HISTORY OF ARCHITECTURE III

ARC 214

YEAR II SEMESTER I

Lesson 1:

BAROQUE ARCHITECTURE
 History of Architecture III: BAROQUE AND ROCOCO ARCHITECTURE

COURSE OUTLINE
1. BAROQUE ARCHITECTURE
2. Rococo Architecture

3. Neo-classical Architecture

4. Neo-gothic Architecture

5. The Industrial Revolution and the Industrial Age

6. Concrete and Reinforced concrete

7. Beaux Arts

8. Arts and Crafts movement

9. School of Chicago
o Skyscrapers and Steel Construction

10. Art Nouveau

11. Art Deco

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INTRODUCTION
› Baroque architecture is a style of the Baroque era that begun in the late 16th
century in Italy. Baroque architecture became a powerful tool of expression for
the Catholic church.

› The style is characterized by its dramatic use of light and shadow, monumental
scale, and rich ornamentation, all aimed at evoking emotional intensity and
spiritual zeal.

› In its late period ( early 18th century), Baroque architecture developed into a new
style know as Rococo. Originating in France, Rococo architecture represented a
shift towards lightness, elegance, and playfulness, reflecting the changing tastes
of a society increasingly focused on private life and personal comfort.
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› In contrast to the grandeur and intensity of Baroque, Rococo emphasized asymmetry,

curvilinear forms, and delicate ornamentation. Its pastel color palettes and intimate
spaces were designed to delight and enchant, making it the preferred style for the
aristocracy’s private residences and salons.

› Though distinct in their aesthetics, Baroque and Rococo architecture are deeply
interconnected, with Rococo evolving as a more intimate and decorative continuation
of Baroque’s grandeur. Together, they offer a fascinating glimpse into the cultural and
artistic currents of their time, reflecting the evolving tastes, values, and aspirations of
European society. In this lecture, we will explore the origins, key characteristics, and
notable examples of both styles, examining how they shaped the architectural
heritage of Europe and beyond.
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VS

The Mond Cruxifixion,1502 by The Raising of the Cross,1620

Raphael. by Peter Rubens.
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Transition to Baroque

VS

The Last Supper, 1495 by

Leonardo Da Vinci.

The Judgement, 1536 by Michelangelo.

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ARCHITECTURE
RENAISSANCE

Tempietto del Bramante,

Villa Capra or Villa Rotonda by Andea Palladio

Tempietto del Bramante, 1502 by Donato

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ARCHITECTURE
MANNERIST

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ARCHITECTURE
BAROQUE

Facade of Church of San Sant’Ivo alla Sapienza,

Carlo alle Quattro Fontane 1642 by Barromini

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BAROQUE ARCHITECTURE
Origins

› Baroque architecture, flourishing in the

early 17th century, was born out of the
Counter-Reformation, as the Catholic
Church sought to reassert its influence
through Art and Architecture.

› While the origin of the term baroque is a bit unclear, it has roots in both the
Portuguese and Italian languages. In Portuguese, barrocco, means an imperfectly
shaped pearl; while in Italian, barocco, which means bizarre. Often, baroque was used
to describe something that was bizarre or grandiose.
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› Originating in Italy, the period slowly

emerged from numerous artistic
innovations in the late 1500s.
However, it more fully developed
through the patronage of the Catholic
Church in response to the Protestant
Reformation.

Greg Copeland’s painting of Martin Luther

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› Throughout the 16th century, the

Protestant Reformation gripped Western
Christianity in Europe and challenged
the Catholic Church's religious and
political power, in particular, its papal
authority that ultimately led to
Protestants leaving the Church.

› Not only did the Protestants separate from the Catholic Church, but they also opposed
the Church's use of visual imagery within religious worship.

› In response, the Counter-Reformation claimed that the Catholic Church had an

instructive purpose, which required a new wave of visual representation so the people
could easily feel and understand Church values and stories.
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› This new wave had a clear narrative - to reestablish the Catholic Church as a symbol
of wealth, power, and status in Europe but most importantly the religious epicenter of
Western Christianity.

› Church architecture was thus used as a method to convey the ideals of the Counter-
Reformation resulting in the emergence of monumental and lavish church-centered
Baroque architecture.

› The style quickly spread through Europe where support for the Catholic Church was
strong; most notably it spread throughout the rest of Italy, into Spain, France, Flanders
(modern-day Belgium), and even as far as South America

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INFLUENCING FACTORS
The rise of the Baroque era in the early 17th century was influenced by a confluence of
social, religious, political, and cultural factors. These elements not only shaped the
distinctive characteristics of Baroque art and architecture but also determined its
widespread adoption across Europe. Below are some of the key factors that led to the
rise of the Baroque era:

The Counter-Reformation

› The Protestant Reformation, initiated by Martin Luther in 1517, posed a significant

challenge to the authority and influence of the Catholic Church. In response, the
Church launched the Counter-Reformation, a movement aimed at reaffirming
Catholic doctrine, revitalizing the Church, and combating the spread of Protestantism.

› .
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› The Church recognized the power of art and architecture to convey religious themes
and inspire devotion. Baroque art, with its emotional intensity, dynamic compositions,
and dramatic use of light and shadow, was employed to communicate the glory and
power of the Catholic faith. Churches, cathedrals, and religious institutions were
designed to overwhelm and inspire the faithful, reinforcing the Church's message
through sensory experiences.

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The Rise of Absolute Monarchies

› The 17th century saw the rise of absolute monarchies in Europe, where kings and

queens sought to centralize power and assert their dominance. Monarchs like

Louis XIV of France used art and architecture as a means of demonstrating their

wealth, power, and divine right to rule.

