Baroque as a term: the origin of the word Baroque derives from a term designating uneven pearls or from a medieval scholastic pneumonic device. Baroque architecture can be seen as a continuation of High Renaissance ideals of symmetry, hierarchy and simple geometry combined with a greater sense of sensuality of surface, experiential complexity in space, directionality in movement, contextual siting and a clearer rhetoric in expressing symbolic meaning.
Union of the arts: ex.: Gianlorenzo Bernini's Cornaro Chapel in S. Maria della Vittoria, Rome, 1647-1651. The union of the arts painting, sculpture and architecture), use of sensuosity for catalyzing symbolic/real experience of S. Teresa of Aliva.
Shift in taste: Tempietto vs. F. Borromini·s S. Ivo della Sapienza, 1642-50. Introduction of curved planes, complex volumes, new shapes. Example of G. Guarini·s St Mary of Divine Providence, Lisbon, 1681?
Change in palace design: ex. of Palazzo Barberini (by Maderno, Cortona, Borromini and Bernini), 1628-33. The palace facade is composed like an interior courtyard, yet is placed on the outside of the building. The old enclosed ground plan of the former Sforza palace is opened up like a villa. Note movement into and through palace, and up palace into the infinite (by means of painting); papal symbolism of the ground plan, fountain, and the orientation. (Palazzo Barberini: plan; piano nobile plan; engr. Vw; Int. ceiling; engraving ).
Change in villa design: Ex. of Pietro da Cortona's (1596-1669) aerial vw1; aerial vw2).
Change in churches. facades: Ges (begun 1568) vs Carlo Maderno·s S. Susanna (1600) (Gesu: plan facade); plans: introduction of oval: S. Giacomo degli Incurabili, (begun1592)
Gianlorenzo Bernini's S. Andrea al Quirinale, Rome, 1658- 1678. Note: classical roots; simple aedicular facade; tripartite organization; emblematic plan; ovato tondo/oval; rich theatrical interior; hidden light source, S. Andrew in painting, sculpture, body of church. (S. Andrea al Quirinale: plan; ext protico and oval church; veduta; int view; interior dome; interior apse).
Francesco Borromini's (1599-1667) S. Carlo alle Quattro Fontane, Rome, church 1634-1641; facade 1665-1667. The Convent of the Trinitarians: small space; symbolism of elevation. Cortile/courtyard breaks 90 degree angles and rules of orders. Church: small; plan based on oval and three circles, walls in rhomboid shape; complicated alternating tripartite rhythm relating to the trinity; unusual detailing. Facade: first facade in western culture in which planes break in different curves on each story: concave-concave-concave as opposed to concave-convex-concave. (San Carlo alle Quattro: site plan; plan; perspective; exterior from corner ; courtyard ; interior cupola ceiling; interior chapel; cloister balustrade detail). Also by Borromini, S. Ivo della Sapienza, Rome (1634-44), church of the University of Rome Note: symbolism still difficult to interpret; internal space of concave and convex shapes based on a six pointed star, shape of plan carried into interior of dome, spiral top of lantern.
Influence of Borromini and Bernini: Baroque architecture in Piedmont (north of Rome) in the work of Guarino Guarini (1624-83) in his treatise with illustrations of his work, including the church of St. Mary of Divine Providence, Lisbon (begun 1681?) with curvilinear walls and intersecting spaces. Chapel of the SS. Sindone, Turin (1667-90). Note: trinity symbolism, walls and orders contrast with ribs and voids, unusual forms. In his treatise Guarini writes about the beauty of Gothic as well as Classical architecture
(Turin Cathedral:
plan; dome).
(Turin Pal. Carignano: w.facade; ext. facade).