Characteristic features of baroque architecture presentation. Presentation on the topic "Baroque architecture and its heritage"

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baroque architecture

Characteristic features of Baroque architecture Masterpieces of the Italian Baroque. Lorenzo Bernini "Wonderful pattern" of the Moscow baroque Architectural creations of V.V. Rastrelli

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Characteristic features of Baroque architecture

Baroque (presumably: from the Portuguese perola barroca - a bizarre pearl or from the Latin baroco - a mnemonic designation of one of the types of syllogism in scholastic logic), the dominant style in European art of the late 16th - mid-18th centuries. Italy is rightfully considered the birthplace of the architectural Baroque, and Rome is considered the capital of the "eternal city". An abundance of lush decorative ornaments Emphasized theatricality Distortion of classical proportions Optical illusion Predominance of complex curvilinear forms Dissonance, asymmetry Columns and semi-columns are used Sizes of portals, doors and windows began to exceed any reasonable boundaries

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Italian Baroque Masterpieces by Lorenzo Bernini (1598-1680)

Italian artist and architect, creator of the Baroque style in its most holistic and exemplary expression. Key works of Apollo and Daphne (1622-1625) - marble, 243 cm, Galleria Borghese, Rome. Chair of St. Peter (1624) - bronze, Vatican. Triton Fountain (1624-1643) - Piazza Barberini, Rome Ecstasy of St. Teresa (1647-1652) - marble, Santa Maria della Vittoria, Rome Fountain of the Four Rivers (1648-1651) - marble and travertine , Piazza Navona, Rome Ecstasy of Blessed Ludovica Albertoni (1671-1674) - marble, San Francesco a Ripa, Rome

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Piazza San Pietro, Rome. The square is framed by semicircular colonnades of the Tuscan order designed by Bernini. In the middle is an Egyptian obelisk brought to Rome by Emperor Caligula. This is the only obelisk in the city that stood unchanged until the Renaissance. Rays of travertine diverge from the obelisk along the paving stones, arranged so that the obelisk plays the role of a gnomon.

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The Fountain of the Four Rivers (from Italian Fontana dei Quattro Fiumi) is one of the most famous fountains in Rome. Located in Piazza Navona. Built in 1648-1651. designed by Bernini. Bernini prepared a project for the fountain, which provided for the placement around the obelisk of the statues of the river gods of the main rivers of the four parts of the world (Nile, Ganges, Danube and La Plata)

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Dome of the temple in Castel Gandolfo.

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"Apollo and Daphne" The sculptor captured the result of the mythological pursuit of the sun god Apollo for the beautiful nymph Daphne. Overtaken by Apollo, Daphne asks for help from the gods - and begins to turn into a laurel. We see the heroes at the very moment when Apollo almost overtook the fugitive, but Daphne's fingers are already turning into branches, and her legs into laurel roots.

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Triton Fountain The pedestal of the fountain is formed by 4 dolphins, on the tips of their tails there is a huge shell. On the open wings of this shell is a statue of Triton, the son of the god Poseidon. Triton blows a jet of water from the shell, which fills the bowl of the fountain. Between the dolphins are images of the coat of arms of the Barberini family, the papal tiara.

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Bust of Louis XIV at Versailles.

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Francesco Bromonni

Church of Sant'Agnese 1653. A church was built on Piazza Navona in honor of the early Christian martyr St. Agnes of Rome in Rome.

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"Wonderful Pattern" of Moscow Baroque

Church of the Intercession in Fili 1693-1694 Moscow. The building architecturally belongs to the type of tiered centric churches common at the end of the 17th century, an example of the early Moscow baroque. The building combines both the church and the bell tower. The bells hang in the spans of the middle tier.

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Trinity Church in Nikitniki. 1631-1634 Moscow. Carved window frames (including in the form of kokoshniks), multi-tiered kokoshniks along the vaults, cornices in the form of "cockscombs", twisted columns, semi-columns. Interior: rich colored floral ornamentation of the walls and vaults. The decor area on the walls is very large. Columns, cornices, platbands, tiles.

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Architectural creations of V.V. Rastrelli

Rastrelli Varfolomey Varfolomeevich (1700-71), Russian architect. representative of the baroque. Created by: Annenhof (1730), Winter Palace (1733), Rundale Palace (1736), Mitavsky Palace (1738), Summer Palace (1741), Great Peterhof Palace (1747), Winter Kremlin Palace (1747), St. Andrew's Church (1749) , Smolny Cathedral (1749), Vorontsov Palace (1749), Catherine Palace (1752), Mariinsky Palace (1752), Stroganov Palace (1753), Winter Palace (1753)

Winter Palace 1754-1762 St. Petersburg The modern building has a square plan with a courtyard and facades facing the Neva, the Admiralty and Palace Square. The splendor of the building is given by the magnificent decoration of the facades and rooms. The main façade, facing the Palace Square, is cut through by the arch of the front passage.

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Baroque in architecture

• Baroque architecture (L. Bernini, F. Borromin in Italy, B.F. Rastrelli in Russia) is characterized by spatial scope, unity, fluidity of complex, usually curvilinear forms.
• Large-scale colonnades are often found, an abundance of sculpture on the facades and in interiors, volutes, a large number of rake-outs, arched facades with a rake-out in the middle, rusticated columns and pilasters.
• The domes acquire complex forms, often they are multi-tiered, as in St. Peter's Cathedral in Rome.
• Characteristic details of the Baroque - telamon (atlas), caryatid, mascaron.

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Volute (Italian voluta - curl, spiral), an architectural motif in the form of a spiral curl with a circle ("eye") in the center, an integral part of the Ionic capital, is also included in the composition of the Corinthian and composite capitals.

The volute shape is sometimes used by architectural details that serve to connect parts of the building, as well as consoles of cornices, framing of portals, doors, windows (mainly in the architecture of the late Renaissance and Baroque).

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• Predominant and fashionable colors: muted pastel colors; red, pink, white, blue with a yellow accent.
• Lines: whimsical convex - concave asymmetric pattern; in the forms of a semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal division.
• Shape: vaulted, domed and rectangular; towers, balconies, bay windows.
• Characteristic elements of the interior: the desire for grandeur and splendor; massive front stairs; columns, pilasters, sculptures, stucco and painting, carved ornament; relationship of design elements.
• Designs: contrasting, tense, dynamic; pretentious on the facade and at the same time massive and stable.
• Windows: semicircular and rectangular; with floral decoration around the perimeter.
• Doors: arched openings with columns; floral decor

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Thanks to the bizarre plasticity of the facades, complex curvilinear plans and outlines, baroque palaces and churches acquire picturesqueness and dynamism. They seem to blend into the environment.

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The largest and most famous Baroque ensembles in the world: Versailles (France), Peterhof (Russia), Aranjuez (Spain), Zwinger (Germany).

