Architecture of the Baroque and Rococo Periods
Written By: Amayah Meas
Although architecture throughout the Baroque and Rococo periods have evolved over time, an aspect many constructions have in common is that they are used to signify a symbolic meaning, in addition to its functional purpose. This symbolic meaning is usually the social status of its commissioner or inhabitant, shown by the valuable designs most consistent with the period it was built. Architectural designs from the past can be examined to understand the values of people, and what society was like during that time.
Nearing the end of the Renaissance, the Catholic Counter Reformation emerged, a religious movement purposed to oppose the Protestant Reformation and rebuild the Catholic Church and its authority. In the early 17th century, architect Gian Lorenzo Bernini built St. Peter’s Baldachin, also known as Baldacchino, which is a canopy typically placed over an altar or throne. This massive bronze sculpture is inside St. Peter’s Basilica in Vatican City, the center of Roman Catholicism. The architecture is eight stories high, marking the center crossing of the church between the nave and the transept and stands right below Michelangelo’s dome (Harris, Zucker). It is one of two primary altars, one of the places the Pope would hold mass. Being the focal point of the space, it signifies the burial of St. Peter below and the Catholic Church as the ultimate authority in the Vatican.
Over a century later after the opening of St. Peter’s Basilica, the Salon de la Princesse was designed by French architect Germain Boffrand. Consistent with the delicate and airy styles of the Rococo period, the room is decorated with light, pastel ornaments and detailing. This private salon was used to hold intimate gatherings for people of high status. It resembles a rotunda, a style of architecture with a round floor plan, typically topped by a dome. The minimalist and feminine interior design reflects the tendency to depict noble women in a decorative, elegant way with luxurious clothing and lavish backgrounds (typical in Rococo salon culture) (Brighidin, 2012). Aside from the main purpose of holding stylish meetings, an underlying yet prominent meaning of the architecture was to boast the fancy and superior statuses of its tenants.
Another example of French nobility shown through architecture is the Palace of Versailles – yet this building is the most over the top. King of France, Louis XIV, commissioned the construction of his new palace in Versailles, a city in France which solely signifies the King’s importance. This palace represents the utmost excess of French nobility, with every detail catering towards King Louis’s desires. According to an article from Khan Academy, this massive establishment contains 700 rooms, 2,153 windows, and takes up approximately 67,000 square meters of floor space. Its placement along the east and west axis is designed to align with the rise and set of the sun. The gardens and interiors are filled with marvelous sculptures, paintings, and fountains lined with marble and gold accents to remind its inhabitants of the King’s wealth wherever their location in the palace. Its designs reflect classical elements inspired from ancient Greek cultures, believed to be the root of all intellectual and aesthetic authority that flowed into French culture. The Palace of Versailles is the most extensive statement of status in France and has communicated that message every day forward from its construction. It incorporates classical details while staying relevant with the ornate gold accents at the time, reflecting King Louis XIV’s ultimate authority.
Architecture and interior design are used as means of communicating one’s style, status, and wealth, demonstrated by numerous constructions throughout art historical periods. The designs may take inspiration from past styles and concepts while staying relevant with their time, whether that be the dramatic detailing of the Baroque period or the light and pastel accents of Rococo. For centuries, architecture has held functional and symbolic meanings and serve as important historical landmarks to understand the zeitgeist of the times.
References
Bianchi, H. (2020, December 2). Bernini's Baldacchino is actually A ciborium. Catholic Review. Retrieved December 4, 2021, from https://catholicreview.org/berninis-baldacchino-is-actually-a-ciborium/.
Brighidin, S. The hierarchy of Rococo women seen through fashion paintings. Cornerstone. Retrieved December 4, 2021, from https://cornerstone.lib.mnsu.edu/jur/vol12/iss1/1/.
Dr. Beth Harris and Dr. Steven Zucker, Harris, D. B., & Zucker, D. S. Gian Lorenzo Bernini, Baldacchino, Saint Peter's. Smarthistory. Retrieved December 4, 2021, from https://smarthistory.org/bernini- baldacchino/.
Khan Academy. Château de Versailles (article). Khan Academy. Retrieved December 4, 2021, from https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial- americas/reformation-counter-reformation/a/chteau-de-versailles.
McKay, S. (1994). The "Salon de la Princesse": "Rococo" Design, Ornamented Bodies and the Public Sphere. Vol. 21, pp. 71-84. Retrieved December 4, 2021, from https://www.jstor.org/stable/42631189?seq=1#metadata_info_tab_contents.