Identify the Arthistorical Period During Which San Carlo Alle Quattro Fontane Was Constructed

Italian Compages in the Baroque Period

The highly theatrical Baroque architectural style dominated Italian republic in the 1600s.

Learning Objectives

Define the characteristics and examples of Roman Baroque architecture

Key Takeaways

Key Points

• Baroque architecture was linked to the Counter- Reformation , celebrating the wealth of the Cosmic church. It was characterized by new explorations of grade , calorie-free and shadow, and dramatic intensity .
• Bernini was the principal of Baroque architecture in Rome ; St. Peter'due south Square was one of his greatest achievements.
• Carlo Fontana became Rome's leading Baroque builder following Bernini's expiry in 1680.
• Other influential Baroque architects in Italy included Carol Maderno, Pietro la Cortano, and Francesco Borromini.

Key Terms

• Counter-Reformation: The menstruation of Catholic revival kickoff with the Council of Trent (1545–1563) and ending at the close of the Xxx Years' State of war (1648); sometimes considered a response to the Protestant Reformation.
• Bizarre: A period in western art from c. 1600 to the centre of the 18th century, characterized by drama, rich color, and dramatic contrast between low-cal and shadow.

The Baroque Flow in Italy

The Baroque period of architecture began in the late 16th century in Rome, Italia. It 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 country. It was characterized by new explorations of form, light and shadow, and dramatic intensity.

Whereas the Renaissance drew on the wealth and power of the Italian courts and was a blend of secular and religious forces, the Bizarre was, initially at least, direct linked to the Counter-Reformation, a movement within the Catholic Church building to reform itself in response to the Protestant Reformation . Baroque architecture and its embellishments were on i hand more attainable to the emotions and on the other hand, a visible statement of the wealth and power of the Cosmic Church building.

Architectural Accomplishments

A number of ecclesiastical buildings of the Baroque menses in Rome had plans based on the Italian paradigm of the basilica with a crossed dome and nave , but the handling of the architecture was very unlike than what had been carried out previously. Ane of the offset Roman structures to break with the previous conventions of the Mannerist manner was the church of Santa Susanna, designed past Carlo Maderno. The dynamic rhythm of columns and pilasters , central massing, and the protrusion and condensed primal decoration add complication to the structure. There is an incipient playfulness with the rules of archetype design, but it still maintains a level of rigor.

Facade of Santa Susanna by Carlo Maderno: The design elements of this church signaled a departure from the prevailing Mannerist style of compages at the time.

Pietro de Cortona

The same concerns with plasticity, massing, dramatic effects, and shadow and light are evident in the architectural piece of work of Pietro da Cortona, illustrated past his design of Santi Luca e Martina (of which construction began in 1635) with what was probably the first curved Baroque church building façade in Rome. These concerns are fifty-fifty more evident in his reworking of Santa Maria della Stride (1656–8). The façade of the edifice, with its chiaroscuro half-domed portico and concave side wings, closely resembles a theatrical stage set and projects forward so that it substantially fills the tiny trapezoidal piazza .

Santa Maria Della Footstep: Pietro da Cortona restored the edifice of Santa Maria Della Pace, adding a Baroque façade.

Gian Lorenzo Bernini

Other Roman ensembles of the Baroque and late Baroque menstruation are likewise suffused with theatricality and, as urban theatres, provide points of focus within the surrounding cityscape. Probably the about well-known case of such an approach is Saint Peter'south Square, which has been praised as a masterstroke of Baroque theatre. The piazza, designed by Gian Lorenzo Bernini, is formed principally past two colonnades of free-continuing columns centered on an Egyptian obelisk . Bernini's own favorite design was his oval church of Sant'Andrea al Quirinale, decorated with polychome marbles and an ornate gold dome. His secular compages included the Palazzo Barberini (based on plans by Maderno) and the Palazzo Chigi-Odescalchi (1664), both in Rome.

St. Peter'due south Square by Gian Lorenzo Bernini: St. Peter's Foursquare is an iconic example of Bizarre theatricality.