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Versailles

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Peterhof (Russia)

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The Smolny ensemble reflects two styles of Russian architecture - baroque and classicism. The first convent in St. Petersburg - Voskresensky Novodevichy Convent was built on the site of the former Smolyany Yard. Hence the name - Smolny. The author of the project was the brilliant architect F.B. Rastrelli.

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Church of St. Peter and Paul is a brilliant example of the early 17th century Baroque. The architect Giovanni Trevano designed an elegant three-tier facade, with pilasters, volutes, niches, and a spacious interior. In the middle of the cross, where the nave intersects with the transept, a powerful dome in the form of an ellipse was placed. Along the walls of the only nave, chapels that communicate with each other are built in, forming a kind of side aisles.

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Lorenzo Bernini

The great creator of the Baroque era was Lorenzo Bernini (1598-1680), who equally manifested himself in architecture and sculpture.

He was born in Naples in the family of an artist and sculptor.

At the age of 25 he was already famous and from that time he worked mainly in Rome.

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One of his best compositions, "The Ecstasy of Saint Teresa" (1645-1652), Bernini created, being already a mature master.

The white marble sculpture is surrounded by a colonnade of colored marble, and the background is gilded rays, symbolizing the Divine light.

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St. Teresa is immersed in a state of spiritual illumination, outwardly similar to death: her head is thrown back, her eyes are closed. Her figure is almost not guessed behind the large, expressively fashioned folds of clothing; it seems that in their waves a new body and a new soul are born, and behind the external dead stillness lies a gigantic movement of the spirit

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• Fountain of the four rivers (Nile, Danube, Ganges, Rio de la Plata) on Navoma Square.
• Square in front of St. Peter's Basilica. Rome.
• Fountain "Triton" in Piazza Barberini. Rome

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Rastrelli, Bartolomeo Francesco

Varfolomey Varfolomeevich

The famous Russian architect, of Italian origin. the brightest representative of the Russian baroque. F. B. Rastrelli combined elements of European baroque with Russian architectural traditions, drawn by him primarily from the Naryshkin style, such as bell towers, roofs, and color scheme.

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• Winter Palace. Hermitage.
• The main residence of Russian emperors.
• Large palace with a water cascade. Peterhof
• Cathedral of the Smolny Monastery Catherine Palace in Tsarskoye Selo

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Characteristic features of baroque architecture ... But before the beauty of both the building and the facade, the fountain, and the marble, and the fence have faded, ... In the twisted ornament you will see here and there The victorious helmet and vases of incense, Columns, capitals, pilasters and arcades You will see everywhere you, wherever you throw glances, Cupids, secretly woven monograms, And the heads of lambs entwined with lace, And you will find a statue in a magnificent niche, In patterns and carvings, a cornice under the very roof ... Translation by E. Tarkhanovskaya v. Georges de Sudery. The abundance of lush decorative ornaments, emphasized theatricality, distortion of classical proportions, optical illusion, the predominance of complex curvilinear forms really created a special unique look of baroque architectural structures. This is how the French poet of the 17th century described his impressions of Baroque architecture. Georges de Sudery. The abundance of lush decorative ornaments, emphasized theatricality, distortion of classical proportions, optical illusion, the predominance of complex curvilinear forms really created a special unique look of baroque architectural structures. BAROQUE (Italian Barocco, literally bizarre, pretentious), a style that prevailed in the art of Europe from the end of the 16th to the middle of the 18th century and embraced all types of creativity, most monumentally and powerfully manifested in architecture and fine arts. BAROQUE (Italian Barocco, literally bizarre, pretentious), a style that prevailed in the art of Europe from the end of the 16th to the middle of the 18th century and embraced all types of creativity, most monumentally and powerfully manifested in architecture and fine arts.

The most significant changes affected the design of the facades of buildings. Consistency and proportionality are replaced by dissonance and asymmetry. Looking at the facade, you no longer understand where the wall is located - the main support of the building. Flat pilasters give way to columns and semi-columns. Installed on high pedestals, they either gather in groups, forming bunches, or “scatter” along the facade, raising statues frozen in restless movement on the roof balustrade to the sky. The sizes of portals, doors and windows began to exceed any reasonable limits. The pediments and architraves acquired rich decorations in the form of bizarre curls, cartouches, garlands of leaves, herbs and human figures. There seemed to be no trace left of the calm clarity of the Renaissance. The most significant changes affected the design of the facades of buildings. Consistency and proportionality are replaced by dissonance and asymmetry. Looking at the facade, you no longer understand where the wall is located - the main support of the building. Flat pilasters give way to columns and semi-columns. Installed on high pedestals, they either gather in groups, forming bunches, or “scatter” along the facade, raising statues frozen in restless movement on the roof balustrade to the sky. The sizes of portals, doors and windows began to exceed any reasonable limits. The pediments and architraves acquired rich decorations in the form of bizarre curls, cartouches, garlands of leaves, herbs and human figures. There seemed to be no trace left of the calm clarity of the Renaissance. “The baroque is characterized by the complexity of not only architectural plasticity, but also spatial constructions. If in the Renaissance the plans of the premises have a clear geometric shape - a circle, a square, a rectangle, then the favorite form of the Baroque is an oval, which gives some uncertainty to the general form of the spatial volume. Often the configuration of the plan is outlined by whimsical curves of lines, bulges and concavities of the walls, complicated by additional adjunctions of adjacent subordinate volumes ... Excessive decorativeness and heavy luxury prevailed in Baroque architecture. Bizarre forms, an abundance of sculpture, the use of rich color and gilding were supposed to enhance the expressiveness of architecture, give the impression of wealth and splendor ”(A.F. Goldstein). “The baroque is characterized by the complexity of not only architectural plasticity, but also spatial constructions. If in the Renaissance the plans of the premises have a clear geometric shape - a circle, a square, a rectangle, then the favorite form of the Baroque is an oval, which gives some uncertainty to the general form of the spatial volume. Often the configuration of the plan is outlined by whimsical curves of lines, bulges and concavities of the walls, complicated by additional adjunctions of adjacent subordinate volumes ... Excessive decorativeness and heavy luxury prevailed in Baroque architecture. Bizarre forms, an abundance of sculpture, the use of rich color and gilding were supposed to enhance the expressiveness of architecture, give the impression of wealth and splendor ”(A.F. Goldstein). Pilasters are a flat vertical ledge of rectangular section on the surface of a wall or pillar. The pilaster has the same parts (stem, capital, base) and proportions as the column; serves to divide the plane of the wall. Cartouches - an ornament in the form of a shield or a half-folded scroll, which depicts a coat of arms, an emblem, an inscription. A pediment is the completion (usually triangular) of the facade of a building, a portico, a colonnade, limited by two roof slopes on the sides and a cornice at the base.

