Baroque architecture

The Architecture Baroque appears at the beginning of the 17th century in Italy and is propagated quickly in all Europe. It uses the esthetic vocabulary of the Architecture Rebirth in a new way, plus rhetoric, more theatrical, more open in order to serve the absolutist project and triumphal of the State and the Église. The Baroque architecture, like the baroque even, is characterized to him by a use opulent and tormented matters, plays of shade and light, color.

First steps

It is false to affirm that the baroque is consubstantial with the Counter-Reformation, because it also is adapted to and adopted by the elites of the Protestant countries of the north of Europe and by those of the Slavic orthodoxe world. On the other hand, it is true that it is born with Rome and that its birth is concomitant with that of the Society of Jesus, founded in 1537 to reinforce the lost catholic influence and évangéliser the Nouveau World; and with that of the Council of Thirty (1545-1563) which reforms the most obvious excesses of the Roman Catholic church whose reputation was sullied by the systematic nepotism and the scandal with indulgences.

The last building of Michelange, the Basilica Saint-Pierre, can be regarded as the precursor of the baroque in architecture with its colossal dimensions, hitherto unknown. Its pupil, Giacomo della Porta continues his work, in particular with the construction of the frontage the church of Gesù (1584), church-mother of the Society of Jesus then in full expansion, often considered as the first example of Baroque architecture and which will influence the religious architecture for the century to come.

Characteristics

Opulence

The Baroque architecture is characterized by opulence, with technological advances and the projections in Statique, the Nef S widen, to see adopt round forms. The architects do not hesitate to have recourse to an ornamentation “with excess”, in particular in Spain with the style Churrigueresque, and multiply the use of the false-marble and the Stuc, in particular with a generalized use of the polychrome marbles; the sculptures of angels and Putti chubby-checked fellows and mockers, often gilded, are omnipresent just as the Volute S, Spirale S, Rocaille, Cartouche S, etc; the Fresque S covering the entirety of the ceiling bring a key of color, very often they “open” space while placing a sky there, giving the impression of an architecture to open sky, and do not move back in front of the recourse to the Trompe-l'oeil, in particular by integrating painting and architecture.

Even the columns start to circle on they-even and present this typical aspect which one calls “column of Solomon”, they are put at the mode by Bernin which, in its Baldaquin surmounting the high altar of the Basilique Saint-Pierre of Rome, creates a model immediately taken again and copied.

The use of the Clearly-obscure and the plays of light: with technological advances, the bays widen and flood spaces of light of day and, typically, the high altar of the churches rises in back-light.

The roofs in bulb of ognon, especially in Bavaria, Austria, Hungary and in the Slavic countries often rise to surmount turns and bell-towers baroques.

Theatricalness

The plan of the first churches baroques remains “wise” and preserves the traditional diagram basilical. What returns these churches “baroques” is the fact that their frontage is treated like a ancient Proskénion of theater with columns, populated niches of statues, etc

Never before and seldom after one as much did not dare to put in scene a furnace bridge of church like a scene of theater, surrounded by columns, populated angels and saints who are like of representation, a biblical scene in backdrop, thevotive one of the church carved on the apron, the overcome whole of platform from where curtains hang which point out that of the theater furiously. Bernin goes until placing spectators around his famous Cornaro vault at Our-Lady-of-the-Victoire…

Creativity

If the Classicisme is the respect of the ancient forms Roman or Greek, the baroque is characterized some by the Innovation. Jean-Baptiste Aitch written in this connection: The baroque spirit lies in freedom to modify the traditional forms in the beginning so as to make them permeable to all the nuances of emotive expression (rupture of base, doubly of the columns, incurvation of the pediments, effects of horn the eye). Undoubtedly never before, the architects were not also free to try new forms, such daring compared to the legacy of the past. A church in the clover shape to evoke the Trinity? It is possible with the Kappell of Waldsassen. A castle in the plan quite as triangular? Visit Karlova Koruna or the Chinese House of Sanssouci. The cruciform Plan seems to you “Already-considering”? Santini-Aichl offers a star church to you with five branches with Zelená will hora.