Francesco Borromini

Bernini's rival, the architect Francesco Borromini, produced designs that deviated dramatically from the regular compositions of the ancient world and Renaissance. His building plans were based on complex geometric figures, his architectural forms were unusual and inventive, and he employed multi-layered symbolism in his architectural designs. His iconic masterpiece is the diminutive church building of San Carlo alle Quattro Fontane, distinguished past a complicated plan organisation that is partly oval and partly a cross, giving information technology complex convex-concave wall rhythms.

Carlo Fontana

Following the expiry of Bernini in 1680, Carlo Fontana emerged as the most influential builder working in Rome during the Bizarre period. His early mode is exemplified by the slightly concave façade of San Marcello al Corso. Fontana's academic arroyo, though lacking the dazzling inventiveness of his Roman predecessors, exerted substantial influence on Baroque compages both through his prolific writings and through the number of architects he trained, who would disseminate the Baroque idioms throughout 18th-century Europe.

Castilian Architecture in the Baroque Period

A detail strand of Baroque architecture evolved in Spain and its provinces and quondam colonies in the late 17th century.

Learning Objectives

Identify characteristics of Spanish Baroque compages, its most famous examples, and how it differs from the art of Northern Europe in the 17th century

Cardinal Takeaways

Key Points

• In contrast to the fine art of Northern Europe, the Spanish art of the Baroque catamenia appealed to the emotions rather than seeking to delight the intellect.
• The Churriguera family, which specialized in designing altars and retables, revolted against the sobriety of the previous Herrerian classicism and promoted an intricate, exaggerated, well-nigh arbitrary style of surface decoration known as the Churrigueresque.
• Betwixt 1720 and 1760, the Churrigueresque column , or estipite, in the shape of an inverted cone or obelisk was established every bit a key element of ornamental ornamentation.
• Some of the well-nigh notable examples of Spanish compages from the Bizarre period include the façades of the Academy of Valladolid (1719) and the western façade of the Cathedral of Santiago de Compostela (1750).

Key Terms

• Herrerian: A mode of architecture adult in Spain during the final third of the 16th century under the reign of Philip II (1556–1598) and continued in force in the 17th century, transformed so by the Bizarre current of the time.
• Moorish: Of or pertaining to a style of Spanish compages from the fourth dimension of the Moors, characterized by the horseshoe arch and ornate, geometric ornamentation.
• Baroque: A period in western art from c. 1600 to the middle of the 18th century, characterized past drama, rich color, and dramatic contrast between light and shadow.
• Obelisk: A tall, square, tapered stone monolith topped with a pyramidal betoken, oftentimes used as a monument.

The Development of Baroque in Kingdom of spain

Spanish Baroque is a strand of Baroque architecture that evolved in Spain and its provinces and onetime colonies, notably Castilian America and Belgium, in the tardily 17th century. As Italian Bizarre influences spread beyond the Pyrenees Mountains, they gradually superseded in popularity the restrained classical approach of Juan de Herrera, which had been in vogue since the tardily 16th century.

For example, past 1667, the facades of Granada Cathedral (by Alonso Cano) and Jaén Cathedral (by Eufrasio López de Rojas) suggest the artists' fluency in interpreting traditional motifs of Spanish cathedral architecture in the Baroque aesthetic idiom . In Madrid, a vernacular Baroque with its roots in Herrerian and in traditional brick structure was adult in the Plaza Mayor and in the Majestic Palace of El Buen Retiro, which was destroyed during the French invasion by Napoleon's troops. Its gardens still remain as El Retiro park. This sober brick Baroque of the 17th century is withal well represented in the streets of the upper-case letter in palaces and squares.

Plaza Mayor: Iii sides of the Plaza Mayor, well known for its Spanish Baroque architecture.

Comparisons to Northern Europe

In contrast to the art of Northern Europe, the Castilian art of the period appealed to the emotions rather than seeking to please the intellect. The Churriguera family, which specialized in designing altars and retables, revolted against the sobriety of the Herrerian classicism and promoted an intricate, exaggerated, almost arbitrary mode of surface decoration known as the Churrigueresque. Within one-half a century, they transformed Salamanca into an exemplary Churrigueresque city. Betwixt 1680 and 1720, the Churriguera popularized Guarini's alloy of Solomonic columns and composite lodge, known as the "supreme order. " Betwixt 1720 and 1760, the Churrigueresque column, or estipite, in the shape of an inverted cone or obelisk was established as a key element of ornamental decoration.