Masterpieces of the Italian Baroque. Lorenzo Bernini The characteristic features of the Italian baroque found their most vivid embodiment in the work of two architects who created an entire era in the development of architecture - Francesco Borromini and Lorenzo Bernini. The characteristic features of the Italian Baroque were most vividly embodied in the work of two architects who created an entire era in the development of architecture - Francesco Borromini and Lorenzo Bernini. In creating curvilinear, curving surfaces and whimsical geometric combinations, Francesco Borromini knew no equal. The Church of Sant'Agnese on Piazza Navona in Rome is one of the best creations of the architect. The smoothly curved facade of the church is adorned with a majestic dome placed on a high drum. The walls of the church seem to dissolve in the play of chiaroscuro, in ledges and openings. In creating curvilinear, curving surfaces and whimsical geometric combinations, Francesco Borromini knew no equal. The Church of Sant'Agnese on Piazza Navona in Rome is one of the best creations of the architect. The smoothly curved facade of the church is adorned with a majestic dome placed on a high drum. The walls of the church seem to dissolve in the play of chiaroscuro, in ledges and openings. Francesco Barromini. Church of Sant'Agnese, Rome.

Borromini avoids as much as possible straight lines, vertical or horizontal, as well as right angles. Preference is given to complex curved plans Borromini avoids as far as possible straight lines vertical or horizontal, as well as right angles. Preference is given to the complex curved plans of Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome). Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome).

No less effective is the interior of the cathedral, which is distinguished by the sophistication of stucco decorations, the multicolored decorative paintings, and colored marble columns. No less effective is the interior of the cathedral, which is distinguished by the sophistication of stucco decorations, the multicolored decorative paintings, and colored marble columns. Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome). Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome).

Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome). Fragment, facade. Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome). Fragment, facade.

The main architectural creation of Lorenzo Bernini was the design of the square in front of St. Peter's Cathedral. The architect had to solve several problems at once: to create a solemn approach to the main church of the Catholic world, to achieve the impression of the unity of the square and the cathedral. He turned the space in front of the temple into a single ensemble of two squares. The first is in the form of a trapezoid, and the second is in the favorite form of baroque - an oval. It faces the city and is framed by a majestic colonnade that easily and gracefully covered the square. The main architectural creation of Lorenzo Bernini was the design of the square in front of St. Peter's Cathedral. The architect had to solve several problems at once: to create a solemn approach to the main church of the Catholic world, to achieve the impression of the unity of the square and the cathedral. He turned the space in front of the temple into a single ensemble of two squares. The first is in the form of a trapezoid, and the second is in the favorite form of baroque - an oval. It faces the city and is framed by a majestic colonnade that easily and gracefully covered the square.

Lorenzo Bernini. Fountain of the Four Rivers in Piazza Navona Allegorical figures depict the largest rivers of the continents Nile, Danube, Ganges and Rio de la Plata (the Amazon was then unknown). The veil on the head of the Nile symbolizes the mystery of its source, which at that time had not yet been discovered. The location of the figures of the fountain gave rise to a legend about the duel between the geniuses of the Baroque era Bernini and Borromini: as if Bernini's La Plata is blocked by his hand so as not to see the church, the "terrible" creation of Borromini. In fact, the fountain was built much earlier than the church facade. According to the design of Bernini, the Moor Fountain was also created, one of the two fountains located along the edges of the square. Another fountain in the original consisted of only one pool, to which at the end of the 19th century. a sculpture was added so the fountain of Neptune arose. Allegorical figures depict the largest rivers of the continents Nile, Danube, Ganges and Rio de la Plata (the Amazon was then unknown). The veil on the head of the Nile symbolizes the mystery of its source, which at that time had not yet been discovered. The location of the figures of the fountain gave rise to a legend about the duel between the geniuses of the Baroque era Bernini and Borromini: as if Bernini's La Plata is blocked by his hand so as not to see the church, the "terrible" creation of Borromini. In fact, the fountain was built much earlier than the church facade. According to the design of Bernini, the Moor Fountain was also created, one of the two fountains located along the edges of the square. Another fountain in the original consisted of only one pool, to which at the end of the 19th century. a sculpture was added so the fountain of Neptune arose.

From the 2nd half of the 1650s. Bernini is again working in St. Peter's Basilica, creating here a bronze "pulpit of St. Peter" (), decorated with statues of the fathers of the Church and angels, From the 2nd half of the 1650s. Bernini is again working in St. Peter's Basilica, creating here a bronze "pulpit of St. Peter" (), decorated with statues of the fathers of the Church and angels,

"Wonderful Pattern" of the Moscow Baroque The desire for splendor and richness of the external decoration of architectural structures was extremely characteristic of Russia. "Wonderful patterning" became the leitmotif of Russian architecture of the late 17th - early 18th centuries. The architecture of this time is characterized by a combination of national traditions, especially wooden architecture, with the best achievements of the Western European Baroque. The most striking and original features of the Russian baroque were manifested in the so-called Naryshkin, or Moscow, style. It got its name thanks to the construction customers, including the Naryshkins, relatives of Peter I. On their initiative, many beautiful and elegant buildings were erected in Moscow - palaces, churches, gazebos and park pavilions. The desire for splendor and richness of the external decoration of architectural structures was extremely characteristic of Russia. "Wonderful patterning" became the leitmotif of Russian architecture of the late 17th - early 18th centuries. The architecture of this time is characterized by a combination of national traditions, especially wooden architecture, with the best achievements of the Western European Baroque. The most striking and original features of the Russian baroque were manifested in the so-called Naryshkin, or Moscow, style. It got its name thanks to the construction customers, including the Naryshkins, relatives of Peter I. On their initiative, many beautiful and elegant buildings were erected in Moscow - palaces, churches, gazebos and park pavilions.

Church of the Intercession in Fili Moscow. A brilliant example of the Naryshkin baroque is the Church of the Intercession in Fili. She stands on a low hill, above the river bank, repeating herself with a bizarre reflection in the water. The temple has a high and spacious basement (PODKLET, in Russian stone and wooden architecture, the lower floor of a residential building or temple, usually having a service and household purpose), on the arches of which there is a terrace with three smooth flights of stairs. The main volume of the building is surrounded by semicircular limits, each of which is crowned with a golden dome. The transition from the quadrangle to the octagon is made so smoothly and skillfully that the viewer does not immediately notice the change in architectural divisions. The cornice and carved white stone decorations naturally continue the triple capitals of the corner columns. A brilliant example of the Naryshkin baroque is the Church of the Intercession in Fili. She stands on a low hill, above the river bank, repeating herself with a bizarre reflection in the water. The temple has a high and spacious basement (PODKLET, in Russian stone and wooden architecture, the lower floor of a residential building or temple, usually having a service and household purpose), on the arches of which there is a terrace with three smooth flights of stairs. The main volume of the building is surrounded by semicircular limits, each of which is crowned with a golden dome. The transition from the quadrangle to the octagon is made so smoothly and skillfully that the viewer does not immediately notice the change in architectural divisions. The cornice and carved white stone decorations naturally continue the triple capitals of the corner columns.

