Baroque Rococo 09202022

HISTORY OF ARCHITECTURE 2
BAROQUE AND
ROCOCO
Prepared by:
AR. ROY DE GUZMAN

AR. JOSE ENRICO V. GALLEGO
ANNOUNCEMENT
QUIZ TOMORROW
1:OO – 3:00 ONLU
Scope:
Renaissance
ANNOUNCEMENT
MIDTERM EXAMS: September 26 – October 1
Scope:
Romanesque, Gothic, Renaissance, Baroque and Rococo
• Characteristics
• Elements
• Significance
• Notable Architects/ Examples
REMINDERS
CHECK YOUR TIMEZONE IN YOUR PC OR IN YOUR MS
TEAMS.
– YOU WILL NOT BE ABLE TO OPEN THE EXAM IF THE

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TIME
HISTORY OF ARCHITECTURE 2
BAROQUE AND
ROCOCO
Prepared by:
AR. ROY DE GUZMAN

AR. JOSE ENRICO V. GALLEGO
BAROQUE ARCHITECTURE
A style of architecture originating in Italy in the early 17th CE
and variously prevalent in Europe and the New World for a
century and a half, characterized by free and sculptural use
of the classical orders and ornaments, dynamic opposition
and interpenetration of spaces and the dramatic combined
effects of architecture, sculpture, painting and decorative arts
BAROQUE
BAROQUE
• Evolved in Rome (1620-60) as an expression of the

Catholic resurgence that followed the Counter-
Reformation.
• Its theatrical and emotional qualities made it powerful as

political propaganda, but its purest achievements are
churches in Rome, Austria and South Germany.
BAROQUE
• Deformed
• Originally meant misshapen
• is the French transliteration of the Portuguese

phrase “pérola barroca,” which means
“irregular pearl.”
INFLUENCES
BAROQUE
COUNTER-REFORMATION (Baroque)
– REFORMATION, also known as the PROTESTANT REFORMATION.
This movement resulted in simpler and plain architectural
compositions.
– COUNTER-REFORMATION was initiated in response to the

Protestant Reformation. Baroque became a stylistic period
made to advertise the religion. One of the masters of the
Baroque style was Bernini.
BAROQUE
• Baroque architecture rose during a period of transition for the Roman
Catholic Church following a crisis called the Protestant Reformation
• The Catholic Church responded with the Counter-Reformation, a series of

reforms, but also a display of power and wealth.
• Eventually Baroque architecture could be found throughout Europe and

as far away as South America. Interestingly, as Baroque spread, it
changed. In every country, the style was bit different.
BAROQUE
• The Protestant Reformation reacted to the church’s teaching resulting in
simple and plain forms of the new Protestant churches.
• The Baroque style became a tool in countering the simpler forms of the
Protestants by using elaborate curves on the facades and oval plans.
• The interior became highly decorated like a set in a theater adorned

with mixed media elements such as paintings and sculptures applied to
architectural space.
CHARACTERISTICS
BAROQUE
• The style became like a set of a theater with materials that were
transmuted with illusionist effect, and sensuous and highly elaborate use
ornaments (marble, gilt, and bronze).
• Circles and squares were considered as pagan symbols, a different

interpretation of shapes compared to the humanistic approach of the
Renaissance.
BAROQUE
• It began in the late 16th century Rome, Italy. 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.
• It allowed freer use of curves. Whole walls had alternation of convex and
concave, dramatic effect handling of light, ground plan oval, rich
colors, broken and interrupted architectural forms.
BAROQUE
• ILLUSIONIST EFFECT – FAUX MARBLE –
fake stucco, exaggerated.
• TROMPE L’OEIL meaning “fool the

eye” through paintings with a three-
dimensional effect.
Allegory of Divine Providence and Barberini Power, by Pietro da Cartona
CHARACTERISTICS
• Swirls and movement
CHARACTERISTICS
• Undulating facades and plans based on ovals
CHARACTERISTICS
• Ornaments are sensuous and highly elaborated, with penchant for
marble, gilt and bronze
CHARACTERISTICS
• Sculpture was colored, was used structurally , or to disguise structure.
CHARACTERISTICS
• False perspectives were painted on walls.
• Large-scale ceiling frescoes
CHARACTERISTICS
• Wood was
carved or
painted to look
like draped
fabric.
CHARACTERISTICS
• Dramatic use of
light
• Broken
pediments, giant
orders, and
convex and
concave walls.
CHARACTERISTICS
• Use of scrolls
SANTA SUSANNA
ROME BY CARLO MADERNO
• The dynamic rhythm of