Caravaca de la Cruz.: The Churrigueresque column, or estipite, was a central element of ornamental decoration in the Spanish Baroque, equally shown here in the Estipite in the Church of Caravaca de la Cruz.

Notable Examples

Examples of the nearly eye-catching creations of Spanish Bizarre are the energetic façades of the University of Valladolid (Diego Tome and Fray Pedro de la Visitación, 1719) and the western façade (or Fachada del Obradoiro) of the Cathedral of Santiago de Compostela (Fernando de Casas y Novoa, 1750). In these examples, every bit in many others, the Churrigueresque design involves a play of tectonic and decorative elements with niggling relation to structure and function. The focus of the florid decoration is an elaborately sculptured surround to a main doorway. If ane removed the intricate maze of cleaved pediments , undulating cornices , stucco shells, inverted tapers, and garlands from the rather plain wall it is set confronting, the building'southward class would not be affected in the slightest.

Cathedral of Santiago de Compostela in Spain.: The facade of the Santiago de Compostela reflects the Churrigueresque facade; the lavish details of the facade have little structural use.

At the aforementioned time, Churrigueresque bizarre offered some of the most impressive combinations of space and light. Buildings like Granada Charterhouse (by Francisco Hurtado Izquierdo), considered to exist the highest example of Churrigueresque styles practical to interior spaces, or the Transparente of the Cathedral of Toledo (past Narciso Tomé) integrate sculpture and architecture to reach notable light and dramatic effects.

The Royal Palace of Madrid and the interventions of Paseo del Prado (Salón del Prado and Alcalá Doorgate, also in the same city), deserve special mention. They were constructed in a sober Bizarre international manner, ofttimes mistaken for neoclassical, past the kings Philip V and Charles III. The Royal Palaces of La Granja de San Ildefonso in Segovia and Aranjuez in Madrid are good examples of Baroque integration of architecture and gardening. They have a noticeable French influence (La Granja was known every bit the Spanish Versailles) but comprise local spatial conceptions that in some ways display the heritage of the Moorish occupation.

In Flemish region , which was the richest royal province of 17th century Spain, florid decorative detailing was more tightly knit to the structure, thus precluding concerns of superfluity. A remarkable convergence of Spanish, French, and Dutch Baroque aesthetics may be seen in the Abbey of Averbode (1667). Another characteristic example is the Church of St. Michel at Louvain (1650–70), with its exuberant two-story façade, clusters of half-columns, and the circuitous aggregation of French-inspired sculptural detailing.

English Architecture in the Baroque Period

English architecture during the 17th century can be characterized by its use of Palladian, Jacobean, and English Baroque styles.

Learning Objectives

Define the compages of 17th century England

Key Takeaways

Key Points

• Inigo Jones is known for introducing Palladian architecture to England, a highly symmetrical mode based on the principles of formal Classical temple architecture of the aboriginal Greeks and Romans.
• Popular during the early 17th century, the Jacobean fashion tin exist classified by its adoption of corrupt and detailed Renaissance motifs such as columns and pilasters , round arch arcades , and flat roofs with openwork parapets , equally seen in Hatfield Firm.
• The architect Sir Christopher Wren was responsible for the genesis of the English Baroque way; after the Bully Fire of London in 1666, he rebuilt many of the city's churches, such as St. Paul's Cathedral .
• English language Bizarre architecture tin be characterized by heavy structures adorned with elaborate ornament; compared to the contemporary Baroque of the European continent, however, information technology tends to be relatively plain, with more Classical subtleties.

Key Terms

• arcade: A row of arches.
• parapet: Part of a perimeter that extends above the roof.
• pilaster: A rectangular column that projects partially from the wall to which it is attached; information technology gives the advent of a support but is only for ornamentation.

English Architecture in the 17th Century

The architecture in England during the 17th century saw a continuation of the employ of Classical forms , which eventually gave way to a uniform style, derived chiefly from Italia and exemplified predominantly in the work of Inigo Jones. Jacobean architecture was prominent in the starting time quarter of the 17th century, and English Bizarre architecture, a distinctly English take on the Italian Baroque style, became prevalent during the later office of the 17th century following the Great Fire of London.

