x 016 european and colonial architecture

8/13/2019 X 016 European and Colonial Architecture

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European and colo

Sicilian Baroque: Basilica dell

With the rise of various Euro the early 20th century, the nlocations around the world, o

Baroque architecture

Main article: Baroque archite

The periods of Mannerism increasing anxiety over meaand philosophy had separatculture, fundamentally chaarchitecture.[citation needed] Itunder the decorative tastes o

Baroque architecture is theItaly, that took the Roman rhetorical and theatrical fashthe absolutist state. It was chdramatic intensity.

Whereas the Renaissance drblend of secular and religiousCounter-Reformation, a movto the Protestant Reformatio one hand more accessible to

ial architecture

Collegiata, Catania, Sicily, Italy.

pean colonial empires from the 16th centuew stylistic trends of Europe were exporteften evolving into new regional variations.

cture

nd the Baroque that followed the Renaining and representation. Important develoed mathematical representations of realitnging the way humans related to theould reach its most extreme and embelli

fRococo.

building style of the Baroque era, begun iocabulary of Renaissance architecture anion, often to express the triumph of the Caracterized by new explorations of form, lig

ew on the wealth and power of the Italianforces, the Baroque was, initially at least, di

ement within the Catholic Church to reforn.[2] Baroque architecture and its embellishthe emotions and on the other hand, a visibl

1

ry onward through to or adopted by

sance signaled an pments in science

from the rest of ir world through

shed development

late 16th century used it in a new

atholic Church and t and shadow and

courts and was a rectly linked to the

itself in response ents were on the

le statement of the


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wealth and power of the Chuof the new religious orders,popular piety.

The architecture of the High

VIII, Innocent X and Alexanarchitects of this period werepainter Pietro da Cortona anexpression.

Dissemination of Baroque arsuch as Sicilian Baroque archiarchitect Camillo-Guarino Gcontributed Baroque building

A synthesis of Bernini, Borroarchitecture of northern Euro

By the middle of the 17th ceform of grand palaces, first iFranois Mansartand then

During the 17th century, Barwhere it was particularly pro

Precursors and fea

Grassalkovich Palace, Gdll

rch. The new style manifested itself in parti, like the Theatines and the Jesuits who

Roman Baroque can be assigned to the pa

der VII, spanning from 1623 to 1667. Tthe sculptor Gianlorenzo Bernini, Francescod each evolved their own distinctively indi

chitecture to the south of Italy resulted intecture or that ofNaples and Lecce. To theuarini, Bernardo Vittone and Sicilian bo s to the city ofTurin and the Piedmont regio

ini and Cortonas architecture can be seen ipe which paved the way for the more decor

tury, the Baroque style had found its seculn Francewith the Chteau de Maisons (1hroughout Europe.

oque architecture spread through Europeoted by the Jesuits.

ures of Baroque architecture

, Hungary designed by Andreas Mayerhoffe

2

ular in the context aimed to improve

al reigns of Urban

he three principal Borromini and the

idual architectural

regional variations orth, the Theatine

rn Filippo Juvarra n.

in the late Baroque tive Rococo style.

r expression in the 642) near Paris by

and Latin America,


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3

Michelangelo's late Roman buildings, particularly St. Peter's Basilica, may be consideredprecursors to Baroque architecture. His pupil Giacomo della Porta continued this work inRome, particularly in the faade of the Jesuit church Il Ges, which leads directly to the mostimportant church faade of the early Baroque, Santa Susanna (1603), by Carlo Maderno[3]

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 ofWeltenburg Abbey, or uniform lighting by means of several windows(e.g. church ofWeingarten Abbey)

opulent use of colour and ornaments (puttior figures made of wood (often gilded),plaster or stucco, marble or faux finishing)

large-scale ceiling frescoes an external faade often characterized by a dramatic central projection the interior is a shell for painting, sculpture and stucco (especially in the late

Baroque) illusory effects like trompe l'oeil (an art technique involving extremely realistic

imagery in order to create the optical illusion that the depicted objects appear inthree dimensions.) and the blending ofpainting and architecture

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

Elector's Palace in Trier, Germany


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Santa Susanna in Rom

Peter and Paul Cathed

Saints Peter and Paul

The Baroque and colonial

During the Portuguese colobaroque architecture (Our La

Though the tendency has becoincided with, and is intColonialism required the devand France, the first to movwealth, not only in the silveelsewhere, but also in the re

e, Italy

ral in Saint Petersburg, Russia

hurch in Krakow, Poland

ism

nization of Goa, India brought about mdy of the Immaculate Conception Church).

n to see Baroque architecture as a Europegrally enmeshed with, the rise of Eur

elopment of centralized and powerful govere in this direction.[4] Colonialism brought ir that was extracted from the mines in Bsultant trade in commodities, such as suga

4

ny churches with

n phenomenon, it pean colonialism.

nments with Spain huge amounts of

olivia, Mexico and and tobacco. The


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5

need to control trade routes, monopolies, and slavery, which lay primarily in the hands ofthe French during the 17th century, created an almost endless cycle of wars between thecolonial powers: the French religious wars, the Thirty Years' War (1618 and 1648), FrancoSpanish War (1653), the Franco-Dutch War (16721678), and so on. The initialmismanagement of colonial wealth by the Spaniards bankrupted them in the 16th century

(1557 and 1560), recovering only slowly in the following century. This explains why theBaroque style, though enthusiastically developed in Spain, was to a large extent, in Spain, anarchitecture of surfaces and faades, unlike in France and Austria where we see theconstruction of numerous huge palaces and monasteries. In contrast to Spain, the French,under Jean-Baptiste Colbert (16191683), the minister of finance, had begun to industrializetheir economy, and thus, were able to become, initially at least, the benefactors of the flowof wealth. While this was good for the building industries and the arts, the new wealthcreated an inflation, the likes of which had never been experienced before. Rome wasknown just as much for its new sumptuous churches as for its vagabonds.[5]

Italy

Main articles: Italian Baroque and Italian Baroque architecture

Rome and Southern Italy

See also: Sicilian Baroque

A number of ecclesiastical buildings of the Baroque period in Rome had plans based on theItalian paradigm of the basilica with a crossed dome and nave, but the treatment of thearchitecture was very different to what had been carried out previously. One of the firstRoman structures to break with the Mannerist conventions exemplified in the Ges, was thechurch of Santa Susanna, designed by Carlo Maderno. The dynamic rhythm of columns andpilasters, central massing, and the protrusion and condensed central decoration addcomplexity to the structure. There is an incipient playfulness with the rules of classic design,but it still maintains rigor.

