Baroque Four Baroque (1600-1750) Projects

Baroque

Four Baroque (1600-1750) Projects

San Carlo alle Quattro Fontane (1638-1646)

The Church of San Carlo alle Quattro Fontane (1638-1646) or Saint Charles at the Four Fountains is a Roman Catholic church and monastery in Rome. It was built between 1634 and 1638 by Francesco Borromini. It was also the first church in Rome to be dedicated to St. Charles Borromeus, who had been canonized in 1610. (Churches of Roma: San Carlo alle Quattro Fontane) it was also Borromini's first independent architectural commission and is considered to be an iconic masterpiece of Baroque architecture. ( Vino Con Vista Italy Travel Guides and Events) the construction was designed and built as part of a complex of monastic buildings on the Quirinal Hill for the Spanish Trinitarians. It is one of at least three churches in Rome dedicated to San Carlo, including San Carlo ai Catinari and San Carlo al Corso.

Borromini received the commission for this construction in 1634, under the patronage of Cardinal Francesco Barberini. However, this financial backing did not last and subsequently the building project suffered various financial difficulties. (Blunt 53)

The church itself is comparatively small in size, with the design as well as the proportions it is asserted being based on one of the piers supporting the dome of St. Peter's. The name of the church - San Carlino alle Quattro Fontane -- refers not only to its size but also to the four fountains at the corners of the intersection where the church stands. (San Carlo alle Quattro Fontane)

1.2. Design

Francesco Borromini is known as one of the most important architects who worked in the Roman Baroque style. He began his career as a sculptor and worked with his famous contemporary, Gianlorenzo Bernini, on various sculptural projects in Saint Peter's Basilica. (Francesco Borromini and His Architecture) However, Borromini's sculptural and architectural style differed markedly from that of Bernini. In fact they can be seen as being representative of two distinct styles of Baroque art and architecture.

"…whereas Bernini embraced a Baroque classicism, Borromini's architecture adapted classical elements to a more innovative architecture that was defined by organically curving lines and a complicated interplay of geometrical forms" (Francesco Borromini and His Architecture)

The design of San Carlo alle Quattro Fontane represents Borromini's particular style. For example, the design of the interior of the church conforms to the Seventeenth Century predilection for oval designs. Borromini's also had an interest in intricate geometrical designs. These design aspects were both applied to the building of San Carlo alle Quattro Fontane. As one study of these design aspects notes:

Borromini oriented his S. Carlino oval longitudinally, that is, with the entrance at one tip and the high altar at the other...and, eschewing a uniform outline, except in the dome's base, between entrance and altar he squeezed the upper and lower extremities of the oval so that it took on an undulating contour, which he then extended to the elevation. He designed the walls to weave in and out as if they were formed not of stone but of pliant substance set in motion by an energetic space, carrying with them the deep entablatures, the cornices, moldings and pediments."(Trachtenberg 346/7)

Furthermore, the design aspects of this building were complicated by the limited space available. Borromini's design plan therefore took,"… an unusual shape, somewhere between a rectangle, a cross and an oval. Not only does this plan take advantage of the small area non-which the church is situated but it

…also manages to be cruciform, central-plan, and basilican all at once." (Francesco Borromini and His Architecture)

A principle feature of the building from an architectural point-of-view is the elliptical dome. Within this dome there are various geometric designs and a lantern with the symbols of the Holy Spirit. Furthermore, "...Most of the light comes from the dome, which has no drum; further light, though not as much, comes through the window above the entrance." (San Carlo alle Quattro Fontane: Romafelix.com)

Symbols play a central role in the design of the church. Many of the shapes and symbols that he used were taken from ancient Roman buildings. However, the architect's purpose was not just to borrow from the past but rather to change and enhance the viewer's perception.

…for he was trying to design buildings which were not so much walls and floors and ceilings as undefinable magical dimensions which force the beholder into spiritual contemplation. In the cloister, for instance, there are no corner columns holding up the heavy colonnade above, and the alternating shapes of the bays prevent the eye from coming to rest.

(San Carlo alle Quattro Fontane: Romafelix.com)

1.3. Construction

Both the monastic buildings and the cloister were completed first and the construction of the church took place during the period 1638-1641. The serpintine facade, while it was designed early on in the building development, was only constructed towards the end of Borromini's life, while the upper section of the facade was completed after the death of the architect. (Blunt 71)

The complexity of design must also be taken into account in understanding the building process; while this has already been referred to above the following extract from a study illustrates the building difficulties that had to be faced in the construction of the church.