Town planning

It is in the design of the city that the Baroque art really innovates. The Italian Rebirth had started to reconsider the Urbanisme but did it in the margins moyenâgeuse of the “closed” medieval city. The baroque, “opens to him”. It opens the city thought like spaces systematized, it bores perspective infinite, it designs the capital as the center of force S which radiate well beyond its limits. It is not interdict to think only the Révolution Newtonian copernician then which is essential then, influential on the spirits of the silent partners like architects and town planners.

As for all that is baroque, all started in Rome, with the boring of great released ways pointing towards churches to emphasize them, the staircases of the Piazza di Spagna, the place and the Fontaine of Trevi. But the true model unsurpassable and copied in all Europe is Versailles, the example most typical of the ideal city of the 17th century: the palate is in the center of two vast spaces defined by divergent prospects which are prolonged as far as the eye can see. The simple geometrical form is centered towards the figure of the absolutist sovereign who forms the core, the center of gravity of the system.

The model of Versailles is copied with the Residence of Würzburg and especially with Karlsruhe (1715) whose margrave Charles-Guillaume de Bade-Durlach perhaps drew of it the plan in range with the very studied urban details.

The urban project most ambitious of all the most complete century and is however the foundation of Saint-Pétersbourg by the Pierre Tsar the Great in May 1703. Three rectilinear avenues (of which the Perspective Nevsky) radiate since Admiralty. The French architect Fair the is charged to perfect the work.

When they do not build ex-nihilo, a capital, the absolutist sovereigns embellish them. The Plaza Mayor becomes a commonplace in Spain. Louis XIV with Paris draws up the esplanade of the Invalides, the Field-of-March, the historical Axe that Ours, the Paysagiste of the Château of Versailles, makes trace in 1640 in the continuity of the Louvre and of the Tuileries and, conceived by Jules Hardouin-Mansart in 1699, the Place Vendôme. Louis XV continues this effort with the Place of the Harmony More modest but not less representative, the Place Stanislas of Nancy incarnates, or rather “fossilizes” the design absolutist and enlightened which has the monarch baroque of his city: a place whose statue of the sovereign is the center, a triumphal arch (and that matters that the deposed duke-king did not gain any victory!) a palate, a theater, fountains on the mythological subjects, a true “decoration”…

In Italy, Turin is an ideal compromise between the city baroque Frenchwoman (monarchical, the absolutist Gallicanisme not recognizing, in fine that authority of the king) and the city baroque Roman (religious, the bored arteries go from one basilica to the other). The plan is rational and laic, the only buildings which dominate the horizontal city are on the other hand the bell-towers and the domes of the churches. The Palate Carignan (1679-1685) by Camillo-Guarino Guarini, certainly imposing, respects the horizontality imposed on the civil buildings.

All the towns of Europe should be quoted with a title or another, so much the century knows urban innovations and town projects, in particular in Germany which concerns itself the devastations and destruction then the Thirty Year old Guerre, but quote Bath, in England which tries out a concept new which will make flora, that of the “City-garden” with a conceptual freedom seldom seen hitherto in urban creation: royal Crescent is in half-circle on the model of the ancient theater, King' S Circus is a round place on that of the Colisée.

The baroque city is a theater and its sovereign a director relentless who folds nature with his gardens traced with the chalk line, the city with its comes up of iron and which can say, like Auguste in Cinna .

I am Master of me like universe. I am it. I want the being.

Regional alternatives

In Italy

See also: sicilian Baroque

The style baroque develops starting from second half of the 16th century, initially in Rome, then in the remainder of Italy. It first of all respects the Roman Paradigme of the Basilique in cross whose chorus is surmounted by a dome. In addition to the Church of Gesù caused, one considers that the pioneer of the Baroque architecture nun is Carlo Maderno with his Holy-Suzanne church, built between 1585 and 1603. The dynamic rate/rhythm of the columns and pilasters, the frontage centralized and complex, binder rigor and play on the traditional codes of the Rebirth, the statues placed in niches and furiously pointing out the structure of the scene of an ancient Roman theater do of it one of the first examples of the baroque. This first test is continued by Pierre de Cortone in his church Our-Lady-of-the-Peace (1656) with concave wings which point out a scene of theater and of which the central part advances like occupying the small place which faces him.

