Baroque architecture emerged in late 16th-century Italy, characterized by emotional intensity and ornate embellishments, reflecting the triumph of the Catholic Church amidst the Protestant Reformation. Key figures include Carlo Maderno, Gian Lorenzo Bernini, and Francesco Borromini, with notable works like St. Peter's Basilica and the Palace of Versailles illustrating the style's opulence and influence across Europe. The transition from Italian to French Baroque led to a more restrained approach, which significantly shaped architectural trends in the 18th century.

1. BAROQUE
ARCHITECTURE
Venice Indorte
Roxanne Cartagena
DFR1A

2.  is 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 rhetorical and
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.
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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.

7.  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 vertically).

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

11.  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.

12.  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".

13.  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.

14.  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).

15.  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.

16.  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.

18.  The sacred architecture of the Baroque period had its beginnings in the Italian
paradigm of the basilica with crossed dome and nave. One of the first Roman
structures to break with the Mannerist conventions exemplified in the Gesù, was the
church of Santa Susanna, designed by Carlo Maderno.
 The dynamic rhythm of columns and pilasters, central massing, and the protrusion
and condensed central decoration add complexity to the structure. There is an
incipient playfulness with the rules of classic design, still maintaining rigor. They had
domed roofs.

22.  The attempt of the French court to introduce Italian Baroque into France, by
summoning Bernini in 1665 to Paris and commissioning him to design the
reconstruction of the royal palace - the Louvre - was doomed from the outset.
 At the court of the Roi Soleil a Baroque style was developed which was more
restrained than the Italian: ground-plans were less complex, and facades more
severe, with greater respect for the details and proportions of the traditional
architectural orders, and violent effects and flagrant caprices were eschewed.
 French Baroque profoundly influenced 18th-century secular architecture throughout
Europe. In particular, the Palace of Versailles and the jardin à la française were copied
by other courts all over Europe.

27.  is a strand of Baroque architecture that evolved in Spain, its provinces, and former
colonies.
 The development of the style passed through three phases. Between 1680 and 1720,
the Churriguera popularized Guarini's blend of Solomonic columns and composite
order, known as the "supreme order".
 Three of the most eye-catching creations of Spanish Baroque are the energetic
facades of the University of Valladolid (Diego Tome and Fray Pedro de la Visitación,
1719), the western façade (or Fachada del Obradoiro) of the Cathedral of Santiago de
Compostela (Fernando de Casas y Novoa, 1750) and Hospicio de San Fernando in
Madrid (Pedro de Ribera, 1722), whose curvilinear extravagance seems to herald
Antonio Gaudí and Art Nouveau.

30.  Distinctive features of Baroque architecture can include:
 In churches, broader naves and sometimes given oval forms
 Fragmentary or deliberately incomplete architectural elements
 dramatic use of light; either strong light-and-shade contrasts (chiaroscuro effects) as at the
church of Weltenburg Abbey, or uniform lighting by means of several windows (e.g. church of
Weingarten Abbey)
 opulent use of color and ornaments (putti or figures made of wood (often gilded), plaster or
stucco, marble or faux finishing)
 large-scale ceiling frescoes
 an external façade often characterized by a dramatic central projection
 the interior is a shell for painting, sculpture and stucco (especially in the late Baroque)
 pear-shaped domes in the Bavarian, Czech, Polish and Ukrainian Baroque
 Marian and Holy Trinity columns erected in Catholic countries, often in thanksgiving for ending a
plague

39.  http://www.visual-arts-cork.com/architecture-history.htm#baroque
 https://en.wikipedia.org/wiki/Baroque_architecture#Precursors_and_features_of_Baro
que_architecture
 http://www.essential-humanities.net/western-art/architecture/baroque/#early-baroque