The Trinity Church in Nikitniki, commissioned by the merchant Grigory Nikitnikov, a native of Yaroslavl, should also be attributed to the unique buildings of the Moscow Baroque. The temple, placed on a high hill in the center of the city, dominated the surrounding buildings, standing out with the complexity of the silhouette. The bright coloring of the facades, the juicy plasticity of the white stone and brick decor, the multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. The Trinity Church in Nikitniki, commissioned by the merchant Grigory Nikitnikov, a native of Yaroslavl, should also be attributed to the unique buildings of the Moscow Baroque. The temple, placed on a high hill in the center of the city, dominated the surrounding buildings, standing out with the complexity of the silhouette. The bright coloring of the facades, the juicy plasticity of the white stone and brick decor, the multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. Trinity Church in Nikitniki Moscow.

The plane of the wall has almost disappeared behind an abundance of cornices, pilasters, semi-columns, architraves and portals. The temple was crowned with decorative five domes and three rows of kokoshniks, giving a special festive solemnity. The plane of the wall has almost disappeared behind an abundance of cornices, pilasters, semi-columns, architraves and portals. The temple was crowned with decorative five domes and three rows of kokoshniks, giving a special festive solemnity.

The Church of the Sign of the Virgin in Dubrovitsy is considered the pinnacle of the Moscow Baroque. The semicircles of the walls end with a triangular carved pediment, decorated with columns and volutes. The octagonal three-tiered tower has been turned into a stone lace. The church is crowned with a dome with an openwork gilded crown and a through cross. The Church of the Sign of the Virgin in Dubrovitsy is considered the pinnacle of the Moscow Baroque. The semicircles of the walls end with a triangular carved pediment, decorated with columns and volutes. The octagonal three-tiered tower has been turned into a stone lace. The church is crowned with a dome with an openwork gilded crown and a through cross. Church of the Sign of the Virgin in Dubrovitsy Moscow.

Church of the Sign of the Virgin in Dubrovitsy Moscow. Church of the Sign of the Virgin in Dubrovitsy Moscow.

Church of St. Nicholas in Khamovniki. 17th century Moscow. Church of St. Nicholas in Khamovniki. 17th century Moscow. Church in the name of St. Nicholas, erected in one of the true Moscow ancient areas: here in the XVII century. Khamovniki, palace weavers, were settled in the water meadows, which gave the name to the district. They built this unusually painted temple. To enhance the bell ringing, it is cut through with rows of openings, the so-called rumors. The building of the church is a characteristic type of a township church, one of the brightest and best-preserved examples of the "Naryshkin baroque"

Architectural creations of VV Rastrelli In the middle of the 18th century, baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush baroque architecture spread throughout Russia. The brightest creations of architecture were concentrated in the new capital of the Russian state - in St. Petersburg. In the middle of the 18th century, baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush baroque architecture spread throughout Russia. The brightest creations of architecture were concentrated in the new capital of the Russian state - in St. Petersburg. A significant contribution to the development of national architecture was made by Bartholomew Varfolomeevich (Bartolomeo Francesco) Rastrelli () - the son of the sculptor B.K. Rastrelli, an Italian by birth, who was born in France. Having been educated abroad, he then worked only in Russia, which became his second home. A significant contribution to the development of national architecture was made by Bartholomew Varfolomeevich (Bartolomeo Francesco) Rastrelli () - the son of the sculptor B.K. Rastrelli, an Italian by birth, who was born in France. Having been educated abroad, he then worked only in Russia, which became his second home. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir () wrote about the works of the outstanding architect: Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir () wrote about the creations of an outstanding architect: “Count Rastrelli ... a skilled architect. His inventions in decoration are magnificent; “Count Rastrelli… a skilled architect. His inventions in decoration are magnificent;

The best works of Rastrelli are St. Andrew's Church in Kiev, palaces in the suburbs of St. Petersburg - Peterhof and Tsarskoye Selo, Stroganov and Vorontsov palaces, the Cathedral of the Smolny Monastery and the Winter Palace in St. Petersburg. The best works of Rastrelli are St. Andrew's Church in Kiev, palaces in the suburbs of St. Petersburg - Peterhof and Tsarskoye Selo, Stroganov and Vorontsov palaces, the Cathedral of the Smolny Monastery and the Winter Palace in St. Petersburg. V.V. Rastrelli. Andrew's Church Kyiv. V.V. Rastrelli. Andrew's Church Kyiv.

The Cathedral of the Smolny Monastery was ordered to the master by Empress Elizaveta Petrovna. The traditional Russian five domes, embodied in elaborate baroque forms, here organically merged with the main volume of the building. The middle dome of the cathedral is a high two-height dome topped with an onion dome on a light drum. Four corners in the form of high two-story towers, almost pressed close to the central dome, give the five domes an amazing solidity and power. Already after the death of Rastrelli, another outstanding architect - a representative of early classicism Giacomo Quarenghi - every time passing by the Smolny Cathedral respectfully took off his hat and exclaimed: "This is a church!" The Cathedral of the Smolny Monastery was ordered to the master by Empress Elizaveta Petrovna. The traditional Russian five domes, embodied in elaborate baroque forms, here organically merged with the main volume of the building. The middle dome of the cathedral is a high two-height dome topped with an onion dome on a light drum. Four corners in the form of high two-story towers, almost pressed close to the central dome, give the five domes an amazing solidity and power. Already after the death of Rastrelli, another outstanding architect - a representative of early classicism Giacomo Quarenghi - every time passing by the Smolny Cathedral respectfully took off his hat and exclaimed: "This is a church!" V.V. Rastrelli. Cathedral of the Smolny Monastery Saint Petersburg. V.V. Rastrelli. Cathedral of the Smolny Monastery Saint Petersburg.

The most brilliant creation of Rastrelli, decorating the center of the city on the Neva, is the Winter Palace, which today houses the world-famous Hermitage Museum of Art. The architecture of the Winter Palace is a real hymn to the era of Russian baroque. The facade overlooking the Neva embankment was designed for viewing from afar. The facade overlooking the Admiralty is oriented towards the front Palace Square facing the city. The palace had more than 1050 premises and rooms, 1886 doors, 1945 windows and 177 stairs. The total length of the facades of the palace is 210 m! The most brilliant creation of Rastrelli, decorating the center of the city on the Neva, is the Winter Palace, which today houses the world-famous Hermitage Museum of Art. The architecture of the Winter Palace is a real hymn to the era of Russian baroque. The facade overlooking the Neva embankment was designed for viewing from afar. The facade overlooking the Admiralty is oriented towards the front Palace Square facing the city. The palace had more than 1050 premises and rooms, 1886 doors, 1945 windows and 177 stairs. The total length of the facades of the palace is 210 m!