The same concerns with plasticity, massing, dramatic effects and shadow and light is evidentin the architectural work of Pietro da Cortona, illustrated by his design of Santi Luca eMartina (construction began in 1635) with what was probably the first curved Baroque

church facade in Rome.[6] These concerns are even more evident in his reworking of SantaMaria della Pace (1656-8). The facade with its chiaroscuro half-domed portico and concaveside wings, closely resembles a theatrical stage set and the church facade projects forwardso that it substantially fills the tiny trapezoidal piazza. Other Roman ensembles of theBaroque and Late Baroque period are likewise suffused with theatricality and, as urbantheatres, provide points of focus within their locality in the surrounding cityscape.

Probably the most well known example of such an approach is Saint Peter's Square, whichhas been praised as a masterstroke of Baroque theatre. The piazza, designed by GianLorenzo Bernini, is formed principally by two colonnades of free standing columns centred

on an Egyptian obelisk. Bernini's own favourite design was his oval church of Sant'Andrea alQuirinale decorated with polychome marbles and an ornate gold dome. His secular


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architecture included the PaChigi-Odescalchi (1664), both

Sant'Ivo alla Sapienza by Fran

Bernini's rival, the archite dramatically from the regulbuilding plans were basedunusual and inventive anddesigns. Borromini's architeshowing some affinity withdiminutive church of San Caarrangement that is partly orhythms. A later work, theinventiveness and antipathylantern above the dome.

Following the death of Berarchitect working in Rome.San Marcello al Corso. F

inventiveness of his Romaarchitecture both throughtrained, who would dissemin

The 18th century saw the caParis. The Italian Rococo, whiinfluenced by the ideas ofFrancesco de Sanctis (Span1727)had little influence othe Sicilian Baroque, includi

Venanzio Marvuglia.

lazzo Barberini based on plans by Madernin Rome.

cesco Borromini

ct Francesco Borromini, produced desiar compositions of the ancient world anon complex geometric figures, his architehe employed multi-layered symbolism i

ctural spaces seem to expand and contrthe late style of Michelangelo. His iconicrlo alle Quattro Fontane, distinguished byal and partly a cross and so has complex cchurch of Sant'Ivo alla Sapienza, displaysto the flat surface, epitomized by an un

ini in 1680, Carlo Fontana emerged as tis early style is exemplified by the slightlyntana's academic approach, though lac

predecessors, exerted substantial influis prolific writings and through a numbete the Baroque idioms throughout 18th cen

ital of Europe's architectural world transfech flourished in Rome from the 1720s onwaBorromini. The most talented architects

ish Steps, 1723) and Filippo Raguzzini (Putside their native country, as did numerong Giovanni Battista Vaccarini, Andrea Pal

6

o and the Palazzo

ns that deviated Renaissance. His

ctural forms were his architectural ct when needed, masterpiece is the

complicated plan nvex-concave wall

the same playful usual corkscrew

e most influential concave faade of

king the dazzling

ence on Baroque r of architects he

tury Europe.

rred from Rome to rd, was profoundly

active in Rome iazza Sant'Ignazio,

us practitioners of ma, and Giuseppe


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Basilica di Superga near Turin

The last phase of Baroque aPalace, reputedly the largestcontemporary French and SpAt Naples and Caserta, Vanequal attention to aesthetics

Neoclassicism.

Northern Italy

In the north of Italy, the mothe new style. They emploJuvarra, and Bernardo Vitton acquired royal status of their

Guarini was a peripatetic marchitecture) to create irrunconventional faades. Bustereometry, Guarini elaboraBorromini's style in both th(1679) may have been the ma private house in the 17th ce

Fluid forms, weightless detaithe art ofRococo. Althoughdesigns were created for VicSuperga (1717) derives from

Turin. The rustic ambiance ehunting lodge of the Palazzicareer in Madrid, where he w

Among the many who wereand Guarini, none was more iremembered for an outcropin detailing. His sophisticatstructures and domes within

Malta

by Filippo Juvarra

rchitecture in Italy is exemplified by Luigibuilding erected in Europe in the 18th ce

anish models, the palace is skillfully relateitelli practiced a sober and classicizing acand engineering, a style that would make a

archs from the House of Savoy were partiyed a brilliant triad of architectsGuarito illustrate the grandiose political ambit

dynasty.

nk who combined many traditions (includgular structures remarkable for theirilding upon the findings of contemported the concept of architectura obliqua, woretical and structural audacity. Guarini's st flamboyant application of the Baroque stntury.

ls, and the airy prospects of Juvarra's archiis practice ranged well beyond Turin, Juvar

tor Amadeus II of Sardinia. The visual impaits soaring roof-line and masterful placem

couraged a freer articulation of architecturna di Stupinigi (1729). Juvarra finished hisorked on the royal palaces at La Granja and

rofoundly influenced by the brilliance andmportant than Bernardo Vittone. This Piedf flamboyant Rococo churches, quatrefoil id designs often feature multiple vaults,

domes.

7

Vanvitelli's Caserta ntury. Indebted to

to the landscape. ademic style, with

easy transition to

ularly receptive to o Guarini, Filippo

ions and the newly

ing that of Gothic val columns and

ry geometry and hich approximated

Palazzo Carignano le to the design of

ecture anticipated ra's most arresting

ct of his Basilica di nt on a hill above

l form at the royal short but eventful

Aranjuez.

diversity of Juvarra ontese architect is

n plan and delicate structures within


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Melliea Parish Church dedic

The island ofMalta containscity ofValletta. It was laid outhe island when they wereFrancesco Laparelli on a grid

coherent example of Baroqustate of the art until the mWorld Heritage Site in 1980.

Spain

Main article: Spanish Baroqu

As Italian Baroque influencespopularity the restrained clas

since the late 16th century.Cano) and Jan Cathedral ( interpreting traditional motiidiom.

The most impressive displaywest faade of the Cathedral

ted to Our Lady in Malta

a variety of Baroque architecture, most impt in 1566 to fortify the Knights of Rhodes,driven from Rhodes by Islamic armies. Thplan, and built up over the next century, re

e urbanism. Its massive fortifications, whicdern age, are also largely intact. Valletta

penetrated across the Pyrenees, they gradsicizing approach ofJuan de Herrera, which

s early as 1667, the faades of Granada C by Eufrasio Lpez de Rojas) suggest the

s of Spanish cathedral architecture in the

of Churrigueresque spatial decoration maof Santiago de Compostela).

8

ortantly the capital ho had taken over city, designed by

ains a particularly

h were considered ecame a UNESCO

ally superseded in had been in vogue

thedral (by Alonso artists' fluency in

Baroque aesthetic

y be found in the


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Royal Palace of La Granja

In contrast to the art of No

emotions rather than seekispecialized in designing altarsclassicism and promoted adecoration known as theSalamanca into an exemplarinteriors of the Granada Cha space and light in 18th-centradically, Narciso Tom achiToledo Cathedral.

