| Term | Definition |
|---|
| Gothic | Christian, Northern, Vaulted, Rational, France, Germany, England. Illusion of elevation, intelligent use of materials.Hagel 1820's - Romantic, action & conflict, 'of heaven and light', evacuate to heaven, all spirit |
| Classical | Pagan, Southern, Trabeated, Symbolic, Italy, Greece, happy to exaggerate to make forms. |
| Egyptian | Hagel 1820's - symbolic, mute, monumentality, 'of the earth', heavy, no access to inside |
| Greek | Hagel 1820's - Classic, repose, Greece, perfect, synthesis, move through easily, synthetic repose |
| Church of the Fourteen Saints | Veirzehnheilegen, Neumann, Lichtenfels, 1740, Baroque with Gothic tendencies. church centralized plan is stretched. German tendency to 'glob it up', blurring boundaries between elements. |
| Karlskirche | Fischer Von Erlach, Vienna, 1720, Northern Baroque, exploded individual elements, hodgepodge of styles, Botticher would call this fraudulent eclecticism |
| Il Gesu | Vignola & della Porta, Rome, 1570. Italian Baroque. Theatricality, muscularity, integration of painting, sculpture, art. Integration of elements, nave very wide compared to Renaissance, exteriors=doubling of elements, dynamic composition, concentration of energy |
| Palace at Versailles | Le Vau + Mansart, Versailles, 1700. French Barqoue. 1st non-church/secular project. Architects studied Italian architecture. Garden axis go towards infinity vs. Italian axis get punctuated. ex: obelisk come into view at end of axis in Rome. |
| St Pauls Cathedral | Wren, London, 1700. British/academic Baroque. Inspired by Italian Baroque. Caught in between Gothic and Baroque. Italian curvyness. |
| Sant'Ivo della Sapienza | Borromini, Rome, 1650. Baroque. curvy top. The dome, with its corkscrew lantern, is remarkable in its novelty. The complex rhythms of the interior have a dazzling geometry to them. It is a rational architecture- intricate to view, but on paper the overlap of a circle on two superimposed equilateral triangles creates a basis for a hexagonal array of chapels and altar in a centralized church. The undulations, both concave and convex of the interiors, create a jarring yet stunning appeal. |
| Piazza di San Pietro | Bernini, Rome, 1670.trapezoidal shape of the piazza, which creates a heightened perspective for a visitor leaving the basilica and has been praised as a masterstroke of Baroque theater |
| Fountain of the Four Rivers | Bernini, Rome, 1650. looks like its hiding from the building. emblematic of the dynamic and dramatic effects sought by high Baroque artists. |
| San Carlino | Borromini, Rome, 1640. Cool white ceiling. Influential Baroque church. |
| Wolfflin | he made a clear historical distinction between Renaissance and Baroque, defining the later as "movement imported into mass. |
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