V.V. Rastrelli. Embassy stairs in the Winter Palace - 1762 Saint Petersburg. V.V. Rastrelli. Embassy stairs in the Winter Palace - 1762 Saint Petersburg. The main entrance was located in the northern building: the carriages of the Empress and her guests solemnly drove up to it. Through a huge gallery, they climbed the dazzlingly beautiful Embassy Stairs from the top platform of which opened the entrance to the state rooms of the palace. The main entrance was located in the northern building: the carriages of the Empress and her guests solemnly drove up to it. Through a huge gallery, they climbed the dazzlingly beautiful Embassy Stairs from the top platform of which opened the entrance to the state rooms of the palace. Questions and tasks 1. What are the characteristic features of Western European Baroque architecture? 2. What, in your opinion, distinguished Baroque buildings from the works of Renaissance architects? 3. What masterpieces of the Naryshkin baroque could you tell in more detail? Prepare reports on the topic: 1. "Lorenzo Bernini -" the genius of the Baroque "; 2. "Naryshkin baroque in Moscow"; 3. "Petersburg V.V. Rastrelli"

Contents: The emergence of the Baroque style; The main features of the Baroque; Baroque architecture in Italy; Baroque architecture in France; Baroque architecture in Belgium; Baroque architecture in Germany; Baroque in Russia.

The Emergence of the Baroque Style The Baroque style slowly matured in the architecture and sculpture of the "High Renaissance". So, Michelangelo, with the power and expression of his individual style, in an instant destroyed all the usual ideas about the “rules” of drawing and composition. The mighty figures painted by him on the ceiling visually "destroyed" the pictorial space allotted for them; they did not fit either the scenario or the space of the architecture itself. J. Vasari, the famous chronicler of the Renaissance, amazed, like others, called this style "bizarre, out of the ordinary and new." Michelangelo, ceiling of the Sistine Chapel, 1508-1512

Rome is considered the birthplace of the Baroque, and the most striking examples of the architecture of this style were created in Italy, Spain, Portugal, Southern Germany, the Czech Republic, Poland, Lithuania, Spanish and Portuguese colonies in Latin America. In all these countries, the Catholic Church was very influential and thus the Baroque became the style it adopted. The beginning of a new style is usually considered the construction of a small church of the Jesuit order - Il Gesu in Rome, begun in 1568 according to the project of Giacomo Vignola.

One of the main artistic features of the Church of the Gesu is the unique fresco of the Triumph of the Holy Name of Jesus on the ceiling of the church. The figures painted in a special way create the illusion that they are hovering under the ceiling and even cast a shadow on it, while in fact they are painted in the same plane. The frescoes of Il Gesu, at the age of 22, were painted by Giovanni Battista Gaulli, a talented artist from Genoa, with the assistance of the famous sculptor Bernini.

The birth of a new style can be seen on the main façade overlooking a small square, designed in 1575 by Giacomo della Porta: columns and pilasters are shifted towards each other, grouped in pairs, the entablature is torn, the surface of the façade is overloaded with strong rhythmic elements.

The main features of the Baroque Baroque art is characterized by grandiosity, pomp and dynamics, pathetic elation, intensity of feelings, addiction to spectacular spectacles, the combination of illusory and real, strong contrasts of scales and rhythms, materials and textures, light and shadow. The synthesis of arts in the Baroque, which is comprehensive in nature and affects almost all strata of society (from the state and the aristocracy to the urban lower classes and partly the peasantry), is characterized by a solemn, monumental and decorative unity that strikes the imagination with its scope. Baroque palaces and churches, thanks to the luxurious, bizarre plasticity of facades, the restless play of light and shade, complex curvilinear plans and outlines, acquired picturesqueness and dynamism and, as it were, poured into the surrounding space. Würzburg Palace. Architect: Johann Ditzenhofer, from 1719 the construction was headed by Balthasar Neumann.

The ceremonial interiors of Baroque buildings were decorated with multicolored sculpture, molding, and carving; mirrors and murals illusoryly expanded the space, and ceiling paintings created the illusion of yawning vaults. The interiors of the Würzburg Palace In the fine arts of the Baroque, virtuosic decorative compositions of a religious, mythological or allegorical nature, ceremonial portraits, emphasizing the privilege of a person's social position, predominate.

Guarino Guarini. Church of San Lorenzo, Turin, 1666-1687 In the Baroque, the following was noted: the complexity of volumes and space, the mutual intersection of various geometric shapes; the predominance of complex curvilinear forms in determining the plans and facades of structures; alternation of convex and concave lines and planes; active use of sculptural and architectural and decorative motifs; uneven distribution of architectural means; creation of a rich play of chiaroscuro, color contrasts, dynamism of architectural masses.

The idealization of images is combined in them with stormy dynamics, unexpected compositional and optical effects, reality with fantasy, religious affectation with emphasized sensuality, and often with sharp naturalness and materiality of forms, bordering on illusory. Baroque works of art sometimes include real objects and materials (statues with real hair and teeth, bone chapels, etc.). Guarino Guarini. Church of San Lorenzo, interior.

Baroque architecture in Italy The first architect of the new generation, in whose work there was already a transition to major architectural tasks, was Carlo Maderna. In 1603, after the death of Della Porta, he was appointed chief architect of St. Peter's, in Rome (begun by order of the pope in 1607), the completion of which became his main work. At the urging of Pope Paul V, the centric building in the shape of a Greek cross, built by Michelangelo, was rebuilt into a traditional early Christian basilica in the shape of an elongated cross. In 1607 -1614. Carlo Maderna added three long naves to the domed part of the temple; the previously created building became the altar part of a new, even more grandiose temple.

Canopy over the burial of St. Peter The canopy, which now stands in the middle of the cross of St. Peter's Cathedral, over the altar and over the place where the Apostle Peter is buried, was built in 1624-1633. There are several of his projects, probably owned by Carlo Maderno and created at the end of the reign of Paul V. But in 1624 Bernini was entrusted with the work on his device, and at first he was instructed to make only four ten-meter-high bronze columns. Bernini installed them in the cathedral in the summer of 1627. It was not until the following year that a contract was signed to complete the canopy. By this time, the completion project was already ready, and the carver Giovanni Battista Soria made his model for Bernini. But the council of cardinals, in charge of the affairs of the cathedral, rejected this project, listening to the opinion of people who believed that it was not feasible.

The columns were supposed to be connected by semicircular arches located crosswise and intersecting in the center, where a large statue of the ascending Christ was supposed to stand. The entablature was not supposed to be made; therefore, the columns, naturally, would not have withstood the thrust of the arches, weighted down by a colossal bronze statue. Bernini created a new project, with an entablature and without a statue of Christ, although he did not immediately refuse it: in 1628 he was still preparing to cast it. Instead, on the base, which is a complicated motif of the same intersecting arches, a colossal cross was installed.