The architectural fashion is launched - it binds theatricalness and domination on surrounding urban space. It will be the standard for a hundred and fifty years to come.

The example more succeeded is without question the trapezoidal approach towards the Basilique Saint-Pierre which the Place Saint-Pierre offers drawn by Bernin and which is recognized like a chief of work of theatricalness baroque on a colossal scale without precedent. Two wings of colonnades give its form to the monumental square, they deviate since the basilica as two protective arms which would accommodate crowd. The elliptic plan is typical Baroque architecture. Of its own consent, the favorite work of Bernin is the Saint-Andrew church of Quirinal (1658) which uses for the first time a plan Ovale in the religious architecture. With its air high altar and its polychrome marble decoration, it will be used as model with a whole series of churches baroques.

Bernin was also active in civil architecture with the Palazzo Barberini (1629) and Palazzo Chigi (1664), in Rome. Halfway between sculpture and architecture, its Fontaine of the Four-Rivers causes admiration for its genius in all Europe.

The rival of Bernin in the capital of Christendom is Francesco Borromini whose plans move away even more of the esthetic guns from the Rebirth with compositions even more dramatic. Applauded by the following generation like a revolutionary architect, who draws aside the anthropomorphic approach of the Rebirth to privilege a modular approach, the erudite geometrical interpenetration of the curves and counter-curves which is best illustrated by the frontage of its church of San Carlo ale Quattro Fontane in the elliptic plan with the concave and convex indentations and in the bell-tower in spiral of Sant' Ivo went Sapienza which presents a frontage in arc of reversed circle (see illustration above).

Following the death of Bernin in 1680, Carlo Fontana is essential like the most influential architect in Rome. Some of its achievements (the concave frontage of San Marcello Al Corso in particular) are worth to be mentioned but it does not reach the unslinging creativity of its predecessors. At the 18th century the cultural capital of Europe moves of Rome with Paris.

The Italian Rococo which flowers then, especially as from 1720 is deeply influenced by the ideas of Borromini. The most talented architects, then active in Rome are Francesco de Sanctis, author of the monumental degree of the Piazza di Spagna in 1723 and Filippo Raguzzini which conceives the Piazza Sant' Ignazio (1727) as a scene of theater - but they have only one influence limited out of the Italian borders, more than most gifted representing very not refined sicilian Baroque, like Giovanni Battista Vaccarini, Andrea Palma or Giuseppe Venanzio Marvuglia.

The late baroque in Italy is expressed in all its splendor in the Palate of Caserte builds by Luigi Vanvitelli, undoubtedly one of vastest constructions of the 18th century which saw some so much. Influenced by the French and Spanish models (the Royaume of Deux-Siciles hardly has just conquered its independence of the crown of Spain and its sovereigns are nevertheless Spanish), the royal palace of Caserte is integrated harmoniously in the landscape neighborhood. The building is classicisant in detail and announces the Néoclassicisme which will take the place of the baroque

See also: Amorce=Vous can also consult the categories, : Category: Italian Baroque architecture, Monuments Italian baroques, : Category: Architect Italian baroque, Architects Italian baroques

Expansion

There are three principal factors of expansion of the baroque, initially Italian, beyond the Alps and in all Europe:

In France

The French call “traditional” the architecture of the century of Louis XIV and his successors and reject name, pejorative in French of “baroque”. This opposition between a “reasonable” classicism to the Frenchwoman and an “excessive” baroque to Italian finds its source in the will, marked as of the 17th century, to supplant Rome and, in the facts, it is the moment when Versailles and the court of the Sun king takes the place of Italy like hearth of cultural radiation. The turning is the refusal of the plans of the Bernin in April 1665 for the colonnade of Louvre: the most famous architect, more asked for Europe is rejected by the court of France! … This said, the French architecture of the reigns of Louis XIV and Louis XV comprises all the elements baroques: taste for the magnificence, the prospect, the decoration and the majority of the historians of art regard the architecture of time as baroque.

