History of Architecture II Baroque and Rococo Architecture

 Broken pediments, giant orders, and convex and concave walls.

Baroque  Use of scrolls

A style of architecture originating in Italy in the early 17th CE and variously

prevalent in Europe and the New World for a century and a half, characterized by
free and sculptural use of the classical orders and ornaments, dynamic opposition and
interpenetration of spaces and the dramatic combined effects of architecture,
sculpture, painting and decorative arts,

 Evolved in Rome (1620-60) as an expression of the Catholic resurgence that

followed the Counter-Reformation.
 Its theatrical and emotional qualities made it powerful as political
propaganda, but its purest achievements are churches in Rome, Austria and
South Germany.
 Deformed
 Originally meant misshapen
 is the French transliteration of the Portuguese phrase “pérola barroca,”
which means “irregular pearl.”
CHURCH OF GESU, ROME
 Baroque architecture rose during a period of transition for the Roman
Catholic Church following a crisis called the Protestant Reformation
 The Catholic Church responded with the Counter-Reformation, a series of
reforms, but also a display of power and wealth. CHURCH
 Eventually Baroque architecture could be found throughout Europe and as OF
far away as South America. Interestingly, as Baroque spread, it changed. In SAINT CHARLES AT THE FOUR
every country, the style was bit different. FOUNTAINS, ROME

Baroque Characteristics

 Swirls and movement

 Undulating facades and plans based on ovals
 Ornaments are sensuous and highly elaborated, with penchant for marble,
gilt and bronze
 Sculpture was colored, was used structurally , or to disguise structure.
 False perspectives were painted on walls.

 Large-scale ceiling frescoes

 Un Wood was carved or painted to look like draped fabric.
 Dramatic use of light
History of Architecture II
PALAZZO BARBERINI,
ROME
Baroque Architecture in Spain
VALLADOLID CATHEDRAL, SPAIN
The Cathedral of Our Lady of the Holy
Assumption in Valladolid was originally
designed as the largest cathedral in Europe.
JESUIT COLLEGE OF LA CLERECIA,
SALAMANCA SPAIN
Most Baroque pieces outside of the capital
Madrid are religious buildings.
CARCEL DE CORTE MADRID, SPAIN
 In the capital, many civic buildings
were made to exhibit the power of the
monarchy and in major cities
 The buildings continue to have a very
simple plan layout
Baroque and Rococo Architecture
 No presence in Spanish baroque of dynamic and complex layout in plans of
the Italian baroque.
PLAZA MAYOR MADRID, SPAIN
In the provinces, the main square was the most
important civic building, which was also
created to show power.
JAEN CATHEDRAL
 the geometric rigor with rectangular
and square volumes continues to be
the norm.
 Constructive elements of the
Renaissance, like arches and columns
are still present.
 The exterior walls are a mixture of
ornamentation and soberness on
each side of the ornamented facades, there are plain, straight walls with
little decoration.
CHURRIGUERESQUE
 The spanish 18th century architecture.
 After the Churriguera family of architects
 Features a profuse and indiscriminate surface
ornamentation, with a fondness for twisted
columns (salomonicas) and pilasters shaped like
inverted cones (estipites)
History of Architecture II Baroque and Rococo Architecture
PALACE OF THE MARQUIS OF DOS CARTHUSIAN MONASTERY GRANADA, SPAIN
AGUAS. VALENCIA, SPAIN (1740-44)

 Has an elaborate carvings round doors

and windows and shows the
churrigueresque dissolution of form
into decorative features Baroque Architecture in Italy

 They evolved from the Renaissance forms.

 Movement toward rand structures with flowing, curving shapes.
 Landscape was frequently incorporated.
 New elements as gardens, squares, courtyards and fountains.
 Influence of the rebuilding of Saint Peter, in which classical forms
integrated with the city
 Curving Forms - including oval shapes and a combination of concave and
convex forms that make walls seems to undulate or appear wavy with a
strong sense of motion.
 Massing of Elements - grouping things together like columns and
decorative flourishes. Architectural elements are repeated across a surface.
 Distortion - with figures that are elongated, broken or manipulated in some
manner to make them stand out.
 LARGE VOLUTES, SCROLL OR SPIRAL FORMS.