The development of the stylChurriguera popularized Gua as the "supreme order". Betin the shape of an inverteornamental decoration. Thefrom twisted movement andsobriety.

Two of the most eye-catchinUniversity of Valladolid (Diegde Ribera, 1722), whose curNouveau. In this case as idecorative elements with litornamentation is an elaboratintricate maze of broken pedigarlands from the rather plaffected in the slightest.

Spanish America a

thern Europe, the Spanish art of the perio

ng to please the intellect. The Churrigu and retables, revolted against the sobriety

intricate, exaggerated, almost capriciouChurrigueresque. Within half a century,

Churrigueresque city. Among the highlighrterhouse offer some of the most impressiry Europe. Integrating sculpture and archi

eved striking chiaroscuro effects in his Tr

e passed through three phases. Between 1ini's blend ofSolomonic columns and compeen 1720 and 1760, the Churrigueresque ccone or obelisk, was established as a c

years from 1760 to 1780 saw a gradual shiexcessive ornamentation toward a neocla

creations of Spanish Baroque are the enero Tom, 1719) and Hospicio de San Fernand

ilinear extravagance seems to herald Antmany others, the design involves a pla

le relation to structure and function. Theely sculptured surround to a main doorwayiments, undulating cornices, stucco shells, inain wall it is set against, the building's f

d territories

9

d appealed to the

era family, which of the Herreresque

s style of surface they transformed

ts of the style, the e combinations of

tecture even more nsparente for the

680 and 1720, the osite order, known olumn, or estipite, entral element of

ft of interest away ssical balance and

etic faades of the o in Madrid (Pedro

nio Gaud and Art y of tectonic and focus of the florid

. If we remove the verted tapers, and rm would not be


10/36

Catedral Metropolitana, MexiMain articles: Spanish Baroqu

The combination of the Nextremely expressive interprbodied and varied characterthan its Spanish counterpart,

Twin-towered faades of maand the full-fledged BaroqueArmas in Cusco was built.churches.

Chapel of the Church of Sant

To the north, the richest prfantastically extravagantChurrigueresque. This ultraRodriguez, whose masterpieexamples of the style maySanctuary at Ocotln (begun itiles, which contrast delightfuthe main entrance and the sl

The true capital of Mexicanceramics (talavera) and vern

co City, started in 1573 e architecture and Andean Baroque

tive American and Moorish decorative itation of the Churrigueresque idiom may aof the Baroque in the American colonies oAmerican Baroque developed as a style of

y American cathedrals of the 17th centurydid not appear until 1664, when a Jesuit s

Even then, the new style hardly affecte

Domingo, Puebla, Mexico

ovince of 18th-century New SpainMexicnd visually frenetic architecture kno

-Baroque approach culminates in thece is the Sagrario Metropolitano in Mexibe found in remote silver-mining towns.n 1745) is a top-notch Baroque cathedral sully with a plethora of compressed ornamennder flanking towers.[7]

Baroque is Puebla, where a ready supplcular gray stone led to its evolving further i

10

nfluences with an ccount for the full-

Spain. Even more stucco decoration.

ad medieval roots hrine on Plaza des

the structure of

produced some wn as Mexican

orks of Lorenzo o City. Other fine

For instance, the rfaced in bright red

lavishly applied to

y of hand-painted into a personalised


11/36

and highly localised art forchurches whose faades andArabic designs. The interiorsIn the 18th century, local artinamed "alfenique" after a Pu

The Peruvian Baroque wasFrancisco at Lima (1673).Crdoba in Crdoba, Argen (crossbred) styles emerged in the region turned for inspiratype of Peruvian faade firsSimilarly, the Church of La Csculpted faade and a surfeit

Portugal and Portu

Main article: Baroque archite

The Queluz National Palace n

The Palace of Brejoeira, a pri

Mafra National Palace, a jew

with a pronounced Indian flavour. Thedomes display glazed tiles of many coloursare densely saturated with elaborate gold lsans developed a distinctive brand of whiteeblan candy made from egg whites and suga

particularly lavish, as evidenced by the hile the rural Baroque of the Jesuit Bloctina, followed the model of Il Gesu, prArequipa, Potos, and La Paz. In the 18th cetion to the Mudjar art of medieval Spain.t appears in the Church of Our Lady of Lompaia in Quito suggests a carved altarpof spiral salomnica.

uese Empire

cture in Portugal

ear Lisbon, Portugal perfectly depicts Baroq

e example of northern Portuguese Baroqu

l of Portuguese Baroque architecture

11

e are about sixty , often arranged in

af ornamentation. stucco decoration,

r.

monastery of San and Estancias of

ovincial "mestizo" ntury, architects of

. The late Baroque a Merced in Lima.

iece with its richly

e architecture.

architecture


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The interior of the So Roarchitecture in its chapels, inmost expensive in the world.

Nothwithstanding a prodigaliarchitecture of the Iberian

favoured a more sober archipalaces of Madrid, La Granj under strong influence of Bedesign for Santa Maria dellaaudacity in the region (even t

In Portugal, the first fully Bdesigned by royal architect facades. Antunes also designcurved corners (like the Meni18th century churches in Pfavoured Roman baroque mGerman who designed the Ro

By the mid-18th century, nItalian Baroque to revel in thmetre-high Torre dos Clrig tradition was Braga, whosePortuguese architecture andpolychrome ornamental patsurrounds.

Brazilian architects also expsurpassed their continental pat Ouro Preto are based ondos Clrigos, Recife), a convegable squeezed tightly betwe

Even after the Baroque conpractised in Brazil by AleijadiRococo could be discerned.

distinguished by a picturesqfaade. Although Aleijadinho

ue Church in Lisbon, Portugal illustratescluding the chapel of St. John the Baptist, a

ty of sensually rich surface decoration associPeninsula, the royal courts of Madrid an

tectural vocabulary distilled from 17th-centa, Aranjuez, Mafra, and Queluz were desinini and Juvarra. In the realm of church arcDivina Providenza in Lisbon was a pace-s

hough it was never built).

aroque church was the Church of Santa E oo Antunes, which has a Greek cross floed churches in which the inner space is reno de Deus Church in Lisbon), a scheme thartugal and Brazil. The court of John V, o

odels, as attested by the work of royal aryal Palace of Mafra, built after 1715.