The Baroque architecture is indebted to the French of the invention of the castle with three bodies of buildings. The model in force until there is that of the Italian palazzo: austere if not imposing frontage on the street, one or more course interior broadsides of colonnade or not. The creativity of the architects are expressed in the margins: large staircase, interior gallery.

With the Palate of Luxembourg (1615-31), the queen mother and her architect, Solomon de Brosse develop the palate with three bodies of buildings which will become the obliged model of palatine architecture. For the first time, the Main building is proposed, hierarchically speaking, whereas the side wings are stripped knowingly.

Of Brush mixes there clothing of the elements with the Frenchwoman (roofs mansard-roofed and decorated) and Italian (in particular “rustic” treatment of the stone facing, as with the Palais Pitti). This synthesis is characteristic of the style Louis XIII.

The most accomplished architect in this new style which emerges is without any doubt François Mansart, the untiring perfectionist who introduces the baroque in France. Its plans for the Castle of Houses-Laffitte (1642), succeed in reconciling the French and Italian approaches while showing a respect for the syncretic Gothic tradition in France. Houses-Laffitte makes the transition between the castle from the Rebirth and that of the 18th century. Strictly symmetrical, its frontage is articulated on three elements, a central body and two side houses, it takes again an Italian invention: a architectural Order for each stage. The frontispiece with its ornamentation and its heightened roof is typically baroque.

With the Castle of Be worth-the-Viscount, Louis Vau takes again the standard imposed by Mansart and the “baroquise” still a little more. It is a question of affirming the power of the owner, the superintendent Nicolas Fouquet.

The Hôtel of the Invalids is built between March 1671 and February 1677 by Libéral Bunting and its vault with dimensions baroquement basilicales is completed in 1706 by Jules Hardouin-Mansart.

Many French churches, many retables adopt the manner baroque. Will of prestige of Louis XIV fact of passing for a classicism, this “baroque with the Frenchwoman” who competes with in many course European the Italian art which declines then. That they are nuns or civil, the majority of “traditional” constructions Frenchwomen could have been built elsewhere in Europe and are, essentially, completely baroques.

See also: Amorce=Vous can also consult the categories, : Category: Baroque architecture in France, traditional Monuments and baroques in France, : Category: Architect French baroque,

Spain and its empire

See also: churrigueresque Baroque

On the old continent

As the Italian influence beyond the Pyrenees penetrates, it makes move back the approach classicisant sails about it hitherto under the cane of Juan de Herrera. In 1667, the frontages of the cathedral of Grenade by Alonso Cano announce the victory of the baroque in Spain. Follows the cathedral of Jaén by Eufrasio López de Rojas which integrates the lessons baroques into the specifically Spanish architectural structures.

In contrast with the art of the north of Europe, the Spaniards created an art which calls upon the directions more than with intellect. The family Churriguera, architects specialized in the drawing and the construction of furnace bridges and retables opposed the stripped style which one calls “herreresque” in reference to his inventor and principal promoter, Juan de Herrera, and promoted an exaggerated style, worked out, almost capricious which covers each inch of surface available with a reason and which passed to the posterity under the term of “churrigueresque”. Into less than one half-century, Chirrugera transform Salamanque into a model city of the churrigueresque style.

Portugal, under Spanish domination between 1580 and 1640, is in the cultural sphere of influence of its large neighbor and is not characterized any (what is true also for Brazil with respect to the Spanish colonies of Latin America) only by one significant attenuation, impressed of a very Portuguese softness.

With the rich person Spanish Netherlands (more or less current Belgium), the same approach prevails, which binds a decorative overload to the architectonic structure and which makes pass fluidity to the plane second. One will mention the Saint-Michel church of Leuwen with his exuberant frontage on two stages, his bouquets of columns and the complex integration of a carved modénature of French style.

In Latin America

The Latin America is in the sphere of influence of the Spanish chirrigueresque baroque and is characterized by a crossbred decorative overload of local influences which give all its savor to the Latin-American baroque.

Typically, the cities which are built then include/understand a Plaza Mayor (celebrates it Zócalo of Mexico City is the most imposing example) which joins together the buildings of the capacities administrative and religious: palate of the viceroy or his representative and the cathedral (there still, Mexico City is distinguished with its the metropolitan cathedral, broadest of the continent).