columns and pilasters,
central massing, and the
protrusion and condensed
central decoration add
complexity to the structure.
CHURCH OF THE GESU
ROME
PALAZZO BARBERINI
ROME
IN ITALY
ITALY
• They evolved from the Renaissance forms.
• Movement toward rand structures with flowing, curving

shapes.
• Landscape was frequently incorporated.
• New elements as gardens, squares, courtyards and fountains.
• Influence of the rebuilding of Saint Peter, in which classical

forms integrated with the city
ITALY
CURVING FORMS
• including oval shapes and a

combination of concave and convex
forms that make walls seems to
undulate or appear wavy with a
strong sense of motion.
S. CARLO ALLE QUATTRO FONTANE

ROME
S. CARLO ALLE
QUATTRO FONTANE
ROME
S. CARLO ALLE
QUATTRO FONTANE
ROME
ITALY
MASSING OF ELEMENTS
• grouping things together like columns

and decorative flourishes.
Architectural elements are repeated
across a surface.
ITALY
DISTORTION
• with figures that are

elongated, broken
or manipulated in
some manner to
make them stand
out.
CUPOLA OF SAN LORENZO GUARINO GUARINI

ITALY
LARGE VOLUTES, SCROLL

OR SPIRAL FORMS.
ITALY
Gian Lorenzo Bernini
(1598-1680)
• In 1623 became a protégé of Pope
Urban VIII.
• His building and sculpture express

grandeur and flamboyance of the
Counter-Reformation
• Some other works:

• Palazzo Montecitorio
• Palazzo Barberni
GIAN LORENZO BERNINI
• He is considered to
be one of the best
architects during the
Baroque period,
equivalent to
Michaelangelo
BALDACHIN- An ornament
canopy of stone or
marble permanently
placed over the altar in a
church.
Also, baldachino,
baldaquin or ciborium
BALDACCHINO, ST. PETER’S
ITALY
Gian
Lorenzo
Bernini
SALA DUCALE
ITALY
Gian Lorenzo Bernini
SCALE REGIA, ROME
• (1633-66)
• Stairway between St.Peter’s and the papal

apartment is one of Bernini’s
achievements.
• Two rows of columns flanking the staircase

converge and diminish in height as they
rise, increasing the apparent length of the
stair.
ITALY
Saint Andrea al Quirinale,

Rome
• the Church of Saint Andrew's at the Quirinal
• (1658-78)
• Has an oval plan, with altar and entrance

and painting
SAINT ANDREA AL QUIRINALE
ROME
ITALY
ECSTASY OF ST. THERESA

• Cornaro family chapel in S. Maria
della Vittorio, Rome
• One of the great works of the

Baroque period
• Bernini places St. Theresa at the

center of an oval altar experiencing
an ecstatic vision as an angel
pierces his heart with a golden
arrow.
ITALY
FRANCESCO BORROMINI
(1599-1667)
• Born in Northern Italy
• Worked for Carlo Maderno and Gian

Lorenzo Bernini
• Noted for his command on spatial

effects and structural innovations
NOTABLE ARCHITECTS
FRANCESCO BORROMINI
– A student of Bernini known for
his works having spatial
complexity, use of graceful
curving surfaces, and his
dramatic use of light. His
technique involved the use of
evolved concepts nearer to
engineering thought than
sculpture.
CHURCH OF SAINT CHARLES AT THE FOUR
FOUNTAINS
ROME
• Italian: Chiesa di San Carlo