rthern Portuguese architects had absorbee plasticity of local granite in such projectsos in Porto. The foremost centre of the

buildings encompass virtually every imdesign. The Baroque shrines and palaces ofterns, undulating roof-lines, and irregularl

lored plasticity in form and decoration, teers in ostentation. The churches of Mariaorromini's vision of interlocking elliptical sptional stucco-and-stone faade is enlivened

en the towers".[8]

entions passed out of fashion in Europe,nho, a brilliant and prolific architect in who

His church of Bom Jesus de Matozinho

e silhouette and dark ornamental detailwas originally commissioned to design So

12

the rich Baroque orned in gold, the

iated with Baroque d Lisbon generally

ury Italy. The royal gned by architects hitecture, Guarini's tter for structural

ngrcia, in Lisbon, orplan and curved

ctangular but with is found in several

n the other hand, hitect Ludovice, a

d the concepts of as the surging 75-

national Baroque ortant feature of

raga are noted for ly shaped window

hough they rarely a and the Rosario

aces. At So Pedro by "a high scrolled

the style was long se designs hints of

at Congonhas is

n a light stuccoed Francisco de Assis


13/36

at So Joo del Rei, his desiFrancisco in Ouro Preto inste

Hungary

Front view of the palace in Fe

The Szchenyi Square ofGyr

In the Kingdom of Hungary, tbuilt by Pietro Spozzo in 162the main propagators of the(16711684), Eger (173117territories devastated by theIntact Baroque townscapesEsztergom and the Castle Dis were the Royal Palace in Bu Fertd. Smaller Baroque edi

country. Hungarian Baroquetendencies as many Germacharacteristics of the local veand some "rural" flavour, esof the Hungarian Baroque we Franz Anton Pilgram also wPremonstratensian monastertendencies became dominaMelchior Hefele and Jakab Fe

By the time Hungarian varifroms, shapes and decorati

gns were rejected, and were displaced tod.

rtd

, Hungary

he first great Baroque building was the Jesui937, modelling the Church of the Gesu in

new style with their churches in Gyr (163) and Szkesfehrvr (17451751). The reOttomans was carried out in Baroque stycan be found in Gyr, Szkesfehrvr,

trict ofBuda. The most important Baroqueda, Grassalkovich Palace in Gdll, and fices of the Hungarian aristocracy are sca

shows the double influence of Austriann and Italian architects worked in the crsion of the style were modesty, lack of execially in the works of the local masters. Ire Andreas Mayerhoffer, Ignc Oraschek an rked in the Kingdom of Hungary, for exa

y ofJsz. In the last decades of the 18th cet. The two most important architects of

llner.

ties of Baroque architecture appeared wins. Those that have became famous an

13

the church of So

it Church ofTrnava Rome. Jesuits were

341641), [Koice] construction of the

le in 18th century. , Eger, Veszprm,

palaces in Hungary sterhzy Palace in

tered all over the

and Italian artistic ountry. The main essive decoration,

portant architects d Mrton Wittwer.

mple on the great ntury Neo-Classical

that period were

th several type of nice, have been


14/36

14

copied. That's why the Hungarian baroque edificies make groups based on similarities. Themajor kind of buildings are the following:

Eszterhza-type

These buildings were designed by the famous Moravian architect, Jakab Fellner for thenoble Eszterhzy family

Schloss Esterhazy in Eisenstadt, Austria

Eszterhzy Palace ofPpa, Hungary

The Eszterhzy Palace ofGalanta, Slovakia

Lamberg Palace in Mr, Hungary

Eszterhza Palace, Eszterhza, Hungary where Joseph Haydn lived

Szchenyi-type


15/36

15

Forgch Palace in Szcsny, Hungary

Gdll-type

Most of them were designed by Andreas Mayerhoffer and his followers, and built by theGrassalkovich family.

Nagyttny Castle, Budapest, Hungary

Grassalkovich Palace, the residence of the president of Slovakia, Bratislava, Slovakia

Rday Mansion, Pcel, Hungary

Grassalkovich Palace, Hatvan, Hungary

Batthyny Palace ofKrmend, Hungary


16/36

16

Lyceum ofEger, Hungary

Palace of the Archbishop of Kalocsa in Kalocsa, Hungary

Religious (Ecclestical) Baroque

The Church[disambiguation needed] and monastic orders built larger edifices.

Saint Peter and Paul Church in Baja, Hungary

The Pannonhalma Archabbey was rebuilt in Baroque in the 17th century(Pannonhalma, Hungary)

Church in Tata, Hungary


17/36

17

Church in Ppa, Hungary

Minorite cgurch in Eger, Hungary

The Cathedral ofKalocsa, Hungary

Zirc Abbey(the Cistercian convent ofZirc), Hungary

Houses

The wealthier citizens of the cities could afford to build a house of baroque stocked.

A street in the old town ofSopron, Hungary


18/36

18

The city hall ofPcs, Hungary

A Baroque house in Budapest, Hungary

Another street in Sopron, Hungary

A house built in Baroque in Ppa, Hungary

A house of a citizen in Budapest, Hungary


19/36

An old pharmacy in K

Others(castles, pleasa

Old castles were re-edified in

Typical Hungarian Bar

The Sikls Castle in Si

Transylvania

Brukenthal Palace in Herman

Bnffy Palace in Cluj-Napoca,

posvr, Hungar

nt's houses

Baroque just for the comforts of that age.

oque peasant's houses in Halsz, Hungary

ls, Hungary

stadt

Transylvania

19


20/36

St. George's Cathedral (built

Some representative BaroquCluj, the Brukenthal Palace ievery Transylvanian town habeing St. George's Cathedral

Holy Trinity Cathedral ofBlaj

France

Main articles: French Baroqu

Chteau de Maisons near Par

The centre of Baroque seculof the palace was establishewas the Palais du Luxembo

classicizing direction that Frecorps de logis was emphasizside wings were treated asmedieval tower has been comonumental three-storey gat

De Brosse's melding of traditroof-line) with extensive ItaPalazzo Pitti in Florence) caccomplished formulator of

credited with introducing th

etween 1736 and 1774) ofTimioara

structures in Transylvania (Romania) are t in Sibiu and the Bishopric Palace in Orade

at least a Baroque church, the most reprefTimioara, Saint John the Baptist Church

and the Piarist Church ofCluj.

and French Baroque architecture

is by Franois Mansart (1642)

r architecture was France, where the openas the canonical solution as early as the 1

urg by Salomon de Brosse that determin

nch Baroque architecture was to take. Fored as the representative main part of the

hierarchically inferior and appropriatelympletely replaced by the central projectioneway.