Evolution of English Baroque

Inigo Jones and Palladian Architecture

Palladian architecture is highly symmetrical and based on the principles of formal Classical temple architecture of the ancient Greeks and Romans. Information technology was a mode seen during the 17th century in England and became truly prominent in the 18th century. Inigo Jones, one of the start significant English architects, is known for introducing the Italian Renaissance manner to England. He is responsible for the Queen'south Firm at Greenwich (1635) and the Banqueting House in the Palace of Whitehall (1622), which he designed based on the work of Palladio, an influential Italian Classical-style builder; its ceiling was painted by Peter Paul Rubens.

The Queen'southward House at Greenwich: The Queen'south Business firm at Greenwich was congenital by Inigo Jones, one of the first meaning English architects known for introducing the Italian Renaissance style to England.

Jacobean Architecture

The 2d phase of Renaissance architecture in England is termed the Jacobean manner. This way was pop during the first quarter of the 17th century during the reign of Male monarch James I. Chronologically following the Elizabethan style, the Jacobean way can be classified past its adoption of decadent and detailed Renaissance motifs such equally columns and pilasters, circular curvation arcades, and flat roofs with openwork parapets. These classical motifs were, even so, not strictly applied (every bit they were by Inigo Jones) simply used rather freely and synthesized with elements of Elizabethan style compages. Architectural examples of the style include Hatfield House, Knole House, and Holland House past John Thorpe.

Hatfield House: South facing view of Hatfield House, an case of English Jacobean compages, showcasing the decadent and detailed Renaissance motifs.

English language Bizarre

The subsequently 17th century saw Baroque architecture come to prominence in a style that is termed English Bizarre. It was the architect Christopher Wren, one of the nigh acclaimed English architects in history, who was responsible for the genesis of the English Baroque style. When the Great Burn down of London in 1666 forced much of the metropolis to be rebuilt, Wren was hired to replace many of the churches. His about ambitious construction, St. Paul's Cathedral, was a magnificent slice of architecture and is the merely English cathedral in the Classical tradition.

St. Paul's Cathedral: Built by Christopher Wren, St. Paul's Cathedral is the merely English cathedral in the Classical tradition.

Characteristics

Popular from 1666 to about 1715, English Baroque architecture is characterized by heavy structures adorned with elaborate decoration; compared to the gimmicky Baroque of the European continent, however, it tends to be relatively apparently, with more Classical subtleties. Baroque state houses, such as Chatsworth House past William Talman and Castle Howard by Vanbrugh and Hawksmoor, began to appear in the 1690s. The about significant architects afterwards Wren were Sir John Vanbrugh and Nicholas Hawksmoor, who built Castle Howard (1699) and Blenheim Palace (1705).

Chatsworth House, England: English Baroque compages, equally seen in Chatsworth House, can exist characterized by heavy structures adorned with elaborate decoration; however, it tends to be relatively plainly, with more Classical subtleties, compared to the Bizarre architecture of the continent that was beingness congenital at the same time.

French Architecture in the Baroque Period: Versailles

The Palace of Versailles was built during King Louis Fourteen's reign and contains 700 rooms, all-encompassing gardens, and lavish ornamentation.

Learning Objectives

Identify the most impressive features of Versailles and those artistically responsible

Key Takeaways

Fundamental Points

• The Palace of Versailles was executed in the French Baroque style , characterized by its large curved forms , twisted columns , loftier domes , and complicated shapes.
• The architect for the palace was Louis Le Vau, the interior decorator was Charles Le Brun, and the landscape designer was Andre Le Notre.
• Interior blueprint from this menstruum is known as Louis 14 way. Originated by Le Brun, it is characterized by richly woven reddish and gold fabrics or brocades , heavy gilded plaster molding , large sculpted side boards, and heavy marbling.
• The gardens at Versailles embrace nearly two,000 acres of land and were executed in the French formal garden style, or jardin a la francaise.
• Notable features of the palace include the Hall of Mirrors and the Grande Culvert.

Key Terms

• parterre: A garden with paths between flowerbeds.
• brocade: A thick, heavy textile into which raised patterns have been woven.
• molding: A plane or curved narrow surface, either sunk or projecting, used for ornamentation past ways of the lights and shades upon its surface and to conceal joints, particularly between dissimilar materials.