alle Quattro Fontane also
called San Carlino
• The church was designed

by the architect Francesco
Borromini and it was his first
independent commission.
SAN CARLO ALLE QUATTRO FONTANE
– The concave-convex facade
of San Carlo undulates in a
non-classic way. Tall
corinthians columns stand on
plinths and bear the main
entablatures; these define
the main framework of two
storeys and the tripartite bay
division.
CHURCH OF SAINT
CHARLES AT THE FOUR
FOUNTAINS
ROME
• A serpentine
shape is any of
certain curved
shapes of an
object or design,
which are
suggestive of the
shape of a snake
S. CARLO ALLE
QUATTRO FONTANE
ROME
CHURCH OF SAINT CHARLES AT THE FOUR FOUNTAINS
ROME
NOTABLE ARCHITECTS
PIETRO DA CORTONA
– A powerful designer who
used strong columnar
architecture marked by a
dramatic. He is known to
incorporate a technique
called CHIAROSCURO – a
play of light and darkness.
SANTA MARIA DELLA PACE
The facade of the building 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.
TURIN
ITALY
CHAPEL OF THE HOLY SHROUD

TURIN
• The most ingenious and

extravagant Barouqe
experiment made by the
Theatine priest Guarino
Guarini
• (1624-83)
CHAPEL OF THE HOLY
SHROUD
TURIN
• The Holy Shroud, said to have

wrapped Christ's body after
His deposition from the Cross,
and to bear the impression of
His body, is keep in a cask on
the high altar of Guarini's
chapel of the Sacra Sindone.
It is only show to the public in
special occasions
CHAPEL OF THE HOLY
SHROUD
TURIN
WINDOWS
CHAPEL OF THE HOLY
SHROUD
TURIN
CHAPEL OF THE HOLY SHROUD
TURIN
IN AUSTRIA
KARLSKIRCHE
KARLSKIRCHE
KARLSKIRCHE
KARLSKIRCHE
IN SPAIN
VALLADOLID CATHEDRAL
SPAIN
most Baroque pieces outside of the capital Madrid are religious buildings
JESUIT COLLEGE OF LA CLERECIA

SALAMANCA, SPAIN
In the capital, many civic
buildings were made to
exhibit the power of the
monarchy and in major cities
CARCEL DE CORTE
MADRID, SPAIN
SPAIN Floor plan of Carcel de Corte, Madrid
• The buildings continue to

have a very simple plan
layout
• No presence in Spanish
baroque of dynamic and
complex layout in plans of
the Italian baroque.
In the provinces, the main square was the most important civic building,
which was also created to show power.
PLAZA MAYOR
MADRID, SPAIN
• The exterior walls are a mixture of ornamentation
BAROQUE ARCHITECTURE and soberness — on each side of the
SPAIN ornamented facades, there are plain, straight
walls with little decoration.
• the geometric rigor with

rectangular and square
volumes continues to be the
norm.
• Constructive elements of
the Renaissance, like
arches and columns are
still present.
JAEN CATHEDRAL
SPAIN
CHURRIGUERESQUE
• Spanish 18th Century Architecture
• After the Churriguera family of

architects
SOLOMONIC
• Features a profuse and indiscriminate COLUMN
surface ornamentation, with a fondness
for twisted columns (salomonicas) and
pilasters shaped like inverted cones
(estipites)
SPAIN
CHURRIGUERESQUE
PALACE OF THE MARQUIS OF
DOS AGUAS
VALENCIA, SPAIN
• (1740-44)
• Has an elaborate carvings round

doors and windows and shows the
churrigueresque dissolution of form
into decorative features
CARTHUSIAN MONASTERY
GRANADA, SPAIN
ROCOCO
A style of decorative art that evolved from the Baroque,
originating in France about 1720 and distinguished by
fanciful, curved spatial forms and elaborate, profuse designs
of shellwork and foliage intended for delicate overall effect
ROCOCO
ROCOCO
• Last phase of Baroque, from 1700 until the coming of Neo-Classicism.
• Especially fashionable in France and Germany
• Invented to suit the Parisian taste