ional French elements (e.g. lofty mansard r lianate quotations (e.g. ubiquitous rusticame to characterize the Louis XIII style.he new manner was Franois Mansart, a ti

full Baroque to France. In his design for C

20

he Bnffy Palace in a. Besides, almost

entatives of which fTrgu Mure, the

three-wing layout 6th century. But it

ed the sober and

the first time, the building, while the

scaled down. The in the shape of a

ofs and a complex ion, derived from

robably the most reless perfectionist

teau de Maisons


21/36

(1642), Mansart succeededdemonstrating respect for th

Versailles's chapel as seenBaroque

The Chteau of Maisons dchateaux of the 16th centurstrictly symmetrical, with anfrontispiece, crowned with a

and the ensemble reads likeoverblown decorative effectsmuted and relegated to the fi

The next step in the deveintegration of the gardens inVicomte), where the architec Andr Le Ntre complemenminiature palace is clothed inmore impressive. The creativ

the "Magnificent Manner" wwalls and transform the survistas.

in reconciling academic and Baroquegothic-inherited idiosyncrasies of the Frenc

from the tribune royale, an outstanding

monstrates the ongoing transition fromto the villa-like country houses of the 18torder applied to each storey, mostly in

separate aggrandized roof, is infused with re

three-dimensional whole. Mansart's struct, so typical of contemporary Rome. Italian Beld of decorative ornamentation.

lopment of European residential architecthe composition of the palace, as is exem

t Louis Le Vau, the designer Charles Le Bru ed one another. From the main cornice tthe so-called "colossal order", which makee collaboration of Le Vau and Le Ntre ma

ich allowed to extend Baroque architecturerounding landscape into an immaculate m

21

approaches, while h tradition.

xample of French

the post-medieval h. The structure is

pilaster form. The markable plasticity

res are stripped of aroque influence is

ture involved the plified by Vaux-le-

and the gardener a low plinth, the

the structure look rked the arrival of

outside the palace osaic of expansive


22/36

Les Invalides in Paris by Jules

The same three artists scaledlodge and later main residexaggerated and somewhatgrandiose and the most imNordkirchen and Drottningh provided a model.

The final expansion of Versaidesign is the Dome des Invali

of the century. Hardouin-Mathe edifice with an imperialmajestic hemispherical domenot accurately convey the stthe harmony and balance astone for Late Baroque Frenconcessions to academicism.

The reign of Louis XV saw amore delicate and intimatePineau, who collaborated wiMarly. Further elaborated b

pittoresque" culminated in thde Soubise in Paris (c. 1732),all reasonable measure, whovershadow architectural divi

The Low Countries

Southern Netherlands

Hardouin-Mansart (1676)

this concept to monumental proportions ince at Versailles. On a far grander scalerepetitive version of Vaux-le-Vicomte. Ititated residential building of the 17th celm were among many foreign residences f

lles was superintended by Jules Hardouin- des), generally regarded as the most impor

nsart profited from his uncle's instructiongrandeur unprecedented in the countriesbalances the vigorous vertical thrust of th

ucture of the interior. The younger architesociated with the work of the elder Mansah architecture, with its grand ponderousn

reaction against the official Louis XIV Style anner, known as Rococo. The style was pi

th Hardouin-Mansart on the interiors of thy Pierre Le Pautre and Juste-Aurle Meis e interiors of the Petit Chteau at Chantilly where a fashionable emphasis on the curvilile sculpture, paintings, furniture, and pisions of the interior.

22

the royal hunting , the palace is an

as both the most ntury. Mannheim,

or which Versailles

ansart, whose key tant French church

and plans to instill north of Italy. The e orders, which do

ct not only revived rt but also set the

ess and increasing

in the shape of a neered by Nicolas

royal Chteau de sonier, the "genre

(c. 1722) and Htel inear went beyond rcelain tended to


23/36

Church of St. Michel in Leuve

Baroque architecture in the Protestant North. After the Catholic hands, ruled by theset up in the spirit of the C more tightly knit to the struconvergence of Spanish, FrenAverbode (1667). Another ch

its exuberant two-storey faFrench-inspired sculptural de

Six decades later, a Flemish aSpain (Cathedral of Murcia,Rococo style was a native ma the Basilica of Our Lady of th

Some Flemish architects suchwere inspired by architects

Cobergher's most major projdesigned as the center of a n

The influence of the painter book "I Palazzi di Genova" hebuildings and decoration in thouse in Antwerp (Rubenshu part in the decoration of theintroduced a lavish Baroqarchitectural program.

Northern Netherlands

, Belgium by Willem Hesius (1650)

outhern Netherlands developed rather diffTwelve Years' Truce, the Southern NetherSpanish Habsburg Kings. Important architecounter-Reformation. In them, florid decorcture, thus precluding concerns of superflch, and Dutch Baroque aesthetics may be sracteristic example is the Church of St. Mic

de, clusters of half-columns, and the comtailing.

rchitect, Jaime Borty Milia, was the first to i west faade, 1733). The greatest practitio

ster, Ventura Rodrguez, responsible for thePillar in Zaragoza (1750).

as Wenceslas Cobergher were trained in Itsuch as Jacopo Barozzi da Vignola and Gi

ect was the Basilica of Our Lady of Scherp w town in the form of a heptagon.

ieter Paul Rubens on architecture was very iintroduced novel Italian models for the cone Southern Netherlands. The courtyard and

is) are good examples of his architectural acAntwerp Jesuit Church (now Carolus Borrom e decoration, integrating sculpture and

23

erently than in the lands remained in

tural projects were tive detailing was

uity. A remarkable en in the Abbey of

el at Louvain, with

lex aggregation of

troduce Rococo to er of the Spanish

dazzling interior of

ly and their works como della Porta.

enheuvel which he

mportant. With his ception of profane

portico of his own tivity. He also took

euskerk) where he painting in the


24/36

Amsterdam City Hall by JacobMain article: Dutch Baroque

There is little Baroque aboutfirst republic in Northern Eextensively from classical aPalladianism is marked by soand Pieter Post, used suchpediments, and vigorous stClassicism.

The most ambitious construAmsterdam (1646) and Maa the other hand, the residenmansion than to a royal psymmetrical blocks with lar

mannerisms. The same auspretentious effects at the Sta

The Dutch Republic was oneon European architecture waimportant projects in Northein those countries. The DutcValley and associated primWillemstad, Curaao.

