Baroque Architecture: Style, Characteristics & Features

Yet perhaps the best example of Baroque architecture in Italy is at Rome itself. At the heart of the Vatican stands the Basilica of St Peter. This impressive structure reached its current state at the hands of Baroque architects.

To the left and right a massive colonnade, designed by Bernini, creates a panoramic effect, drawing the eye ever onward to the basilica at its center. Along the top of this colonnade a series of statues break up the silhouette, providing variety even as it flanks the basilica with symmetrical wings.

The facade of the Basilica itself, designed by Maderna, is its own little wonder. Here we can see the variety of Baroque architecture in full swing. Like the colonnade, the skyline of Maderna's facade is broken at intervals by statues and other decorations.

Yet Maderna goes further, mixing up styles by alternating square columns with round ones. Likewise, the pediments over the windows and doors also alternate between rounded and triangular designs. Indeed, there are almost as many types of doors and windows as there are doors and windows.

While the Pope was supporting the arts in Italy, on the other side of the Alps a new patron of the arts was emerging. Louis XIV, the Sun King, France's absolute monarch, had decided to aggrandize his status with a massive arts campaign. Louis' mission was both propagandistic and practical. On the propaganda side, Louis wished to surround his city and court with the best art in the world. On the practical side, Louis knew that with relatively cheap materials (stone, canvas, bronze and paint), a skilled artist could create priceless works of art. Though alchemists had failed to turn lead into gold, Louis knew he could turn stone into treasure. So Louis set about building a treasury of art. At the heart of this project was the Louvre, where Louis housed the artists he'd brought in from around Europe, as well as France's greatest artistic treasures, including DaVinci's Mona Lisa. To make the Louvre worthy of the artistic talent housed within, Louis commissioned a complete redesign of the Louvre, from a private residence to proclamation of France's status as the capitol of art.

In the east facade of the Louvre, designed by Perrault we can see some of the same Baroque elements that we saw in Italy, especially irregular openings and a focus on symmetry. Yet this design seems almost tame when compared with the busy exuberance of the Vatican. We must go inside the Louvre to truly see the Baroque at work. Within the Louvre lies the Apollo Gallery, designed by Le Brun.

Here we begin to see what French Baroque means. Delicate curves and swirls adorn every surface.

Entryways alternate between curved and triangular. Even the parquet floor displays a dizzying variety of design. The low arch of the ceiling is broken up with both paintings and sculptures, making the ceiling seem to soar far higher than its actual height. Yet, if we draw a line down the middle of the gallery, all this dizzy variety falls into orderly symmetry, as even artistic chaos is brought into order.

Yet the Louvre was simply not big enough for Louis' ambitions. Why should he be satisfied with a palace, when the Pope had an entire city to himself? Louis XIV thought he should have a residence at least as grand as the Pope's. To this end, Louis began construction on the most ambitious architectural project of his age: the palace at Versailles.

Here at last was a large enough canvass for Louis' architectural ambitions. Louis made his palace the consummate masterpiece of Baroque architecture. Every inch is covered with ornamental statues. Even the roof peaks are adorned with bronze filigree. Every window offers new vistas. Yet all of these features fall into perfect symmetry, yet on a scale unimagined.

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