S. CARLO ALLE QUATTRO fortane, rome

History of Architecture II Baroque and Rococo Architecture

Lorenzo Bernini (1598-1680)

 In 1623 became a protégé of Pope

Urban VIII.
 His building and sculpture express
grandeur and flamboyance of the
Counter-Reformation


Some other works:

 Palazzo Montecitorio
 Palazzo Barberni

S. CARLO ALLE QUATTRO fortane, rome

Francesco Borromini (1599-1667)

 Born in northern Italy

 Worked for Calro Moderno and Gian
Lorenzo Bernini
 Notice for his command on spatial
effects and structural innovations

CUPOLA OF SAN LORENZO GUARINO GUARINI

History of Architecture II Baroque and Rococo Architecture

SC AL
E

REGIA, ROME(1633-66) Saint Andrea al Quirinale, Rome (1658-78)

 Stairway between St.Peter’s and the  the Church of Saint Andrew's at the
papal apartment is one of Bernini’s Quirinal 
acievements.  Has an oval plan, with altar and
 Two rows of columns flanking the entrance and paint
staircase converge and diminish in
height as they rise, increasing the apparent length of the stair.

ECSTASY OF ST. THERESA

 Cornaro family chapel in S. Maria

della Vittorio, Rome
 One of the great works of the Baroque
period
 Bernini places St. Theresa at the
center of an oval altar experiencing an
ecstatic vision as an angel pierces his
heart with a golden arrow.

BALDACCHINO, ST. PETER’S

History of Architecture II Baroque and Rococo Architecture

TURIN AND VENICE

KARLSKIRCHE CHAPEL OF THE HOLY SHROUD, TURIN

(1624-83)
 the most noble feature is the façade,
almost twice as wide as the building it  The most ingenious and extravagant
screens. Barouqe experiment made by the
Theatine priest Guarino Guarini
 The Holy Shroud, said to have
wrapped Christ's body after His
deposition from the Cross, and to bear
the impression of His body, is keep in
a cask on the high altar of Guarini's
chapel of the Sacra Sindone. It is only
show to the public in special
occasions 
History of Architecture II Baroque and Rococo Architecture
 Interior spaces were treated as syntheses of surface, ornament, furniture,
tapestry, and painting

ROCOCO
GESAMTKUNSTWERK
A style of decorative art that evolved from the Baroque, originating in France about
1720 and distinguished by fanciful, curved spatial forms and elaborate, profuse GE-SAMT-KUNST-WERKA
designs of shellwork and foliage intended for delicate overall effect
 A term translated as ‘total work of art’
 Last phase of Baroque, from 1700 until the coming of Neo-Classicism.  Interior spaces were treated as syntheses of surface, ornament, furniture,
 Especially fashionable in France and Germany tapestry, and painting.
 Invented to suit the Parisian taste
 Originated in nature, French term rocaille being a portmanteau of the words
“roc” (rock) and “coquille” (shell).
 Elegant, light-hearted décor, fondness for pastel-colors, abandonment on
Baroque structural

ROCOCO ARCHITECTURE CHARACTERISTICS

 CONTINUOUS SPACES - Full of flowing curves, complex geometry, and

dense ornament. Rococo spaces are dominated by the exigencies of surface
 VIRTUOSITY - Skills and craftsmanship. Intricate plaster moulding – often
gilded and inset with paintings.Finely carved mirror frames and furniture.
 ASYMMETRY - Rococo designers freed themselves from the adherence to
symmetry that dominated architecture and interior design since the
Renaissance. RESIDENZ
 ASYMMETRICAL ORNAMENTS WURZBURG BAVARIA, GERMANY
 FOLIATE DECORATION - Most
Rococo decoration consisted of
interpretations of various forms of
foliage. Common serrated-edged
raffle leaf form often bordering on the
abstract.
 A term translated as ‘total work of art’
History of Architecture II Baroque and Rococo Architecture

OTTOBEUREN
ABBEY, BAVARIA GERMANY

SCHONBRUNN PALACE, VIENNA