England

Main articles: English Baroqu

van Campen (1646) rchitecture

Dutch architecture of the 17th century. Theurope was meant to reflect democratictiquity. Like contemporary developmentsriety and restraint. Two leading architects, clectic elements as giant-order pilasters, geeples in a coherent combination that

tions of the period included the seats oftricht (1658), designed by Campen and Poces of the House of Orange are closer toalace. Two of these, Huis ten Bosch ane windows, stripped of ostentatious Baro

terely geometrical effect is achieved withdholder's summer residence ofHet Loo.

of the great powers of 17th-century Europs by no means negligible. Dutch architectsrn Germany, Scandinavia and Russia, disseh colonial architecture, once flourishing inarily with red-brick gabled houses, ma

and Edwardian Baroque architecture

24

architecture of the values by quoting

in England, Dutch Jacob van Campen

able roofs, central nticipated Wren's

self-government in t, respectively. On

a typical burgher Mauritshuis, are

ue flourishes and

out great cost or

e and its influence ere employed on

inating their ideas the Hudson River

still be seen in


25/36

Greenwich Hospital by Sir Ch

Baroque aesthetics, whose inimpact in England during thbetween the death ofInigo J

was no English architect of tEuropean architectural devel

It was Wren who presided ofrom the continental modelFollowing the Great Fire ofaesthetics are apparent primost ambitious work was effulgent domed churches ofPalladian tradition of Inigo

masterly equilibrium. LessBerniniesque vision onto BriSmith Square, 1728).

Castle Howard, North Yorkshi

Although Wren was also actiin England was built to a deculmination of Baroque arcHawksmoor. Each was cappreferred to work in tandem

(1705).

Although these two palacesheavy embellishment and ovwhile. Castle Howard is a fladomed tower which would nsolid construction, where thebecomes the main ornamecomparatively modest mansiSeaton Delaval that Vanbrug

once again highlighting a par

istopher Wren (1694)

fluence was so potent in mid-17th centurye Protectorate and the first Restoration y nes in 1652 and Christopher Wren's visit to

he accepted premier class. Unsurprisingly,pments was slight.

er the genesis of the English Baroque manls by a clarity of design and a subtle ta

London, Wren rebuilt fifty-three churchearily in dynamic structure and multiple ct Paul's Cathedral, which bears comparisItaly and France. In this majestically propoones is fused with contemporary contine

influential were straightforward attemptish church architecture (e.g. by Thomas A

re

e in secular architecture, the first truly Baro sign by William Talman at Chatsworth, st

itectural forms comes with Sir John Vanb ble of a fully developed architectural st

, most notably at Castle Howard (1699) an

ay appear somewhat ponderous or turgid trpowering mass captivated the British publiboyant assembly of restless masses dominaot be out of place in Dresden or Munich.massed stone of the arched gates and the

t. Vanbrugh's final work was Seaton Delon yet unique in the structural audacity of, a skillful playwright, achieved the peak of

llel between Baroque architecture and con

25

France, made little ars. For a decade

Paris in 1665 there

general interest in

ner, which differed ste for classicism.

s, where Baroque anging views. His

on with the most tioned edifice, the

tal sensibilities in

s to engraft the rcher in St. John's,

que country house rting in 1687. The

rugh and Nicholas tement, yet they

d Blenheim Palace

o Italian eyes, their c, albeit for a short ted by a cylindrical lenheim is a more

huge solid portico val Hall (1718), a

its style. It was at Restoration drama,

emporary theatre.


26/36

Despite his efforts, Baroque1724, the style had lost curre

Holy Roman Empir

Schloss Charlottenburg in Ber

In the Holy Roman Empire,Augsburg architect Elias Furttenbach the Elder alresuccessors due to the ravagework resumes, and secular aan initial phase, master-masmagistri Grigioniand the Lod'Intelvi, dominated the field.Baroque style during the lastwas impressed by Bernini. H

from the entire history, moVienna. Johann Lucas von Hi decorative style, particularlysouthern Germany.

St. Charles's Church in Vienna

Frequently, the Southern GBaroque, which is more proBaroque. In the Catholic Soubring Italian style across thechurch architecture was rath

as never truly to the English taste and wellncy in Britain.

lin

the Baroque period began somewhat loll (15731646) and some theoretists,ady practiced the Baroque style, theys of the Thirty Years' War. From about 16nd ecclesiastical architecture are of equal ins from southern Switzerland and northernbard master-masons, particularly the Carlo

. However, Austria came soon to develop itsthird of the 17th century. Johann Bernhardforged a new Imperialstyle by compiling

t prominently seen in his church of St. Chldebrandt also had an Italian training. Hein faade architecture, which exerted st

, Austria

rman Baroque is distinguished from theerly the distinction between the Catholic

th, the Jesuit church of St. Michael in Muni Alps. However, its influence on the furthr limited. A much more practical and more

26

before his death in

ter. Although the including Joseph

remained without 0 on, construction

mportance. During Italy, the so-called

ne family from Val own characteristic Fischer von Erlach

rchitectural motifs

arles Borromeo in eveloped a highly

ong influences on

Northern German nd the Protestant ich was the first to

r development of daptable model of


27/36

church architecture was provbarrel-vaulted nave accompopposed to St. Michael's inwall-pillar church, and theirlevel as the main vault of t

entrance of the church, thepillar church was further devofBavaria. This new churchlate Gothic age. The wall-pill(e.g. even in the early neo-clchurches could easily be refuas the church at Dillingen.

Interior ofVierzehnheiligen c

However, the Catholic South

called radical Baroque ofBo son Kilian Ignaz Dientzenho northern Italy, particularlycurvature of walls and intersin Bavaria's most prominentbalconies of some of his earparticular the Basilica of thsynthesis of Bohemian and G

Church of St Nicholas, Lesser

Protestant sacred architecturonly a few works of pri

Architectural theory was mLeonhard Christoph Sturm'

ided by the Jesuit church in Dillingen): theanied by large open chapels separatedunich, the chapels almost reach the height

vault (usually transverse barrel-vaults) sprihe nave. The chapels provide ample lighti

all-pillars form a theatrical setting for the siloped by the Vorarlberg school, as well aslso integrated well with the hall church mar church continued to be used throughoulassical church of Rot an der Rot Abbey), arbished by re-decoration without any struc

urch in Bavaria

also received influences from other sourc

emia. The radical Baroque of Christoph Die er, both residing at Prague, was inspiredy the works of Guarino Guarini. It is chction of oval spaces. While some Bohemianarchitect of the period, Johann Michael F

lier wall-pillar churches), the works of Balte Vierzehnheiligen, are generally considerrman traditions.

