Have you ever gazed in admiration at the spires and ornamentation of Baroque architecture, and then questioned whether your knowledge of this elaborate style is correct? We will now attempt to unravel some of the mysteries of this architectural genre from the sphere of 16th to 18th Century Europe, the world of the Baroque.
Our goal here is not simply to review what Baroque architecture actually is but rather to focus in on the under-discussed, though important, question of which is not a characteristic of Baroque architecture? While this is a bit of an unorthodox means of definition, we think that by looking at Baroque architecture through the lens of the things that it is not, we can go a long way towards elucidating this lasting architectural style.
The Myth-Making Exaggerator of Baroque
Myths & Facts
It’s easy, when you think of Baroque architecture, to oversimplify it — or exaggerate it. Contemporary performances rarely showcase Baroque as it was originally conceived, leaving many essential elements of the style open to interpretation.
Baroque Is Just Ornate]])
It’s true, ornamentation is a hallmark of Baroque architecture, but it’s downright trite to define the style merely by its ostentation. There is another level to the more elaborate decorative aspects of this style, which balances here. The colonnades in St. Peter’s Square at Vatican City, for instance, are decorative but also serve the functional purpose of marking the edge of the square.
Baroque is Always Catholic
It’s clear that Baroque architecture is tied to the Catholic Church, much due to the Counter-Reformation. It has influence not only over religious structures and Catholic countries, but… The Baroque style spread also to private buildings in Protestant countries under the influence of the political and economic conditions of the time.
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Francesco Borromini What Baroque Architecture Does Not Aim For
Baroque Isn’t Minimalist
Baroque architecture was elaborate and presented itself as a shapeshifter in need of stimulation, where minimalism moves in the opposite direction. Where minimalism whittles away the superfluous, Baroque luxuriates in excess and extravagance.
Baroque Isn’t Symmetrical
Baroque architecture, by contrast to Renaissance style, moves from symmetry. That asymmetry lends an almost theatrical dynamism to Baroque, as can be seen in buildings like Karlskirche in Vienna.
The Baroque Has No Geometric Purity
Baroque architecture eschews simple geometric shapes in favor of curves, undulations and complex forms. Unlike the static nature of geometric designs, the use of Solomonic columns and elliptical spaces give a sense of movement and dynamism.
Things Wrongly Counted as Baroque
False Attribution #1: the Frivolity of Rococo
While Baroque and Rococo both love ornamentation, Rococo is lighter, airier, and streaked with more asymmetrical embellishment. Baroque’s dramatic expression and grand scale contrasts Rococo’s attention to detail in intimate spaces and delicate ornamentation.
The Verticality of Gothic
Although many Baroque buildings are tall, they do not emphasize verticality or pointed arches in the same way that Gothic architecture does. Where Gothic thrusts upward, Baroque design employs domes, curves, and horizontal elements to provide a feeling of space and grandeur without elevation.
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Compare Art Deco, with its stress on economy of line and new materials, and Baroque, which makes all the historical references and its best ornaments. Differences in materials, motifs, and overall aesthetic between the styles are pronounced.
The Plastic Effect of Baroque: Its Absence in the Holy Trinity
Absence of Restraint
Exuberance and opulence characterize baroque architecture; it eschews typical restraint and understatement to make a statement. It is mainly the decadent use of marble, gold, and detailed sculptures that reflect this absence of restraint.
Absence of Plain Surfaces
Baroque architecture eschews big, bare expanses, packing spaces with details, textures and visual interest. This is a far cry from styles that prioritize simplicity and the beauty of raw materials.
Absence of Naturalism
Baroque Architecture: The natural forms of Baroque architecture are often distorted or exaggerated for dramatic effect. This differs from styles that strive for realistic representation and naturalistic detail.
Theme 3: Finding the ‘Non-Baroque’: Case Studies
Case Study 1: A Building That Isn’t Quite Baroque
Although the Palace of Versailles is often identified as Baroque, it actually reveals French Classical and Rococo styles. And, grand though it is, with plenty of neo-platonic decoration — both ornate and literal — its symmetrical plan and relaxed façade lack authentic Baroque characteristics.
Case Study 2: Comparing a Baroque Building with NonBaroque Building
The church of San Carlo alle Quattro Fontane, a baroque building in the truest sense, stands in stark contrast to the Parthenon, whose classic example of Ancient Greek architecture. The divergences of form, ornamentation and overall aesthetic emphasize what Baroque architecture is not.
Conclusion
To get a handle on Baroque architecture, one must think beyond the ornate, the dramatic, and realize what it isn’t. By correcting what we may have absorbed pro forma, correcting what we have ascribed to Baroque falsely the better to appreciate this voluble, virtuoso style.
Baroque proves to be a strong feature of art and architecture that still holds up, and we hope you enjoy exploring this genre further! Let us know what you think or any abnormally baroque buildings you’ve come across!
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