail vaulted ceiling.

Die Weis – Nave

The Baroque & Rococo – Germany
Johann Balthasar Neumann (1687 – 17553 )
• Vierzehnheiligen 1742-1772 This Pilgrimage church has a complex
• Master Architect of Germany layout of highly divided spaces in the form
of a Latin Cross. The 2 trancepts are a
series of ovals that divide a large series of
ovals perpendicular to it. It is Baroque in
Plan. The Rococo Barrel vaulted ceiling is
broken up with large windows which fill
the space with directional light. The Altar
is framed with windows on either side.
The central shrine houses religious relics
& pays homage to 14 martyred saints.

Vierzehnheiligen – Nave Vierzehnheiligen – Plan

The Baroque & Rococo – Germany
• Johann Balthasar Neumann (1687 – 17553 )
• Residenz Wurzberg 1734-1753
This Grand Stair hall includes the a baroque
system of upward movement as patterned after
Palladio & is Baroque in plan. The elaborate
ceiling painting, rococo in nature, is supported
by Corinthian Pilasters & bas relief sculptures in
the framed openings between them. This
residence is Rococo in ornament.

Wurzberg – Ceiling
Wurzberg – Grand stair
The Baroque & Rococo – French
• French Renaissance Styles lead to Baroque more easily than Italian
• Were less stringent about the orders.
• Less extreme & Elaborate than the Austrian or Italian
• Emphasis on the Baroque love of grandeur
• to glorify royalty – Louis XIV
• Trade & Colonization lead to added wealth & Prestige
•Mostly by Aristocracy but now developing an upper class

Rococo ornament & color.

Elaborate Parquet flooring &
ornate metal & Crystal
Chandeliers.
A good sign of Baroque design
within French design is the
Harpsichord richly painted with
inlays of metal.

Hotel St. Louis - Paris

The Baroque & Rococo – French
• The French Grand Master
• Francois Mansart ( 1598 – 1667 )
• Val De Grace 1645-1667
• Bernini influenced the design directly & indirectly

St, peters - Baldacchino Val-de-Grace – altar

The Baroque & Rococo – French
•Jules Hardouin Mansart (1619 –
1690 )
•Church of the Invalides 1677-
1706
• Nephew of Francois Mansart

The oval nave church used light and

shadow well. By centering the altar in
an arch framed by paired Corinthian
columns, & back lighting it with a
window.
The dome uses Di sotto in su
paintings & exaggerated coffers to
give the illusion of taller space.
Best example of the French Baroque
Church.

Church of the Invalides – Nave

The Baroque & Rococo – French
• Charles LeVau (1612-1670) & Jules Hardouin Mansart (1619 – 1690 )
• Palace at Versailles
• Commissioned by Louis XIV
The estate home for Louis XIV. It was to be more
lavish than any other noble palace in Europe. A
great example of the French Baroque for Secular
buildings.
The building incorporated principles of Palladio from
the front side. The raised marble plaza sets up the
entry as does the wings of the building. The gardens
in the rear & the front plazas begin to blur Versailles – Front Facade
the design from the city to the interior.

Versailles – Garden Facade Versailles – Exterior

The Baroque & Rococo – French
• Charles LeVau (1612-1670) & Jules Hardouin Mansart (1619 – 1690 )
• Palace at Versailles
• Commissioned by Louis XIV

Opulent color was used

to give the rooms their
prominence. In the Hall
of Hercules, the painted
ceiling with plaster
framing is reminiscent of
the Austrian Baroque.
The chapel by Mansart
uses a marble tiled floor
& a gilded entablature to
pop out the plaster
ornament. Both in the
Baroque style.

Versailles – Hall of Hercules Versailles – Chapel

The Baroque & Rococo – French
• Charles LeVau (1612-1670) & Jules Hardouin Mansart (1619 – 1690 )
• Palace at Versailles
• Commissioned by Louis XIV

Silk & Velvet wall

covering along with
Plaster entablatures
with both gilded &
Painted
ornamentation help
create the “Louis XIV”
style of the French
Baroque. Intricate
wood chests &
furniture help finish
the space.

Versailles – Bedroom Versailles – Salon of Abundance

The Baroque & Rococo – French
• Charles LeVau (1612-1670) & Jules Hardouin Mansart (1619 – 1690 )
• Palace at Versailles
• Commissioned by Louis XIV
Rich Marble columns & Pilasters
line the Gallerie de Glace. Huge
French doors open onto the Garden
Crystal chandeliers line the space.
Parquet floors Lead the length for
these gathering spaces. In the
Salon of Mirrors, wool woven rugs
are used finish the floors.

Versailles – Gallerie de Glace Versailles – Salon of mirrors

The Baroque & Rococo – French
• Charles LeBrun, Jules Hardouin Mansart, Louis Le Vau, Claude Perralt
•La Louvre 1661 - 1671
• Commissioned by Louis XIV
•High Baroque style –
• sculptural ornament & Paintings

The Louvre - Interior