The conquista had had as a consequence a dramatic demographic decline, the conquistadores bringing with them the Variole, a disease of most virulent which decimated the Amerindian populations at the time of their arrival on the continent in 1518. The 17th century sees a demographic revival and the construction of many cities of which some kept their original seal. Let us quote Ouro Preto with the Brésil, Morelia with the Mexico.

As in old Europe, the religious orders are not in remainder. The Jesuits left in particular there a single architectural testimony of their missions, as with São Miguel das Missões.

In the Saint Worsens Roman Germanic

The Saint-Michael church of Munich, ordered by the Jesuits and built between 1583 and 1597, is often regarded as the first example of the baroque beyond the Alps, but, just like the work of Elias Holl (1573 - 1646) with Augsburg, this attempt had been stopped by the Thirty Year old war and had not taken action pursuant. It is necessary to await 1648 and the end of the Guerre Thirty Year old so that the Baroque art opens out with force in the Saint Germanic Roman Empire. This period ostentation reaches its apogee between 1690 and 1720, in particular following the decline of the number of building sites in Italy. Many Italian Master-masons cross then the Alps, the magistri Grigioni , the Carlone of Lombardy, the Lurago of Tessin find to get busy whereas the Thirty Year old war and the absence of building sites depopulated the rows of the German specialists in construction.

Out of catholic grounds

Consequently the new hearths of creation are Vienna and Prague. To the neighborhoods, the ecclesiastical orders are brought to build sumptuous buildings: their abbeys and monasteries often were destroyed or plundered by the Protestant troops. Germany is parcelled out by the Kleinstaaterei, the prince of each microphone-State enters in competition with his neighbor and is made build sumptuous palate.

In parallel, the power of Austria continues, and as for better underlining the rise of the monarchy of the Habsbourg, the nobility is made build many palates by the great architects who were Lukas von Hildebrandt and Johann Bernhard Fischer von Erlach which develops an “imperial” style with the multiple references historicisantes particularly visible in the church Saint-Charles-Borromée of Vienna.

Helped by their important land incomes, the Monastery of Ottobeuren, Benediktbeuern, Rottenbuch, Melk, Břevnov, etc, call upon the German great architects, of which much was formed in Italy, but which does not develop of it less one style specific to southernmost Germany, made movement and of color which will lead to the Rococo.

The revival of the baroque at the beginning of the 18th century is well in Austria, as much in the campaigns thanks to Jakob Prandtauer that with Vienna.

The wall pillar
With Dillingen, the Jesuits innovate and invent a new concept, the “wall pillar” ( Wandpfeiler ) which holds its origin in the principle (German already and altogether old since Gothic) of the church-market: the buttresses are placed inside the construction in the form of columns or of pillars connected to the external wall by noncarrier walls, exposing the structural “skeleton”. One speaks about “school of Vorarlberg” on this subject, the first tests being located in this area bordering. The Voûte is generally in Berceau and rests on a horizontal Entablement which falls down on transverse arcs, between the arcs of high picture windows light side chapels. This architectonic solution gets several advantages: a side lighting, an easily flexible and easy central space with redécorer with the last style as that will be the case in several churches (which know a “grooming” rococo or neo-classic).

In Bohemia, one sees appearing a “radical baroque” under the influence of Christophe Dientzenhofer and especially of his/her son Kilian Ignace Dientzenhofer which takes as a starting point Camillo-Guarino Guarini and characterizes by the undulation of the walls pillars and the use of ovals, in the design of the blind arcade of the vault, which are intersected. The chief of work of the radical baroque is without question the church Saint Nicolas's Day de Malá Strana with Prague.

The influence of the radical baroque is perceptible in many Bavarian churches of the architect Johann Michael Fischer such as for example with Ottobeuren and the Monastère of Benediktbeuern. The achievements of Johann Balthasar Neumann, in particular in the church of pilgrimage of the Fourteen saints intercessors, are regarded as the final synthesis of the German baroque and the radical baroque of Bohemia.