› Baroque architecture, with its monumental scale, opulent decoration, and emphasis

on grandeur, became the preferred style for royal palaces, government buildings,

and public spaces. The Palace of Versailles, commissioned by Louis XIV, is a

prime example of how Baroque architecture was used to project the image of an

all-powerful ruler.
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Cultural Shifts and Humanism

› There was great Influence from Renaissance Humanism. Although the Renaissance

period was coming to an end, its emphasis on humanism and the rediscovery of classical

antiquity continued to influence Baroque artists and architects.

› However, Baroque humanism took on a more emotional and dramatic form, focusing on

the dynamic and expressive potential of the human experience.

› The Baroque era was also marked by a desire to break away from the restrained,

idealized forms of the Renaissance. Artists and architects sought to create works that

were more dynamic, expressive, and capable of evoking powerful emotional responses.

This led to the development of new techniques in painting, sculpture, and architecture that

emphasized movement, contrast, and theatricality.

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Global Exploration and Colonization

› The 17th century was also a period of intense global exploration and colonization,
particularly by European powers such as Spain, Portugal and France. The wealth
generated from these ventures fueled the demand for grand architectural projects and
luxurious artworks.

› The Baroque style was not confined to Europe but spread to the colonies in the Americas
and Asia, where it blended with local traditions and materials which further enriched the
Baroque aesthetic.

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Urbanization and Public Spaces

› The 17th century witnessed the expansion of cities across Europe, leading to the
need for new public buildings, squares, and infrastructure. Baroque architecture,
with its emphasis on creating grand, unified urban spaces, played a key role in the
development of cityscapes.

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CHARACTERISTICS
› The goal of Baroque architecture was to entice people back to the Catholic Church

and visually establish the Church as a dominant political and religious entity.

Therefore, Baroque architecture had to make a statement. Many ideals of

Renaissance architecture were revived through a strong nod to Classicism but

were exemplified with exuberance for ornament and extravagance.

› This highly decorative style of the Baroque Period brought innovations in technique

and life back into art and architecture. Its architecture was deeply emotional and

left powerful impressions.

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• Prominent, elongated curving

walls

• Frescoes and ornately painted ceilings

• Illusory effects ( Trompe l’oeil)

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• Use of complex form and less

focus on strict rigidity or order

• Interplay of

lights and
• Sense of distortion shadows
within architectural

elements to convey

real of implied

movement

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• Overpowering sense of

drama ; Theatrical

interiors

• Overt display of lavish

and expensive details

and ornament

• Boldly colored interior

decorations to convey a

sense of status

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FAMOUS ARCHITECTS AND THEIR WORKS

Gian Lorenzo Bernini
• Gian Lorenzo (or Gianlorenzo) Bernini was an
Italian sculptor and architect.
• While a major figure in the world of architecture,
he was more prominently the leading sculptor of
his age, credited with creating the Baroque style
of sculpture.
• Bernini did not build many churches ex novo,
from the ground up; rather, his efforts were
concentrated on pre-existing structures.

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Bust of Louis XIV,1665

Apollo and Daphne, 1622

David, 1623
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Baldacchino for St. Peter’s Basilica (1623–34)

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Piazza San Pietro

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Francesco Borromini
› Francesco Borromini was an Italian architect and sculptor who

he played a key role in the formulating was a key formulator of

the Baroque style.

› Borromini was taught by Carlo Maderno.

› Francesco Borromini invented the curved church façade.

Borromini had adequate experience in building construction

which was a motivation.

› Borromoni’s architecture is notable because it was organic and non-traditional. This is

because it entails the application of overlapping geometric shapes and curved lines. Also,

it uses innovative ways to break the classical architectural rules.

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San Carlo alle Quattro Fontane

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Sant'Ivo alla Sapienza

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Chapel of the Holy Shroud, Turin by Guarino

Guarini, 1668-94

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Santa Susanna, Rome by Carlo Moderno

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Pope Sixtus V’s Plan of Rome

› Cardinal Montalto, had developed ideas for reorganizing Rome before he became
Pope Sixtus V.

› He wanted to reinvigorate the city and create a place suitable to be the center of
the Christian world.

› Using the entire city, Pope Sixtus V overlaid an organizational structure for
circulation routes that connected major spaces and structures by means of an
element that would literally establish points in space.

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FRENCH BAROQUE

› French Baroque architecture, also known French classicism, was a style of

architecture during the reigns of Louis XIII (1610–1643) and Louis XIV (1643–

1715).

› The style was originally inspired by the Italian Baroque architecture style, but,

particularly under Louis XIV, it gave greater emphasis to regularity, the colossal

order of façades, and the use of colonnades and cupolas, to symbolize the power

and grandeur of the King.

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› It was used less frequently on churches and more often in the design of royal

palaces and country residences.

› A traditional French feature was the high sloping mansard roof and the

complex roofline

› Another distinctive element of the French Classicism was the integration of the

architecture of the house with the formal gardens around it, in what became known

as the French formal garden.

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Luxembourg Palace

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The Grand Trianon of the Palais de Versailles

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Dome of Les Invalides in Paris

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ENGLISH BAROQUE
› English Baroque is a term used to refer to modes of English architecture that
paralleled Baroque architecture in continental Europe between the Great Fire of
London (1666) and roughly 1720;

› Sir Christopher Wren presided over the genesis of the English Baroque
architecture, which differed from the continental models.

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St Paul's Cathedral (1675–1711)

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The Hampton Palace

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