Borromini had to build his church on a highly limited and asymmetrical corner site. Consequently the plan of the church is indeed complicated… One could say that the basic design of the plan is elliptical, but the already existing fountain on the cut-off corner was to the effect that the architect had to omit a chapel from an earlier design.

(San Carlo alle Quattro Fontane)

1.4. Significance.

San Carlo is considered to be one of Borromini's masterpieces. This is due to the fact that "In a space no larger than the base of one of the piers of St. Peter's Basilica, he created a church that is an intricate exercise in geometric perfection, with a coffered dome that seems to float above the curves of the walls." ( San Carlo alle Quattro Fontane Review)

Borromini was also innovative and creative in his approach to architectural design. He is credited with inventing an original treatment of space that "… creates an effect of rippling movement, especially evident in the double-S curves of the facade." (San Carlo alle Quattro Fontane Review) the cloister of San Carlo is particularly noteworthy in this regard. Critics point out the subtle neutralization of the corners as well as the balustrade. Unlike High Renaissance architecture where the balusters are circular, in this building we find that they are "…triangular with slightly concave sides, and every second baluster is upside down, giving a strange impression of flickering movement. Such balustrades were to be a common feature in Borromini's architecture." (San Carlo alle Quattro Fontane)

2. St. Peter Square (1656 -- 1667)

2.1. Background

Saint Peter's Square is located directly in front of St. Peter's Basilica in the Vatican City, the papal enclave within Rome. This area was redesigned by Gian Lorenzo Bernini under the direction of Pope Alexander VII. St. Peter's Square creates an attractive and aesthetically rich entry point to the Basilica di San Pietro (St. Peter's Basilica) and was built between 1506 and 1626.

The square is shaped as an oval joined onto a trapezium and is described as a portico of partly covered and partly open space. Gian Lorenzo Bernini was employed to design it from 1656 to 1667 to enhance maximal viewing sight of the church (Norwich 175). Miller describes its construction: "It is two great arcs, each made up of four rows of gigantic travertine columns, with 140 stone saints writhing above them, all knitted together by two vast sickle-shaped entablatures which spring from either side of the church's wide facade" (Miller 5).

2.2. Design

Bernini designed this area in conjunction with the ideas and instructions given to him by Pope Alexander VII. His design encompassed a plan for an elliptical square, 240 meters wide and 196 meters long (787 x 643 ft). (St. Peter's Square: Piazza San Pietro)

The square is bordered on either side by semi-circular colonnades. This had a symbolic value for Bernini as he felt that the colonnades symbolized "…the stretched arms of the church embracing the world." (St. Peter's Square: Piazza San Pietro). The colonnades were built in 1660 and consist of four rows of columns with in total 284 Doric columns and 88 pilasters. They are 20 meters high or 66 ft and 1.6 meter wide (5ft). One hundred and forty statues, depicting popes, martyrs, evangelists and other religious figures were installed on top of the colonnades. These were all created by Bernini and his students. (St. Peter's Square: Piazza San Pietro)

As one study emphasizes with regard to the design of the of Piazza San Pietro; "Bernini's design shows his exceptional inventive powers, but it also reflects his awareness of other architects who had worked on the rebuilding of St. Peter's over the previous century and a half" (Miller 8). In this regard it should also be noted that the architect faced a number of obvious constraints in his design of the Square. These constraints were from existing structures such as the Vatican Palace as well as the granite fountain. To incorporate these constraints into his design "

Bernini made the fountain appear to be one of the foci of the ovato tondo embraced by his colonnades and eventually matched it on the other side, in 1675, just five years before his death" and " the trapezoidal shape of the piazza, which creates a heightened perspective for a visitor leaving the basilica & #8230;is largely a product of site constraints. (Saint Peter's Square)

2.3. Construction

The construction of the square started in 1656 and was completed twelve years later, in 1667. A central aspect that formed a focal point of the contractions was the Vatican Obelisk. This has a long and interesting history. The obelisk measures 41 meters or 135ft, including the pedestal and was originally located at Heliopolis in Egypt and was built for Cornelius Gallus, the city's prefect. (St. Peter's Square: Piazza San Pietro) the obelisk was moved to Rome by the Emperor Caligula in AD 37 to an area now occupied by the Vatican City. (St. Peter's Square: Piazza San Pietro). It was then moved to its present position in 1586 by the architect Domenico Fontana under the direction of Pope Sixtus. (St. Peter's Square (1656-1667)). Bernini used it as the centerpiece of his piazza.