Civil architecture
The palatine architecture of the German baroque of the time is varied too much and too many so that one names all the palates and castles that potentates, princes, bishops, voters, margraves, kings or emperors build themselves then. Let us quote in the disorder the Belvédère, gift with the prince Eugene of Savoy-Carignan for services rendered to the crown, the Palais Schönborn, the Châteaux Augustusburg and Falkenlust of the bishop of Cologne, the Résidence of Würzburg of the prince-bishops of the city, Schönbrunn builds for the emperor of the Saint Worsens - all, with a degree or another, carry out the synthesis between the French model illustrated by Versailles (castle between court and garden with main courtyard side city) and the Italian or Spanish model (a as broad and imposing “pie” as possible with a uniform frontage). The more the century advances, the more the French model takes the just top but specifically German elements which are the staircase “with imperial” and the room of honor. Whereas the French castle or private mansion has a relatively sober stair-well to the stone facing of size where decoration concentrates in the wrought iron slope and the “large living room” preserves a modest size, the German palate and Austrian make these parts a space of representation, concentrates all decoration there and does not hesitate to bore the room of honor over two stages.

The Palais Zwinger makes exception and deserves that one is delayed there. Work of Matthäus Daniel Pöppelmann, Oberlandbaumeister of Auguste II, king de Saxe and from Poland, Zwinger was intended to be a court for the tournaments and the festivals of the brilliant court of Saxony. Pöppelmann called it itself the “Roman theater”. All the elements baroques there are found: theatricalness, assertion of the power and richness of the sovereign, prospect (the main axis ends towards a tower which dominates the city and the surrounding countryside) and continuous horizontal lines stopped by the houses.

Another testimony, more modest this one, of the unslung and ludic creativity of the architects baroques (when their silent partners allowed them) is the castle of Karlova Koruna builds for the archichancelier of Bohemia, the count František Ferdinand Kinský: the plan on the ground is surprisingly triangular, of the room of honor round and central three bodies of buildings in the form of squares partially intersected with the central circle radiate.

Out of Protestant grounds

Protestant crowned architecture is of less importance during the time baroque. It is not non-existent for as much, mention the Frauenkirche Dresden and, with Berlin, the Holy-Hedwige Cathédrale (catholic but built by the king protesting Frederic II of Prussia) and, on the Gendarmenmarkt the twin temples of the Französischer Dom and the Deutscher Dom .

The Baroque architecture does not serve less the ambitions of the Protestant princes in the north of Germany that it does not do it in the south for the catholic Emperor and his court. Potsdam and the Palate of Sanssouci of Frederic II, Copenhagen and the Hermitage and the Amalienborg place wanted by Christian VI and Frederic V of Denmark testify some.

See also: Amorce=Vous can also consult the categories, : Category: German Baroque architecture, Monuments baroques in the countries of the Saint Worsens, : Category: Architect German baroque, Architects German baroques

In Great Britain

See also: English Baroque

If, as one saw, the baroque is compatible with Protestantism, it is not on the other hand soluble in the democracy. The United Provinces of the Netherlands which however know an economic prosperity and an artistic golden age without precedents testify some: the architectural baroque in is almost absent and its painting, if specific, is not, strictly speaking, baroque. Great Britain knows a English Interrègne with the protectorate of Oliver Cromwell before the English Restauration (1660). Between the death of Inigo Jones in 1652 and the end of the Large Turn of Christopher Wren in 1665, it does not have there an architect of foreground on the English ground.

One owes in Wren the introduction of the architectural baroque on into the restored kingdom. He dissociates himself from his continental equivalent by the clearness of his drawing and his tendency classicisante (in particular, while referring regularly to the model palladien which corresponds better to the Puritanisme English). As in Germany with the Thirty Year old war or in Sicily with the earthquake, it is with a catastrophe, the Grand fire of London, which one owes a revival in the construction industry. In a few years, Wren supervises the construction of fifty-three churches of which the Cathédrale Saint-Paul of London which supports the comparison with the most ambitious projects of the continental religious baroque. The palates and churches which are built then are “traditional” in their decoration and “baroque” in their majestic width and their monumental proportions. The attempt at Thomas Archer with his church St John' S of Smith Public garden (1728), to introduce the Italian baroque of Bernin into the English religious architecture meets much less success. Although Wren is also an active architect in the civil field, it is with William Talman that with the Chatsworth House (1687), one owes the first country house (the English equivalent of the continental castle of pleasure) truly baroque. The apogee of the English baroque comes with Sir John Vanbrugh and Nicholas Hawksmoor.

