Baroque architecture emerged in late 16th-century Italy and is characterized by dramatic forms and elaborate decorations, often symbolizing the triumph of the Catholic Church. Following the Protestant Reformation, it became a tool for expressing religious power and emotional engagement, with key figures like Bernini and Borromini leading the style's evolution. The late baroque marks France's rise as a cultural center, exemplified by the grandeur of the Palace of Versailles, integrating classical and baroque elements.

1. BAROQU
E
ARCHITECTUR
E
BY: DIVYA BALANI

2.  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.

3.  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 Portugese word barocco, meaning 'an
irregular pearl'.

4.  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.

5.  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 façade of the Jesuit church Il
Gesù, which leads directly to the most important church
façade of the early Baroque, Santa Susanna (1603), by
Carlo Maderno.
 Its facade is "the first truly baroque façade",
introducing the baroque style into architecture.

6.  Baroque paintings are brilliant, colourful, 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 reallistic effects in all media
were developed, e.g.- marble, oil on canvas, etching
etc.
 Boroque mingled what was real with what was only
apparent- created a feeling of illusion.

7. EARLY BAROQUE
HIGH BAROQUE
LATE BAROQUE

8.  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

13. Ceiling of Dome
Exterior of dome

14.  The two foremost names in Baroque architecture are
Bernini and Borromini, both of whom worked primarily
in Rome.

15.  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.

16.  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".

17. l
s
l
i
ll
s
 Bernini's most famous
building is likely the
smal church of
Sant'Andrea al
Quirinale ("Saint
Andrew' on Quirinal
Hill"). Quirina hill is
one of the "seven h of
Rome".

18.  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.

20.  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).

21.  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.

22.  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.

23. Renaissance
Clarit
y
Uniformit
y
Regularit
y
Emphasis
on
Surface
Human
Scale
Easily Perceived
Cerebra
l
Baroqu
e
Ambiguity
Variet
y
Contras
t
Spatial
Plasticity
Superhuma
n
Myster
y
Emotiona
l

25. WETENBERG ABBEY
CHURCH
The abbey is situated on a peninsula in the Danube, on the so-
called "Wetenberg Narrows" or the "Danube Gorge". The
monastery, founded by Irish or Scottish monks in about 620, is
held to be the oldest monastery in Bavaria.

27.  In this church they use the lighting effects
which called chiaroscuro.
 Chiaroscuro is a type of lighting effects,
which means dark and light effects.
 Chiaroscuro literally means clear-obscure or
light- dark. It refers to the use of strong
contrast or unusual lighting to create a strong
dramatic effect in art.
 Chiaroscuro is of Latin origin with Chiaro
meaning ‘light’ or ‘clear’ & ‘oscuro’ meaning
‘obscure’ or ‘dark.’

30. LIGHTING

31. WEINGAR
TEN
ABBEY
CHURCH
Weingarten Abbey or St.
Martin's Abbey is a
Benedictine monastery on
the Martinsberg (St.
Martin's Mount) in
Weingarten near
Ravensburg in Baden
Württemberg (Germany).

32.  This church have rich decoration and
interior.
 Coffered dome is use in abbey church.
 Coffered roof make dome high.
Building
The current church was built between 1715
and 1724 in the Italian-German Baroque style
according to plans by Franz Beer. The church
is the second largest church in Germany, and
is the largest Baroque church in Germany.
The 102 meter long church is known as the
"Swabian St.
Peter's" since this church is almost exactly
one- half the size of St. Peter's Basilica in

34. INTERIOR