Overview: Versailles

The Palace of Versailles is an opulent palace built by Louis Fourteen that contains 700 rooms, extensive gardens, and lavish decoration. Initially a small hunting lodge built past his father, Louis XIV transformed Versailles with four intensive building campaigns over his reign. The formal aesthetic of the palace was meant to glorify France and evidence the ability and greatness of the self-proclaimed Sun King, Louis 14. The builder for the palace was Louis Le Vau, the interior decorator was Charles Le Brun, and the landscape designer was Andre Le Notre. These three artists had worked together previously on the private Chateau Vaux le Vicomte for the king's minister of finance before he was imprisoned. In 1682, Versailles was transformed into the official residence of the king, and such notable features of the palace equally the Hall of Mirrors and the Grande Culvert were built.

The Fine art and Artists of Versailles

The Architecture: Louis Le Vau

The Palace of Versailles was executed in the French Bizarre manner past architect Louis Le Vau, a French Classical architect who worked for King Louis Xiv. French Baroque architectural way is characterized by its big curved forms, twisted columns, high domes, and complicated shapes. In comparing to the Baroque architecture of the balance of Europe, it is usually thought to be more restrained and characterized by its mixture of lavish details on symmetrical and orderly buildings.

The Interior Blueprint: Charles Le Brun

Charles Le Brun was the interior decorator for the Palace of Versailles, as well as beginning painter to the king. Louis XIV declared Le Brun the "greatest painter of all time," and Le Brun worked on such notable features of the palace as the Halls of War and Peace, the Ambassadors' Staircase, and the Slap-up Hall of Mirrors. Interior design from this menses is known as Louis XIV style, originated by Le Brun, and was characterized by richly woven ruddy and gold fabrics or brocades, heavy gilded plaster molding, large sculpted side boards, and heavy marbling.

Louis XIV fashion: This elaborate bench showcases the mode of Louis XIV at Versailles, which is characterized by richly woven red and gold fabrics or brocades, heavy gilded plaster molding, large sculpted side boards, and heavy marbling.

The Hall of Mirrors is the central gallery of the Palace of Versailles and is one of the most famous rooms in the world. The main characteristic of this room is a series of 17 mirrored arches that reverberate 17 arcaded windows overlooking the gardens. Each arch contains 21 mirrors. The arches are fixed between marble pilasters upon which bronze symbols of France are embedded.

The Hall of Mirrors: The main characteristic of the Hall of Mirrors is a series of 17 mirrored arches that reverberate 17 arcaded windows overlooking the gardens. Each arch contains 21 mirrors.

The Gardens: Andre Le Notre

The landscape design at the Palace of Versailles is ane of the most extravagant in history. Headed by Andre Le Notre, the gardens at Versailles encompass about 2,000 acres of land and were executed in the French formal garden style, or jardin a la francaise. This style is characterized past its meticulously manicured lawns, parterres of flowers, numerous fountains, and sculptures.

A common characteristic of sculpture and decoration at Versailles is the use of classical mythology as allegory . The Bassin de Latone was designed by Le Notre and sculpted by Gaspard and Balthazar Marsy between 1668–1670. This fountain depicts scenes from Ovid'southward Metamorphoses, chosen as allegories to revolts during the king's reign. The Bassin d'Apollon is another fountain that depicts the sun god driving his chariot to calorie-free the sky. The Grotte de Thetys is a freestanding construction with an interior decorated in elaborate shell-piece of work to stand for the myth of Apollo.

Gardens at Versailles: Plan for the extravagant gardens at the Palace of Versailles.

The Grande Canal is a notable feature of the gardens, with an impressive length of 1,500 x 62 meters. Male monarch Louis 14 ordered the construction of "niggling Venice " on the Chiliad Canal, which housed yachts, gondolas, and gondoliers received from Venice. It also served a functional purpose past gathering the h2o that tuckered from the fountains and redistributing information technology to the gardens past horse-powered pump.

The Grande Commande is a series of 24 statues that were commissioned by Louis Fourteen to decorate the gardens. The statues illustrate the classic quaternities (sets of four) at the time of the Four Humors, the 4 Parts of the Day, the Four Parts of the World, The Iv Forms of Poetry, the Four Elements, and the Four Seasons. Four additional sculptures depict abductions from classical mythology.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/architecture-of-the-baroque-period/

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