Town, the most famous Baroque church in P

e was of lesser importance during the Baroe importance, particularly the Frauenki

re lively in the north than in the souths edition of Nikolaus Goldmann, but S

27

all-pillar church, a by wall-pillars. As

of the nave in the gs from the same

ng; seen from the

de altars. The wall- he master-masons

del of the German t the 18th century nd early wall-pillar

ural changes, such

s, such as the so-

ntzenhofer and his by examples from

aracterized by the influence is visible

ischer (the curved asar Neumann, in d to be the final

rague

que, and produced irche in Dresden.

of Germany, with turm's theoretical


28/36

considerations (e.g. on Protapplication. In the south, thfrom illustrated books and en

Palace architecture was equ

North. After an initial phasRastatt), French influence prThe French model is charact(courtyard) on the town sideAustrian) scheme presents aarchitecture, often workedsynthesis of Austro-Italian aAustro-Italian and French inflResidence. While its generalcourtyards. Its faades com

style classical orders in two s"imperial staircase", but alsoby the "apartement semi-dou

PolishLithuanian

Main article: Baroque in Pola

Church of St. Anne in Krakow

The first Baroque church inChurch in Niasvizh, Belarus domed basilica with Baroqueart in Eastern Europe.[9]

stant church architecture) never really mory essentially reduced to the use of buildgravings as a prototype.

ally important both in the Catholic South

when Italian architects and influences dvailed from the second decade of the 18trized by the horseshoe-like layout enclosin(chateau entre cour et jardin), whereas t

block-like villa. The principal achievementsout in close collaboration of several arcd French models. The most outstanding p

uences into a completely new type of buildilayout is the horseshoe-like French plan, iine Lucas von Hildebrandt's love of decor

uperimposed stories; its interior features tha French-type enfilade of rooms on the gable" layout of French castles.

ommonwealth

d

the PolishLithuanian Commonwealth was(15861593).[8][9] It also holds a distinctionfaade in the Commonwealth and the firs

28

ade it to practical ings and elements

nd the Protestant

ominated (Vienna, century onwards.

g a cour d'honneur e Italian (and also

of German Palace hitects, provide a

lace which blends ng is the Wrzburg

it encloses interior ation with French-

e famous Austrian rden side, inspired

the Corpus Christi of being the first t Baroque piece of


29/36

acut Castle in acut

In the early 17th century, tBaroque churches include t

Baroque style following the pof the Wawel Cathedral, BChapel, St. Anne (1689170Casimir's Chapel (1623163Sigismund's Chapel,[11] SS. P(16041618, 17501755) in examples from northern ItCharles's Church in Vienna[12] examples include profusly dtheatrical decoration inside,(16781681) in Gdask, aMasuria (16811693), the nbefore World War II was filleTylman van Gameren was act1696), Krasiski Palace (1677as late-baroque VisitationistKazimierz Church (16881692

Wilanw Palace in Warsaw

e Baroque style spread over the Commone SS. Peter and Paul (15971619) constr

attern of the Vignola's il Ges,

[10]

the Vasa Caroque equivalent to neighbouring renais 3) and the Visitationist Church (169216

) of the Vilnius Cathedral, another inspieter and Paul Church (16681676) and Stilnius, Paaislis monastery (16671712) inly, the Dominican Church (17441769)and St. George's Church (17461762) in Lvi ecorated Jesuit Church in Pozna (1651the Xavier Cathedral in Hrodna (16781705

ixture of Dutch and Polish patterns[13] a rthernmost Tyrolean Baroque building.[14]

d with Baroque residences, churches, andive, survived few important buildings Wila1683), Bernardines Church in Czerniakw (

Church (16641761), Holy Cross Church (1).

29

wealth. Important ucted in the early

hapel (16441676) sance Sigismund's 5) in Krakw, St.

ration of Wawel's . Casimir's Church Kaunas inspired by

odelled after St. . Others significant 1701) with almost ), the Royal Chapel

d wita Lipka in In Warsaw, which

ouses, and where nw Palace (1677

6901693) as well 6821757) and St.


30/36

The Church of St. Catherine in

The magnates throughout tKrzytopr, built in the styl courtyards surrounded by forthe "central nation" is refleccentury magnate palaces rep

built entre cour et jardin (bemerger of European art withPalace, Branicki Palace in B Raczyski Palace in Rogalin aChristoph Glaubitz were inststyle, which spread througho

By the end of the century, PHetmanate, where they gavethe Cossack Baroque.[17] Such

the Left-Bank Ukraine was re

A notable style of baroque aChristoph Glaubitz who wasThe style was therefore naBaroque". The most notable(1743),[18] the Church of theand the towers of the Churfacade of the formerly Got works. Many church interio

reconstructed by Glaubitz as

Vilnius

e country competed with the kings. Thee palazzo in fortezza between 1627 andtifications. Late baroque fascination with thed in Queen Masysieka's Chinese Palace i

resents the characteristic type of baroque s

tween the entrance court and the garden).old Commonwealth building traditions, is

iaystok and in Warsaw, Potocki Palace i d Winiowiecki Palace in Vyshnivets. Architrumental in forming the so-called distincti t the region.[16]

lish Baroque influences crossed the Dniep birth to a particular style of Orthodox archwas its popular appeal that every medieval

esigned according to the newest fashion.

rhitecture emerged in the 18th century wiassigned to rebuild the Commonwealth caed Vilnian Baroque and Old Vilnius was n

buildings by Glaubitz in Vilnius are the ChurAscension (1750), the Church of St. John, th of the Holy Trinity. The magnificent andic Church of St. Johns (1749) is mention

rs including the one of the Great Synago

ell as the Town Hall in 1769.

30

onumental castle 1644, had several

culture and art of n Zolochiv.[15] 18th

uburban residence

Its architecture, a visible in Wilanw

Radzy Podlaski, cts such as Johann ve Vilnius Baroque

r into the Cossack itecture, known as church in Kiev and

th work of Johann ital city of Vilnius.

amed the "City of ch of St. Catherine

he monastery gate dynamic Baroque

d among his best gue of Vilna were


31/36

Notable buildings of VilnianBelarus (rebuilt in 1738-176Church of St. Peter and St. Paits replica was constructed in

Russia

Main articles: Naryshkin Baro

Menshikov Palace in Saint Pe

Winter Palace in Saint Peters

The interior of the Saint Pete

aroque in other places are Saint Sophia C5), Carmelite church in Hlybokaye, Belar ul in Berezovichi, Belarus (built in 1776, theBiaystok in the 1990s.

que and Petrine Baroque

ersburg

urg

sburg Peter and Paul Cathedral

31

thedral in Polotsk, s (1735) and the

1960s and 1970s),


32/36

Peter and Paul Church in Kaz

In Russia, Baroque architect

with elegant white decoratioPetrine Baroque, mostly imBaroque, which was, in thexecution, yet ordered bystatuary."