The paving of the square should also be mentioned. The paving is varied in design and construction by the use of radiating lines ?n travertine. This is intended to provide aesthetic appeal by breaking up the monotony of the cobblestones. It is also interesting to note that in 1817 " & #8230;circular stones were set to mark the tip ?f the obelisk's shadow at noon as the sun entered each of the signs of the zodiac, making the obelisk ? gigantic sundial's gnomon." (Saint Peter's Square)

2.4 Significance

The religious and cultural significance of St. Peter's Square is obviously related to its proximity to and integration with the important buildings that surround it. Its importance is also based on the original design intention of the Square; namely to act as an appropriate and architecturally attractive entry point to the Basilica di San Pietro (St. Peter's Basilica)

3. St. Paul's Cathedral (1675 -- 1709)

3.1. Background

St. Paul's Cathedral is one of the most famous landmarks of London with its easily discernable dome. This Church of England cathedral is important from a religious perspective as it is the seat of the Bishop of London and it is dedicated to Paul the Apostle. The church site was founded in AD 604. However, the present church site dates back to the 17th century and was constructed in an English Baroque style by Sir Christopher Wren, as part of a major rebuilding program which took place in the city after the Great Fire of London. It was completed during his lifetime.

The cathedral has an interesting history, both for a social as well as an architectural point-of-view. There were five different churches built over time on the present site. The first church was built in 604 AD was dedicated to the Apostle Paul. The church was built again at the end of the 7th century by Erkenwald, Bishop of London. On two occasions the cathedral was destroyed by fire and was rebuilt and expanded on each time. Renovations and extensions in the 13th and 14th century enlarged the cathedral even further. (St. Paul's Cathedral) St. Paul's cathedral was the tallest building in London between 1710 and 1962.

The history of the design as well as the construction of the cathedral is complex and linked to many important events in English history. For example, when London was severely damaged by fire in 1666, the church was also damaged and had to be reconstructed. Three years prior to the event, the architect Christopher Wren had been asked to give his assessment of its condition. In 1667 he was put in charge of rebuilding the cathedral along with many of London's other buildings. Wren was essentially the designer rather than the builder of the new cathedral. What also furthered Wren's design was that an initial repair authorized by the cathedral authorities partially failed in AD 1668, which allowed Wren to push for a completely new construction (Sutcliffe 34). The building was partially paid for through taxies levied on coal imports (Beard 25).

3.2. Design

The design techniques and styles used in the building of St. Paul's Cathedral varied over time. There were also various design ideas that were implemented in the construction of the building over a long time. In this regards it is noteworthy that "…there was no English design context for the new cathedral, owing to the lack of church building since Henry VIII's break with Rome in the 1530s and this gave considerable freedom to Wren." (Sutcliffe 34)

Sir Christopher Wren designed more than fifty London churches. (Who designed St. Paul's Cathedral in the late 17th century?) the first design for St. Paul's Cathedral was based on the classical model. This design was put forward for consideration in 1670. However, this design was altered over time, and led to the Great Model or the Greek Cross Model, which is a domed cross design with a large central space. In the latter design the cathedral was shaped like a Greek cross, with a portico, Corinthian columns and a striking large dome, inspired by Michelangelo's dome at St. Peter's Basilica in Rome.

However, this design was rejected as being overly dark and non-processional, as well as too Catholic. Demolition work was already under way by this time. (Beard 25) This led to the Wren's final design for the cathedral.

The third design that Wren suggested included a larger nave and smaller dome (St. Paul's Cathedral). This design was accepted in 1675. However, after the approval of this final model, "… Wren enlarged the dome and made several other adjustments so that the built cathedral now resembles the 'Great Model' and not the approved design (St. Paul's Cathedral).

