Baroque Masterpieces: Architecture and Sculpture in Italy and Spain
Italian Baroque Architecture
Born in Rome around the papal court, Italian Baroque architecture emerged with key patrons like Pope Sixtus V and Pope Paul V. They viewed art as a powerful tool for the indoctrination of the faithful in the Roman capital, leading to a complete artistic and urban transformation.
Gian Lorenzo Bernini
Gian Lorenzo Bernini, an architect and sculptor, is the most representative Roman architect of the 17th century. In 1623, he created the grand Baldachin of St. Peter’s Basilica in the Vatican, featuring distinctive Solomonic columns. He utilized bronze, which Pope Urban VIII famously melted from the roof of Agrippa’s Pantheon. The Solomonic column became a characteristic Baroque element, symbolizing dynamic movement.
Bernini’s preference for motion effects and theatricality is fully realized in his work on St. Peter’s Basilica. His application of illusory perspective effects to the vast St. Peter’s Square, begun in 1656, resulted in its elliptical shape and magnificent colonnade. He also proposed a project for the Louvre, though it never materialized.
Spanish Baroque Architecture
Spanish Baroque architecture spans the 17th century and the first half of the 18th century. It emerged as an evolution of Mannerist forms, thus linked to the 16th-century styles introduced in the construction of the Monastery of El Escorial, and was facilitated by political centralization.
Periods of Spanish Baroque Architecture
First Period (Early 17th Century)
During the first third of the 17th century, the influence of El Escorial persisted. Notable architects from this period include Francisco Bautista and Pedro Sánchez, known for works such as the San Isidro Cathedral.
Second Period (Late 17th Century)
In the last third of the 17th century, Baroque forms triumphed with the works of:
Juan Gómez de Mora
Concerned with urban planning problems, Juan Gómez de Mora designed the Plaza Mayor of Madrid (1617). This quadrangular square, surrounded by houses with arcades, was conceived as a grand public space. Its lower galleries were used for gatherings and housed shops. The ‘Casa de la Panadería’ (House of the Bakery) is the main architectural element of the square.
José de Churriguera
José de Churriguera is considered the most important figure of this period. His style is ornate, original, and exuberant. A significant work is the Altarpiece of San Esteban (Salamanca). He also designed the Plaza Mayor of Salamanca, incorporating decorative curved lines into its layout.
Key Elements of Spanish Baroque Urbanism
Plazas
Plazas were a key determinant of Baroque urbanism, often indicating new street expansions. Conceived to accommodate the public for large celebrations and commerce, they became the vibrant heart of the city.
Palaces
The Royal Palace of Madrid, a work begun by Juvara in 1734, was later modified by Sachetti, who designed its elevation in accordance with the proportions of late Italian models. Later, the Palace of San Ildefonso was built, following Palladio’s rules and utilizing marble and Sepúlveda rose stone. Its gardens are grand. The Aranjuez Palace, built in 1772, was the work of Sabatini, featuring many large sculptures within its gardens. Also from this period is the magnificent Obradoiro facade of the Cathedral of Santiago de Compostela, a masterpiece by Casas Novoa.
Baroque Sculpture in Italy
Italian Baroque sculpture is characterized by its inspiration in reality, breaking with the late Mannerist aesthetic. Naturalism became a primary source of inspiration, emphasizing gesture and expression in attitude, while seeking to represent movement and relate the sculpture to its surrounding context. To achieve rich effects, artists often combined various materials, primarily bronze and marble. The religious field was extensively explored, serving a propaganda mission for the Catholic faith. Funerary sculpture and the heroic human subject were prominent themes. Baroque sculpture tends to project movement outwards, often employing saltire or diagonal compositions. Great masters include Stefano Maderno and Pietro Tacca.
Gian Lorenzo Bernini: Master Sculptor
Gian Lorenzo Bernini (1598-1680) was not only an architect but also a painter and, most notably, a sculptor. He is characterized by his excellent mastery of the craft and his strong sense of originality in material choice for compositions. Marble was his preferred material, which he manipulated to create excessive folds and crevices in drapery, conveying dynamic motion.
His masterpiece, the group Apollo and Daphne, captures the dramatic moment Daphne’s body transforms into laurel upon contact with Apollo. Apollo’s agitated movement and Daphne’s anguished gesture are fundamental elements of this work. Analogous features are perceived in the impetuous movement of his David, depicted in tension, ready to launch a stone.
From 1625 onwards, Bernini was deeply committed to Rome and the Church. A fundamental work from this period is The Ecstasy of Saint Teresa. As a sculptor of tombs, his contributions were vital to the urban fabric of the city, notably for Popes Alexander VII and Alexander VIII. As a portraitist, his works were produced in harmony with their urban context. Another notable work is The Barcaccia fountain, located in the Piazza di Spagna (Rome).