17th Century Roman Baroque: Bernini, Borromini, and Propaganda

Baroque Architecture: Bernini and Borromini in Rome

Historical Context of Baroque Art

The term Baroque initially appeared to describe 18th-century artistic phenomena as confusing, excessive, and extravagant. A true revaluation of the Baroque style did not arrive until the 19th century.

Baroque art represents a significant change from Renaissance art. Classical values and equilibrium are replaced by the free expression of feelings. This style reflects a change of mentality within the Church; the Baroque became the ideal vehicle to spread and reaffirm Catholic dogma, serving as an instrument of propaganda. It also served the luxury of citizens and forwarded the sense of power of their kings. Baroque is fundamentally an art of propaganda.

Rome, in the 17th century, embraced artistic innovation through the Baroque under the patronage of the Popes. Vatican religious ideals became clear in both architecture and fine arts. Propagandists of these ideals included painters like Caravaggio, Velázquez, and Ribalta, while sculptors like Bernini, Gregorio Fernández, and Salzillo were highly prominent. Countries like Holland and England developed their own Baroque styles, equally rich in quality of masters compared to Mediterranean Europe.

General Characteristics of Baroque Architecture

The effective chronology of the Baroque style runs from 1630 (with the works of Bernini and Borromini) until 1750 (transitioning into Rococo).

Equilibrium, contrary to the harmony and sense found in Renaissance architecture, gives way to an emphasis on chromatic contrasts of light, creating interest in movement. Key characteristics include:

• Plans: Traditional rectangular plans are often replaced by ovals or other non-traditional shapes.
• Walls and Structure: Walls are raised and often undulate; pediments and entablatures are broken. Fundamental structures are often hidden using stucco and reliefs.
• Decoration: Decoration progressively multiplies, utilizing open space (the “free hole”). Multiple types of stone and marble of various colors are used.
• Curves and Vaults: An infinite repertoire of curves is used. Vaults include barrel vaults and groin vaults, though the dome continues to be used, often emphasized externally.
• Facades: Church facades become highly dynamic, utilizing rich chiaroscuro and concave/convex forms.
• Aesthetic Goals: There is a strong taste for scenography and illusionism.
• Urbanism: Urban development includes the expansion and creation of new buildings.

Baroque Architecture in Italy: The Early Period

In the evolution of Italian Baroque architecture, two main periods can be identified. The first period, between 1580 and 1624, is dominated by the figure of Carlo Maderno.

Maderno is responsible for the final plan and facade of St. Peter's Basilica:

• He extended the original Greek cross plan by designing the nave, transforming it into a Latin cross plan.
• The facade features eight large columns and four pillars that divide the surface.
• A balustrade supports an attic, upon which stand the statues of Jesus, John the Baptist, and the apostles.

The High Baroque Masters: Bernini and Borromini

The most important authors of the full Baroque period are Gian Lorenzo Bernini and Francesco Borromini. Their works define the style.

[The discussion of the two masters follows.]