They collaborated most of the time together on imposing projects like Castle Howard (1699) and the Palais of Blenheim (1705) even if each one is able to be affirmed individually in a complete way.

When well even these two palates would appear pompeux and rigid for a continental visitor, their heavy almost oppressive pinnacles and their mass have, a time, fascinated the English public. Castle Howard is the blazing and animated conjunction geometrical masses dominated by a crowned cylindrical tower of a dome which had not spoiled in Munich or Dresden. Blenheim, which bears the name of a austro-English victory, is a gift of the crown to the duke of Marlborough in thanks of the rendered services. The building is massive, the imposing central gantry, the gate of entry thought like a Triumphal arch. John Vanbrugh still carries out the Seaton Delaval Hall (1718), a mansion more modest and however single in its architectonic audacity and its style baroco-palladien. However, as of the second quarter of the 18th century, the baroque falls in disuse in Great Britain which invents the English Jardin then and prefers country less imposing and guindées houses .

See also: Amorce=Vous can also consult the categories, : Category: English Baroque architecture, Monuments English baroques, : Category: Architect English baroque, Architects English baroques

In Eastern Europe

See also: Baroque Narichkine

In Russia, the Baroque architecture passes by three phases - the first corresponds to the Baroque Narichkine especially visible with Moscow, with its elegant white stone decorations on red brick wall; the second, phase of maturity, corresponds to the Baroque Petrine which takes its name of the tsar Pierre Large the and corresponds to the construction of Saint-Pétersbourg; the last phase, the baroque rastrellien, of the name of the architect Bartolomeo Rastrelli corresponds to the style Louis XV French or German rococo.

The Union of Poland-Lithuania lives, during the era baroque, its last fires before its cutting-up by its powerful neighbors. It is, rare case in the history, an elective kingdom joining together two (Poland and Lithuania) then three (Ukraine) nations. In the facts, the tycoons of the Szlachta are almost exclusively Polish and the Rzeczpospolita (Republic), an oligarchy of land great landowners who are made build palate and castles with the imposing last style which sied with their ambitions. The religious orders are not remains about it in this area of border between the worlds orthodoxe (Ukraine), catholic (Poland) and calvinist (Lithuania) where lives moreover one strong Jewish minority.

As in the Saint Worsens, the architects come mainly from Italy and one will retain the names of Catenazzi: Andrea (1640 - 1701) author of many churches of Poznań with his/her Georgio brother, and its son Giovanni (1660 - 1724). Augustyn Wincenty Locci (Ca 1640 - 1737), also of Italian origin, is the architect of the Palais of Wilanów. One must with Pompeo Ferrari (Ca 1660 - 1736), the collegial one of Our-Lady-drink-Good-Help of Poznań.

Decline and heritage

Just as the art of the Renaissance knows a formal decline with the Maniérisme, the baroque becomes exhausted in an invaluable and vain academism in the Rococo.

The Baroque architecture is consubstantial with the Absolutisme, its period rococo with that of the enlightened Despotisme. And one can make the assumption that if the baroque becomes exhausted, it is because of the exhaustion of the political and religious philosophy ( Cuius regio, eius religio ) which underlies it.

It is supplanted by the neo-classic Architecture. The philosophical model in vogue becomes the Constitutional monarchy English. The Guerre of independence of the United States of America starts with the drafting of the Déclaration of independence, the French revolution prepares. Another era, more democratic opens, another architectural style is in load to perpetuate the principles of them…

The Baroque architecture returns to the mode in a form Néobaroque in second half of the 19th century. It is not interdict to think that it corresponds then to some reaction absolutist, in particular in the Second Empire of Napoleon III and the Austria-Hungary of François-Joseph I {{er}}.

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