ROCOCO
• Originated in nature, French term rocaille being a

portmanteau or combination of the words “roc” (rock) and
“coquille” (shell).
• Elegant, light-hearted décor, fondness for pastel-colors,

abandonment on Baroque structural.
ROCOCO ARCHITECTURE
CHARACTERISTICS
ROCOCO
CHARACTERISTICS
GESAMTKUNSTWERK
GE-SAMT-KUNST-WERK
• A term translated as ‘total

work of art’
• Interior spaces were treated

as syntheses of surface,
ornament, furniture, tapestry,
and painting.
RESIDENZ WURZBURG
BAVARIA, GERMANY
ROCOCO
CHARACTERISTICS
CONTINUOUS SPACES
• Full of flowing curves,

complex geometry, and
dense ornament.
• Rococo spaces are

dominated by the
exigencies of surface
OTTOBEUREN ABBEY
BAVARIA, GERMANY
ROCOCO
CHARACTERISTICS
VIRTUOSITY
• Skills and craftsmanship
• Intricate plaster moulding –

often gilded and inset with
paintings.
• Finely carved mirror frames

and furniture.
SCHONBRUNN PALACE
VIENNA
ROCOCO
CHARACTERISTICS
ASYMMETRY
• Rococo designers freed themselves from the

adherence to symmetry that dominated
architecture and interior design since the
Renaissance.
ASYMMETRICAL ORNAMENTS
ROCOCO
CHARACTERISTICS
FOLIATE DECORATION
• Most Rococo decoration consisted of interpretations of

various forms of foliage.
• Common serrated-edged raffle leaf form often

bordering on the abstract.
FOLIATE DECORATION
ROCOCO
CHARACTERISTICS
FOLIATE DECORATION
• Most Rococo decoration consisted of interpretations of various

forms of foliage.
• Common serrated-edged raffle leaf form often bordering on the

abstract.
COMPARATIVE ANALYSIS
RENAISSANCE BAROQUE ROCOCO
• Adapting Romanesque • Use of scrolls • Foliate and shell

elements. ornaments
• Round arches and classical
columns
COMPARATIVE ANALYSIS
RENAISSANCE BAROQUE ROCOCO
• Classical columns • Twisted columns • Colored

• Composite columns • Solomonic columns • Foliated
ornaments

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HISTORY OF ARCHITECTURE 2

AR. ROY DE GUZMAN

– YOU WILL NOT BE ABLE TO OPEN THE EXAM IF THE

AR. ROY DE GUZMAN

• Evolved in Rome (1620-60) as an expression of the

• Its theatrical and emotional qualities made it powerful as

• Originally meant misshapen

• is the French transliteration of the Portuguese

– COUNTER-REFORMATION was initiated in response to the

• The Catholic Church responded with the Counter-Reformation, a series of

• Eventually Baroque architecture could be found throughout Europe and

• The interior became highly decorated like a set in a theater adorned

• Circles and squares were considered as pagan symbols, a different

• TROMPE L’OEIL meaning “fool the

• The dynamic rhythm of

• Movement toward rand structures with flowing, curving

• Landscape was frequently incorporated.

• New elements as gardens, squares, courtyards and fountains.

• Influence of the rebuilding of Saint Peter, in which classical

• including oval shapes and a

S. CARLO ALLE QUATTRO FONTANE

• grouping things together like columns

• with figures that are

CUPOLA OF SAN LORENZO GUARINO GUARINI

LARGE VOLUTES, SCROLL

• His building and sculpture express

• Some other works:

• Stairway between St.Peter’s and the papal

• Two rows of columns flanking the staircase

Saint Andrea al Quirinale,

• Has an oval plan, with altar and entrance

ECSTASY OF ST. THERESA

• One of the great works of the

• Bernini places St. Theresa at the

• Born in Northern Italy

• Worked for Carlo Maderno and Gian

• Noted for his command on spatial

• Italian: Chiesa di San Carlo

• The church was designed

The facade of the building with

CHAPEL OF THE HOLY SHROUD

• The most ingenious and

• The Holy Shroud, said to have

JESUIT COLLEGE OF LA CLERECIA

• The buildings continue to

• the geometric rigor with

• After the Churriguera family of

• Has an elaborate carvings round

• Last phase of Baroque, from 1700 until the coming of Neo-Classicism.

• Especially fashionable in France and Germany

• Invented to suit the Parisian taste

• Originated in nature, French term rocaille being a

• Elegant, light-hearted décor, fondness for pastel-colors,

• A term translated as ‘total

• Interior spaces were treated

• Full of flowing curves,

• Rococo spaces are

• Skills and craftsmanship

• Intricate plaster moulding –

• Finely carved mirror frames