The architect of St. Peter's Square was Gian Lorenzo Bernini. This masterpiece of architectural genius was founded in 1656-1667. Lorenzo Bernini performed work for St. Peter's from 1624 until the end of his life.

An area was needed that would accommodate the large number of believers flocking to the cathedral to receive a papal blessing or take part in religious festivities. This task was fulfilled by Giovanni Lorenzo Bernini, who created the square in front of the cathedral - one of the most outstanding works of world urban planning practice.

In the 1930s, Mussolini laid a wide street of Reconciliation (Italian: Via della Conciliazione) from the center of Rome to the square. View of St. Peter's Cathedral from Reconciliation Street

The square often became a place of papal worship. It was here, in front of the main cathedral of the Catholic world, that a huge number of pilgrims speaking different languages ​​should have felt their spiritual unity. And to implement these ideas, Bernini found a wonderful solution. The space in front of the temple has turned into an ensemble of two squares: the first, in the form of a trapezoid, is framed by galleries extending from the cathedral; the second has the shape of an oval, facing the city and framed by two colonnades.

The majestic staircase, also designed by Bellini, is flanked by two colossal 19th-century statues. : left - St. Peter, right - St. Paul

The obelisk, which received the name "needle" in the Middle Ages, was brought to Rome from Heliopolis by the emperor Caligula in 37; Nero installed it in his circus, the place of which is now occupied by St. Peter's Cathedral. It is the only obelisk in Italy that has never fallen. In addition, the area is designed in such a way that the obelisk plays the role of a gnomon - its shadow is the arrow of a huge sundial.

With a total population of the Vatican of about 820 people, thousands of parishioners gather here on Sundays, and on Easter Day their number is reduced to hundreds of thousands. So, in 2009, Pope Benedict XVI, in the presence of St. Peter's Square in the Vatican, the Pope traditionally voiced the Easter mass and congratulations on Easter in 63 languages.

In October 2008, a marathon was staged here. But not sports, but biblical. Then 1248 readers of various nations and religions continuously read verses from the Bible for 140 hours. Among them were three former presidents of Italy, the Master of the Order of Malta, well-known journalists, directors and actors. Also, three blind people took part in the marathon, and one of the fragments was shown in the language of the deaf and dumb. View of St. Peter's Cathedral.

Church of Sant'Andrea in Quirinale, Rome. Lorenzo Bernini, 1653 In 1653, Lorenzo Bernini built the small church of Sant'Andrea in Rome, on Via Quirinale, one of the outstanding buildings in the Baroque style. Perhaps this is the best creation of the architect. In it, all forms are built on curvilinear elements, and the architecture is perceived in motion, but surprisingly smooth and calm.

The façade of the Church of Sant'Andrea in Quirinale was created double by Bernini, giving it great plastic strength and clarity of lines: a portico with columns adjoins the main part, formed by a two-storey order and crowned with a triangular pediment. The massiveness of the first contrasts sharply with the elegance of the second. The semi-oval steps seem to flow down from the picturesque two-column portico supporting a semi-circular entablature. Its curved lines intersect in perspective with the cornice of the large semicircular window of the western façade. The entire composition of the entrance is inscribed in a large portico with high Corinthian pilasters on both sides and a triangular pediment.

Church of San Carlo alle Cuatro Fontane, Rome. Francesco Borromini, 1638-1677 Borromini won recognition with the construction of the small Franciscan church of San Carlo alle Cuatro Fontane (Saint Charles at the Four Fountains) in Rome. The little church attracted the attention of all Rome, and its fame quickly spread throughout Europe. Perhaps the inconvenient location of the church - at the crossroads of two streets - forced the architect to make an unusual decision - in one building he connected modules that no one had combined before him - 3 modules that could usually be used only in three different buildings: - an undulating lower zone; - average according to the traditional plan of the Greek cross; - the building is crowned with an oval dome, rarely used before.

This complex combination is brought together by complex interwoven rhythms. The external appearance of the church was organized by Borromini with the expectation of creating an impression of increased picturesqueness. The facade is divided into two tiers, each of which is endowed with a warrant. The main part of the facade is like a decorative application superimposed on the surface of the wall. The cornices have a complex curved, wavy shape. There are no smooth surfaces at all. In the intercolumnia there are niches with sculptures, four sculptural groups with fountains and determined the name of the church.

The interior space of the church is no larger than one column of St. Peter's Cathedral. The church nave is reminiscent of the outlines of the plan of two bells, adjacent to each other with their bases. This form made it possible to give all the inner walls a wave-like shape and crown the building with an oval dome. Between the external and internal dimensions of the church there is a large discrepancy, only partially functionally used.

Bold illusionary effects are achieved thanks to carefully calculated lighting, thanks to which the internal space of the church is expanded. The dome, painted with all the colors of the rainbow, seems to be torn off from its base. The subdued lighting oddly matches the exquisite curves of the walls. It seems that the dense, heavy mass of stone is constantly changing right before our eyes - this is the motif of the transformation of matter, beloved by the masters of the Baroque.

Church of Santa Maria in Campitelli, Rome. Carlo Rainaldi, 1663 -1667 Among the most characteristic Baroque churches in Rome is Santa Maria in Campitelli (1663-1667), built on the site of an older church to commemorate the deliverance from the plague. It demonstrates more northern Italian than Roman style.

The two-tiered facade of the church resembles the church of Il Gesu. The high, impressive façade wall, "covering" the main volume of the structure, is tectonically built on the diverse use of two columned porticos, either protruding forward or receding, emphasizing the vertical plan. The completion is effectively and beautifully conceived, in the form of a combination of arched and triangular pediments arranged into each other.

The church houses the miraculous icon of Our Lady (Madonna del Portico), made in a rare enamel technique for Rome. It is believed that this image, placed in a golden tabernacle, protects the Romans from a terrible disease.

Palazzo Carignano, built by the great architect Guarino Guarini in 1679, has earned recognition as the most beautiful city palace of the second half of the 17th century in Italy. With its billowing façade, imposing double curved staircase and double dome in the lavatory living room, the palace makes a lasting impression. Palazzo Carignano, Turin. Guarino Guarini, 1679

The general structure of the building is connected with the Renaissance palazzo (a prismatic volume, a closed courtyard), however, an element of “surprise” has been introduced into this traditional scheme: the central part of the main building is, as it were, an insert into the main volume. Here are the main vestibule and the main staircase. The vestibule acquired an oval shape in plan, the flights of the stairs - curvilinear with curved outlines.