The first baroque churchesboyars. It was the family of this category of small suburbTritity church in Troitse-Lyko

built in red brick with profumore placed beside the churcusually surmounting thecompositions. As the styleremodeled after the latestConvent and the Donskoy M Cloister near Riazan. Civic are.g., the Sukharev Tower inPrincipal Medicine Store on Naryshkin Baroque were Yak

Petrine Baroque is a name adecoration favoured by Petefounded Russian capital, Ssuccessors. Unlike contempo Baroque represented a draRussian architecture for almAndreas Schlter, and MikhDanish, and Swedish architecare the Peter and Paul Cath

Menshikov Palace.The Petrininclude the Menshikov Tower

n

re passed through three stagesthe early

s on red-brick walls of rather traditional chorted from the Low Countries, and the

words of William Brumfield, "extravagthe rhythmic insistence of massed colu

ere built in the estates of the Naryshkin atalia Naryshkina, Peter the Great's moth

an churches were the Intercession in Fili (o (1690-1695) and the Saviour in Ubory (16

e detailed decoration in white stone. Theh as was common in the 17th century, butoctagonal central church and producin

gradually spread around Russia, manyashion. The most delightful of these wernastery in Moscow, as well as Krutitsy meto chitecture also sought to conform to the bMoscow and there is also a neo-form ofed Square. The most important architectsv Bukhvostov and Peter Potapov.

pplied by art historians to a style of Baroqur the Great and employed to design buildaint Petersburg, under this monarch araneous Naryshkin Baroque, favoured in M stic rupture with Byzantine traditions thost a millennium. Its chief practitioners il Zemtsov drew inspiration from a rat

ture of the time. Extant examples of the stedral, the Twelve Colleges, the Kunstkam

e Baroque structures outside St Petersburin Moscow and the Kadriorg Palace in Tallin

32

Moscow Baroque,

urches, the mature late Rastrelliesque

nt in design and ns and Baroque

family of Moscow r. Most notable in

69396), the Holy 9497). They were

belfry was not any n the facade itself,

g daring vertical monasteries were

the Novodevichy chion and Solotcha

aroque aesthetics, this style like the

ssociated with the

e architecture and ings in the newly-

d his immediate oscow, the Petrine

t had dominated Domenico Trezzini, er modest Dutch,

le in St Petersburg era, Kikin Hall and

g are scarce; they n.


33/36

Ukraine

Main article: Ukrainian Baroq

St. Michael's Golden-Domed

Ukrainian Baroque is an archera, in the 17th and 18thEuropean Baroque in havingwas considered more constrwere bud and pear-shapedbaroque.[19] Many Ukrainianbuildings in Kiev PecherskBaroque painting are the chLavra. Rapid development in

period. Advances utilized asumptuous ornamentation.

Scandinavia

French chteaux of the 17thNorthern Europe

ue

Monastery

itectural style that emerged in Ukraine durcenturies. Ukrainian Baroque is distinct

ore moderate ornamentation and simplerctivist. One of the unique features of thedomes, that were later borrowed by theBaroque buildings have been preserved,

avra and the Vydubychi Monastery. Therch paintings in the Holy Trinity Church oengraving techniques occurred during the

complex system of symbolism, allegories,

century provided models for numerous cou

33

ing the Hetmanate rom the Western

forms, and as such krainian baroque,

similar Naryshkin including several

best examples of the Kiev Pechersk

Ukrainian Baroque

heraldic signs, and

ntry houses across


34/36

Tessin's Drottningholm Pala architectural practice.

Amalienborg, a Baroque quar

During the golden age of th dominated by the SwedishNicodemus Tessin the Youn Copenhagen and Saint Peters

Born in Germany, Tessin thbalanced mixture of contempthe royal manor ofDrottning retaining some peculiarly Nor

Tessin the Younger shared hi

the Stockholm Palace drawsone could well imagine it staof the so-called Internationnational specifics, is the Royapolychrome domeless Kalmain a giant order of paired Ioni

It was not until the mid-emancipated from Swedish idesign for a new district of

composed of four rectangularranged across the angles ohark back to French anteceddecoration in Northern Europ

Turkey

ce illustrates the proximity between Fr

ter in the center ofCopenhagen

e Swedish Empire, the architecture of Nocourt architect Nicodemus Tessin the

er. Their aesthetic was readily adopted aburg.

Elder endowed Sweden with a truly natiorary French and medieval Hanseatic elemeholm seasoned French prototypes with Italidic features, such as the hipped roof(sterit

father's enthusiasm for discrete palace fa

so heavily on Bernini's unexecuted plans fnding in Naples, Vienna, or Saint Petersburgl Baroque, based on Roman models with

l Palace of Madrid. The same approach is mCathedral, a skillful pastiche of early Italia

c pilasters.

18th century that Danish and Russianinfluence. A milestone of this late period i openhagen centred on the Amalienborg P

lar mansions for the four greatest noblef an octagonal square. The restrained faadents, while their interiors contain some ofe.

34

nch and Swedish

rdic countries was lder and his son ross the Baltic, in

ional style, a well- nts. His designs for

an elements, while ak).

des. His design for

or the Louvre that . Another example

little concern for nifested is Tessin's

Baroque, clothed

architecture were is Nicolai Eigtved's

lace. The palace is

of the kingdom, es of the mansions

the finest Rococo


35/36

Ortaky Mosque

The Clock Tower ofDolmaba

The Main Entrance ofDolma

Istanbul, once the capital of t

architecture. As reforms and19th century, various archite

e Palace

ahe Palace

he Ottoman Empire, hosts many different v

innovations to modernize the country cature styles were used in Turkey, one of the

35

arieties of Baroque

e out in 18th and was the Baroque


36/36

Style. As Turkish architecture[disambiguation needed] (which is also a combination of Islamic andByzantine architecture) combined with Baroque, a new style called Ottoman Baroqueappeared. Baroque architecture is mostly seen in mosques and palaces built in thiscenturies. The Ortaky Mosque, is one of the best examples of Ottoman BaroqueArchitecture. The Tanzimat Era caused more architectural development. The architectural

change continued with Sultan Mahmud II, one of the most reformist sultans in TurkishHistory. One of his sons, Sultan Abdlmecid and his family left the Topkap Palace andmoved to the Dolmabahe Palace which is the first European-style palace in the country.

Baroque architecture in Istanbul was mostly used in palaces near the Bosphorus and GoldenHorn. Beyolu was one of the places that Baroque and other European style architecturebuildings were largely used. The famous streets called Istiklal Avenue, Nianta, BankalarCaddesi consist of these architecture style apartments. The Ottoman flavour gives it itsunique atmosphere, which also distinguishes it from the later "colonial" Baroque styles,largely used in the Middle East, especially Lebanon. Later and more mature Baroque forms

in Istanbul can be found in the gates of the Dolmabahe Palace which also has a very"eastern" flavour, combining Baroque, Romantic, and Oriental architecture.

x 016 european and colonial architecture

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