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This document summarizes the Rococo style of architecture, which emerged in the 17th century as a debased application of Renaissance features. Key characteristics included sinuous frontages with broken curves in plans and elevations, and strained originality in details. Ornamentation was exaggerated and carried out without regard for suitability. The style was adopted by Jesuits and can be seen in their churches across Italy and Europe. Prominent practitioners included Carlo Maderna, Bernini, and Borromini, and examples include Maderna's S. Maria della Vittoria and Borromini's S. Agnese in Rome.

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154 views1 page

Reference: Books

This document summarizes the Rococo style of architecture, which emerged in the 17th century as a debased application of Renaissance features. Key characteristics included sinuous frontages with broken curves in plans and elevations, and strained originality in details. Ornamentation was exaggerated and carried out without regard for suitability. The style was adopted by Jesuits and can be seen in their churches across Italy and Europe. Prominent practitioners included Carlo Maderna, Bernini, and Borromini, and examples include Maderna's S. Maria della Vittoria and Borromini's S. Agnese in Rome.

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Hannah Morata
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496 COMPARATIVE ARCHITECTURE.

Tursi) (A.D. 1564) (No. 217)


and the Palazzi Durazzo, Balbi, and
Cambiassi are the best known. S. Maria di Carignano (A.D. 1552),
of
also by Alessi, was designed on the lines of Raphael's plan
S. Peter, Rome.
Note. Characteristic ornament is shown in No. 218.

REFERENCE BOOKS.
"
Callet (F.) et Lesueur (J. B. C.). Architecture italienne edifices :

Milan." Folio.
publics et particuliers de" Turin et Pans, 1855.
Durelli (G. and F.). La Certosa di Pavia." Folio. 1853.
Gauthier (M. P.)." Les plus beaux edifices de la ville de Genes."
Folio. Paris, 1818.
" Die Renaissance Architektur der Lornbardei.''
Paravicini (T. V.).
Dresden, 1878.
Rubens (P. P.)." Palazzi antichi et moderni di Genova." 1663.

THE ROCOCO STYLE.


The Rococo, or Baroco, style is a debased application to
architecture of Renaissance features, which was followed in the
seventeenth century. Such work is to be distinguished from the
mixtures of certain forms of the early Renaissance, when the
style was commencing, because the Rococo period, coming after
the reign of a highly systematized classical style, represents an
anarchical reaction. Sinuous frontages, broken curves in plan and
elevation, and a strained originality in detail, are the characteristics
of the period. Columns were placed in front of pilasters, and
cornices made to break round them, and broken and curved pedi-
ments, huge scrolls, and twisted columns are also features of the
style. In the interiors, the ornamentation was carried out to an
extraordinary degree, without regard to fitness or suitability, and
consisted of exaggerated and badly-designed detail, often over-
emphasized by gilding and sculptured figures in contorted attitudes.
This style, commencing at the time when the movement in
religion connected with the Jesuits was in progress, was adopted
by them for its essentially modern character, and the features
described are specially to be seen in the Jesuit churches through-
out Italy and the rest of Europe, its almost universal extension
being a monument to their activity. The application of classical
ideas to modern forms, beneath the trappings
of bad detail, can
be traced Renaissance movement.
in the later period of the
Carlo Madema (1556-1639), Bernini
(1589-1680), and Borromini
(1599-1667), were among the more famous who practised this
debased form of art, and among the most prominent examples
are the Roman churches of S. Maria delta Vittovia
by Maderna,
5. Agnese by Borromini, and
many churches at Naples and
elsewhere.

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