Details of the façade are specific, in particular, window trims, the "texture" of the pilasters on the first floor, and others. Despite the small scale, these forms are distinguished by plastic juiciness. The originality of a number of motifs is determined by their connection with the decorative forms of Moorish architecture, the monuments of which Guarini observed during his early stay in Sicily. There are also transformed motifs of Gothic origin in his works. All of them together gave the works of this master great sharpness and even extravagance.

Palazzo Ca'Pesaro (today the Correr Museum), Venice. Balthasar Longhena 1652/1659 -1710 For the architecture of the Venetian Baroque, the Palazzo Ca' Pesaro, which rises on the right bank of the Grand Canal, opposite Ca d'Oro, is typical. The majestic facade of the Palazzo Pesaro is distinguished by a great saturation of the external decoration. The structure of the building corresponds to the traditions that have developed here - it is three-story, the first floor is more massive - the wall is lined with beveled rustication, the top two are opened by a system of large arched windows with orders applied.

Each, even a small section of the wall, in particular the axils of the window arches, was used to place the sculpture. All this gives the building a purely Venetian flavor. The building is especially striking in its combination of massive architectural forms (powerful rustication of the first floor, plastic columns and loose cornices, lush sculptural decoration) and the harmony of the overall design of the facade.

Baroque architecture in France For the patron of the architect, Cardinal Richelieu, Jacques Lemercier built the Palace. Cardinal (later renamed the Palais Royal), in Paris. Its amphitheater was one of the first structures in France built exclusively for theatrical purposes. Palace Cardinal (later renamed the Palais Royal), Paris. Jacques Lemercier, 1629

Palais Royal (fr. Palais Royal - “royal palace”) is a square, palace and park located in Paris opposite the north wing of the Louvre ...

Under Louis XIV and his successors, the palace served as the city residence of the Dukes of Orleans, and in the infancy of Louis XV, it was from here that the prince regent ruled all of France. In one of the outbuildings, the "Sun King" lodged his favorite, the Duchess de La Vallière; there she gave birth to two illegitimate sons of the king. At the beginning of the 18th century the palace apartments were renovated in the rococo style that was only then in vogue. These interiors were destroyed in 1784, when a theater building was erected on the site of part of the palace to house the Comédie Francaise. The Palais Royal theater that existed before was as closely connected with the life and work of Molière as the London Globe was with the work of Shakespeare.

Around the same pre-revolutionary years, the owner of the palace, the Duke of Orleans, later known as Philippe Egalite, opened the gardens for everyone to visit and erected majestic colonnades with shops on the square. This manifestation of populism brought the Duke of Orleans the location of the widest sections of Parisian society. Soon, the most fashionable clubs and coffee houses of the city shone with lights here.

Nikolai Karamzin, who visited Paris in 1790, called the Palais-Royal its capital: “Imagine a magnificent square castle and below its arcades, under which all the treasures of the world, the wealth of India and America, diamonds and diamonds, silver and gold shine in countless shops; all works of nature and art; everything that ever adorned royal splendor; everything invented by luxury for the pleasure of life!. .

And all this, to attract the eyes, is laid out in the most beautiful way and illuminated by bright, multi-colored lights that blind the eyesight. “Imagine a lot of people crowding these galleries and walking up and down just to look at each other! - Here you see coffee houses, the first in Paris, where everything is also filled with people, where newspapers and magazines are read aloud, they make noise, argue, make speeches and so on .... Everything seemed to me a charm, Calypsin Island, Armidine Castle ”(“ Letters from a Russian Traveler ”, letter dated March 27, 1790).

Versailles, France. The leading architects are Louis Levo and Jules Hardouin-Mansart, the creator of the park is Andre Le Nôtre, from 1661. Versailles was built under the leadership of Louis XIV from 1661, and became a kind of monument to the era of the “Sun King”, an artistic and architectural expression of the idea of ​​absolutism. The leading architects are Louis Levo and Jules Hardouin-Mansart, the creator of the park is Andre Le Nôtre. The ensemble of Versailles, the largest in Europe, is distinguished by a unique integrity of design and harmony of architectural forms and the transformed landscape. From the end of the 17th century, Versailles served as a model for the ceremonial country residences of European monarchs and aristocracy, but there are no direct imitations of it. From 1666 to 1789, until the French Revolution, Versailles was the official royal residence. In 1801 it received the status of a museum and is open to the public.

The original building with its Marble Court is enclosed, as if in a case, in a new U-shaped building. The facades of the rebuilt and expanded palace were decorated on the basis of the classic system, the main role in them is played by the colonnade, located at the level of the second - front floor. The first has acquired the significance of a podium that supports the order. The third floor is decorated in the form of an attic. The high roofs so typical of France are absent, the roof is hidden behind the parapet. The baroque theme comes through only in sculpture, which contrasts with the straight geometric outlines of the building with the rebellious exuberance of forms. In the appearance of the facades, the classicist trend is clearly expressed, which begins to prevail in the external forms of French architecture of the middle and second half of the 17th century.

The history of the Palace of Versailles begins in 1623 with a very modest hunting castle like a feudal one, built at the request of Louis XIII of brick, stone and roofing slate on the territory bought from Jean de Soisy (Jean de Soisy), whose family owned the lands since the 14th century. The hunting castle was located in the place where the marble courtyard is now located. Its dimensions were 24 by 6 meters. In 1632, the territory was expanded through the purchase of the Versailles estate from the Archbishop of Paris from the Gondi family, and a two-year rebuilding was undertaken.

Around the palace, a city gradually arose, in which artisans settled, supplying the royal court. Louis XVI also lived in the Palace of Versailles. During this time, the population of Versailles and the surrounding city reached 100 thousand people, however, it quickly declined after the king was forced to move to Paris.

The interiors of the monumental buildings of France of that time were distinguished by their especially elegant decoration, they had a ceremonial, baroque character. The decoration of the War and Peace halls of the Palace of Versailles, located at the corners of the park facade of the building, is typical. The stylistic opposition of almost classicistic exteriors and baroque interiors is a specific feature of French architecture of this time.

The Mirror Gallery is the most famous interior of the Palace of Versailles. The huge hall is 73 meters long and 10 meters wide. Seventeen arched windows face the garden, between them there are openings with mirrors, creating a feeling of the boundlessness of the hall.

Baroque architecture in Belgium For the development of baroque architecture in Belgium, the work of the famous artist P.-P. Rubens. His trips to Italy and Spain contributed to the development of the Belgian architects of the forms of Renaissance and Baroque architecture in these countries ....

Rubens was the author of a large number of architectural and decorative works (triumphal arches and other structures) that have come down to us in the form of oil sketches and engravings. Rubens owns the project of his own house in Antwerp, modeled on the Italian palazzo, its design is distinguished by the originality of the composition. Now it is the house-museum of the artist. Rubens house. Facade.

