Baroque is a continuation of the Renaissance, as it is a style that takes the Renaissance and adds a sculptural element. Furthermore, this style is characterized by wealth and power. The Baroque style is a reflection of the translation of wealth and power. Baroque begins in Italy, as Italy remains the centre of design because Italy is also the centre of power for the Catholic Church. Colonial money pours in from America and Africa. Trade with China and the East provides wealth to the Italians wealth. Italy thus is a major patron of arts in the Baroque.
A high Renaissance painting is the Last Supper, by Leonardo de Vinci, which makes use of a focal point in a perspective painting in the context of design in architecture. This one point drawing lures the viewer into the image.
The Feast in the House of Levi, by Paolo Veronese, not only draws one into the image but projects out of the image as well. Figures are far more active and not only sitting at the table. This image is more sculptural and there is more movement. The actual behaviour and dress has become varied and sacrilegious. The church suggested these characters be taken out, but Paolo does not taken them out but just changes the name of the painting which depicts supper with Christ where sinners are present.
Buildings become grander. Interiors become more magnificent with remarkable illusionistic ceilings. The completion of St. Peter’s in Rome is easily one of the greatest architectural feats in 17th century Rome. Baroque arises out of the notion that when one comes to remember God there should be a sense of amazement. There is extraordinary scale, massive domes such as the one designed by Michelangelo in St. Peter’s which has a facade designed by Carlo Maderno. Gian Lorenzo Bernini builds the Piazza in front of St. Peters. Many important public events take place in this area. This Piazza continues the sense of awe that Baroque designers wanted to evoke, creating space for classical architecture that flows into the building itself. Impressive formal activities took place at St. Peter’s and thus Bernini becomes internationally known.
Colossal order pilasters with fluting and classically inspired ornament run up the sides of the arches to provide integration of architecture, painting and sculpture. Furthermore, the glory of God is expressed through all of the arts and movement through space. The viewer is drawn to the crossing of the nave and transept partially because of the dome and streaking light coming into the space. At the centre of all this is Bernini’s Baldacchino (altar), which is a sculptural interpretation of a canopy. This becomes the most important in Christendom as this is where the Pope performs service. This is a creative interpretation of spirituality.
At the back of the nave at Cathedra Patti, one can see the sunburst, dove representative of the holy spirit and the explosion of light and angels provide an opportunity to express religion in an extravagant way. Thus, being a complete integration of architecture, sculpture and stain glass expressing one central idea.
Domestic architecture is also on an increased grand scale. For example, the Palazzo Altieri was built for the Pope’s family, with whom the greatest wealth and power resided. The facade is mostly flat but broken by slightly projecting pavilions. The flat surface is broken by pilasters and coining. There is a triangulated pediment below which is a segmented pediment. This alternating use of these pediments is often seen in the Baroque as this technique provides rhythm and movement to these subtle facades. The interiors room focuses on ceilings and the expansion of the ceiling through a vaulted ceiling with windows bringing light. One can also see an illusionistic painting on the ceiling. Illusionism is Trompe-l’oeil. Spaces are ornate. Geometric areas of ceilings are framed in highly carved gilt relief, golden frames and each contains a painting. For example, in some paintings trees seem to be growing inside vaulted ceilings and 3 dimensional figures surround the frames. Furniture is set tightly against the wall. The settee has its back against the wall and lines up with the dado backs and in this manner furniture begins to have a relationship with architectural finishes.
The Palazzo Barberini by Carlo Moderno has a H-shaped floor plan different from the enclosed courtyards seen earlier in the Baroque. This space has a much more inviting and grander quality as it meets the viewer with open arms. There is a series of arches from beginning of the entrance of the compound. These arches are repeated on the floor level and the tops of windows use perspective to create depth. The facade has a subtle movement. Rectangular was the shape of most Italian rooms that were domestic in nature. The Great Hall goes into the occasional oval rooms and a pair of rooms creates a central entertaining space. Furthermore, there are two important staircases in the Piano Nobile. One is rectangular, square and the other one is oval. Rooms are organized along an axis and a straight line passes through the building. One goes through the court and through the Great Hall and Oval room.
Rooms and doorways in the back line up which is termed enfilade. Doorways are placed near windows so there is lots of light. Windows always look over the back garden. Rooms work in progression from more public to less public. The Grand Hall is meant to be the most extraordinary in the house. Architects who were sculpturemakers or painters were great at integrating a sense of movement into designs. Rhythm is created with coupled columns as we move up the oval staircase.
Andre Brustolon incorporated 3 dimensional elements and natural elements like leaves into the furniture structure making the furniture come to life. Fully realized 3 dimensional figures were realized in the support of the Sette and the figures continue in a flowing line on either side. The new furniture form is the Settee which later becomes the sofa. Made as en suite as part of furnishings, the crossed stretcher at the bottom becomes popular, with an angulating form across the back. There are fewer straight lines with more C and S curves. Sofas also become upholstered in tooled leather. The acanthus scrolling ornament becomes common and the acanthus leaf is the most popular form in Baroque furniture. There is lots of movement and 3 dimensional carving, horses, nymphs, poutie at the bases of furniture, even sea shells are incorporated. Pieces are always symmetrical, in strong sculptural form with intricate and extraordinary work in forms of cabinetry, pietra dura semi precious stone, ebony and small clocks. Gilt mounts are also used. Thus, there is an interest in displaying lavish show pieces on chests and prominent exhibition pieces in salons.
Information courtesy of New York School of Interior Design “Historical Styles 1” class