The significance of the design controversy is summarized by Soo as follows: "…the sequence of schemes for St. Paul's demonstrates Wren's empirical, almost arbitrary approach to design" (Soo 462). During construction, the design was continually altered, noticeably affecting the unity of the building.

It is also noteworthy that the Baroque interior is just as imposing as the exterior of the church. Ceiling mosaics were added in 1890 by William Richmond after Queen Victoria complained that there was not enough color in the cathedral. (St. Paul's Cathedral: Greatlondon) the baldachin above the altar was rebuilt in 1958 after being damaged by bombardments during World War II. (St. Paul's Cathedral: Greatlondon) the significance of Wren's design is summarized by Chiu as follows: "… "probably no English cathedral previously had been designed entirely by one man; certainly none had been completed to one man's design and in his life-time" ( Chiu 105).

3.3. Building

The cathedral was built in a relative short time period. The construction began in 1675 and the building was completed in 1711. The foundation stone was laid in 1675 and contracts signed for sand and lime supplies and masonry. Beard writes, "…in all, across the years of building, 1675 -- 1709, 41 contracts were entered into for mason's work, supplies of stone, bricks and bricklayers, carpenters, plumbers, smiths, sand, lime, carving, paving, gilding, and the Great Organ" ( Beard 28). All were entered into a contracts book and signed by the commissioners

Beard provides the following brief summary of the building process:

…. By 1678 the choir was eight meters up and preparations were being made for dome support; by the 1690s, metal screens and woodcarving for the interiors were on-going and the organ had been ordered; the final solution for the dome came in 1704; and the upper stories of the cathedral with its balustrade were completed in 1718. ( Chiu 105)

The actual painting of the dome only began until the middle of 1715. While there were many who worked on the building, studies of its progressive construction note that the building process was in a state of continual flux and change. It is also emphasized that the original design was also continuously reduced in scale and grandeur by the physical necessities and practicalities of the actual construction process. "…construction was constantly changing, but simultaneously limiting the design possibilities as the building went up. The dome and towers in particular "...represent, in their final form designed about 1704, the line of contact between on the one hand an imagination without limits and, on the other, a range of statical options that was constantly narrowed by the progress of construction" ( Chiu 105).

The most impressive achievement from a building and engineering point-of-view of the cathedral was the dome. As Sutcliffe emphasizes; "The dome, with its timber structure, false interior, and cone carrying the heavy stone pinnacle, was as much a triumph of engineering as a work of art" (Sutcliffe 36). The dome of the church reaches a height of 111 meters or 366 ft and weights about 66,000 ton. Eight arches support the dome. On top of the dome is a large lantern with a weight of 850 ton. (St. Paul's Cathedral) the West Facade of the building is impressive and consists of a large portico and pediment. The portico is flanked by two towers which weren't part of the original plan. These were added by in 1707. (St. Paul's Cathedral)

3.4. Significance

It is important to note that this building occupies a significant place in the culture and history of the English people. The historical significance of the building is also related to the fact that a number of important memorial services for national figures were held in the church. These include the funerals of Lord Nelson in 1806, the Duke of Wellington and Sir Winston Churchill in 1965; as well as the Jubilee celebrations for Queen Victoria and peace services marking the end of the First and Second World Wars. The wedding of Charles, Prince of Wales, and Lady Diana Spencer was also held in the church in 1981.

4. Palace of Versailles (1661 -- 1710)

The Palace of Versailles is a royal chateau in Versailles in the Ile-de-France region of France. It is also known as the Chateau de Versailles. It was also the principal residence of the French kings from the time of Louis XIV to Louis XVI.

(Palace and Park of Versailles) When Louis XIV moved from Paris in 1682 the court of Versailles became the centre of political power in France, until the royal family was forced to return to the capital in October 1789 after the beginning of the French Revolution. Versailles is therefore famous not only as a unique baroque building but also as a symbol of the system of absolute monarchy of the French aristocracy. From another perspective it was considered the "…model of the ideal royal residence for over a century" (Palace and Park of Versailles)

In building and architectural terms the palace received embellishments and additions over time from many architects as well as by sculptors and decorators. The Baroque style of the architecture of the Versailles Palace is described as being impressive due to its luxurious design enhanced by large murals and rows of monumental statues, as well as an immense collection of fine furniture. The Palace is also characterized by the geometric design of the gardens. The following summarizes the impact and significance of the palace.