The main thing that has been preserved almost unchanged since the time of Rubens is an elegant portico in the Italian Baroque style, connecting a residential building and a workshop. Like the facade of the workshop from the courtyard, the portico was designed by the artist himself. He was very proud of this building and often depicted it in paintings. The portico has been restored in accordance with the engraving of 1684, which shows the house of Rubens 44 years after the death of its first owner. . .

It is surmounted by bronze figures of Mercury and Minerva, made for him in 1939, and decorated with oval cartouches with Latin texts that reflect Rubens's interest in Stoic philosophy. These are two quotes from the Satyrs by the Roman poet Juvenal (2nd century AD): “Let the gods decide what is right for us and what is good for us. A person is dearer to them than to himself "and" We must pray that there be a healthy spirit in a healthy body, that the soul be courageous and free from the fear of death, and let it not know anger and desire nothing.

Baroque architecture in Germany Wurzburg episcopal residence. The construction of the residence buildings lasted from 1720 to 1744, and the decoration continued until 1780. The architect was Balthasar Neumann. The palace of the episcopal residence stands in the very center of Würzburg, on the Residenzplatz square. The residence of the bishops is the last and most beautiful palace from a series of baroque structures of this type built in Bavaria in the 17th-18th centuries.

The new palace was to become a symbol of church authority and a clear expression of the ideas of absolutism. Prior to this, the bishops used the Marienberg fortress, located on a mountain on the opposite bank of the Main, as a residence. The palace includes more than 340 rooms.

The famous creation of Balthasar Neumann is a staircase with unsupported vaults, decorated with the world's largest ceiling frescoes by Tiepolo.

Eminent masters from Paris, Vienna, Genoa, Venice and Amsterdam worked on the residence of the Würzburg prince-bishops for almost six decades, starting from 1720. For example, the Italian Giovanni Battista Tiepolo painted the largest ceiling fresco in the world in Würzburg Staircase by B. Neumann

Of all the artists, sculptors and sculptors, Giovanni Battista Tiepolo stands out here with his unique works. The works of art, damaged during the Second World War and later restored, are located in the central Imperial Hall, which can be reached by a double staircase - the most beautiful and largest in Europe of that era. The murals of the Imperial Hall show the marriage of Frederick Barbarossa with Beatrice of Burgundy and the Bishop of Würzburg, who receives the Franconian Duchy.

The residence was added to the UNESCO World Cultural Heritage List in 1981. The palace became the third German object to receive this prestigious international status - after the cathedral in Aachen (Aachener Dom) and simultaneously with the cathedral in Speyer (Speyerer Dom).

Zwinger, Dresden, 1719. Architect M. Pöppelmann This masterpiece of baroque art was built in 1719 on the model of the palace and park ensemble of Versailles by the architect M. Pöppelmann for Augustus the Strong (Elector of Saxony and King of Poland). Its name comes from the German word “conquer”, “win”: the area where the Zwinger is located used to be part of the Dresden fortress, containing the inner and outer walls, in the space between which a possible enemy must be destroyed.

The Zwinger was built for about 20 years under August II the Strong, King of Poland and Elector of Saxony (Frederick August I, 1694–1733), and received its final appearance almost by accident. From the very beginning, no clear plans were created for its construction, in addition, the purpose of the Zwinger changed several times during the construction of buildings: it was conceived as a greenhouse, and as a result it became the Royal Complex of Natural Science Museums.

The residence of the Saxon electors - Dresden, early 18th century. was a powerful star-shaped fortress. Such contours arose due to the fact that the bastions, built of sandstone slabs (the most beautiful and expensive material in the country), protruded sharply forward. Where the Zwinger is now located was the Luna Bastion, and inside it was the Zwinger Garden, whose name was associated with the fortress. In the then fortification business - the science of building fortifications - the concept of "zwinger" meant a place between two ramparts converging at an acute angle.

The king and architect M. D. Peppelman seemed to compete in ingenuity and, in the end, instead of a greenhouse, a building for festivities and solemn ceremonies arose. True, many had to be sacrificed for this: they demolished part of the existing buildings and part of the bastions that defended the city, deepened the fairway of the Elbe River, starting from the city of Königstein, in order to deliver powerful sandstone blocks along it from the quarries for supports, columns and monumental sculpture.

Back in 1709, the architect proposed to build two rounded galleries instead of terraces - permanent winter rooms for trees. Pöppelman placed the rounded galleries on a low terrace connected with the garden by a staircase, and on their roofs he created an upper terrace for a promenade. The windows of the galleries reached the floor, in front of each window there was a console, on which in warm weather it was convenient to carry citrus trees in heavy tubs.

Augustus the Strong sent Pöppelman to Vienna and Rome to see how palaces should be built and gardens laid out. Returning in 1710, Pöppelman proposes to the king that two two-story pavilions be attached to the Rounded Galleries, and that the height difference between the Zwinger rampart and the garden be used to build cascades and fountains ....

Water, both stagnant and flowing, acquires a special function in architecture during the Baroque. This is how the “water theatre” appeared in the Zwinger, later called the Baths of the Nymphs. The architecture was enlivened by water and beautiful sculptures made by Balthasar Permoser together with assistants.

In 1715 Pöppelman was sent to Paris to study palace buildings and their interiors. At the same time, the architect was solving a problem that he had been struggling with for several years - the design of the junction between the western Rounded Galleries - Peppelman planned a whole structure here - the Pavilion on the rampart, which was supposed to crown the entire architectural group and perform several important functions: it houses the entrance doors to both rounded galleries, stairs, three fountains forming a grotto, and a small front hall.

By 1730, the Zwinger became the most significant complex of natural science museums in Europe, along with graphics, exhibits of the Kunstkamera, collections of minerals, fossils, shells, corals, amber, materials on zoology, botany, anatomy, and it was also possible to use the natural science library. Now the Zwinger is not called the greenhouse, but the Royal Palace of Sciences, there were no more holidays.

The baroque facades of the Zwinger lack flat surfaces. Columns, pilasters, niches, ledges, recesses and other decorative forms form a picturesque relief. Extremely great importance was attached to sculptural figures, made under the guidance of the court sculptor B. Permoser, who was already over 60 during construction. Permoser, the son of a Bavarian peasant, was an unusually lively person, dressed and behaved at his own discretion, and in his works violated the laws of anatomy . His merry little figures had folds of fat, round bellies and too thick cheeks, fauns had excessively large goat hooves, young women had exorbitantly long curved necks.

Permozer had many assistants, faithful to the method of stone processing and the form that he developed, which is now called the Zwinger style. Among them were well-known masters: Benjamin Thome, Paul Hermann, Johann Joachim Kretschmar, Christian Kirchner, Paul Egel.

The Zwinger often suffered from wars, the first serious destruction being inflicted by the Prussian army during the Seven Years' War (1756–1763). In addition, an ensemble of sandstone was built - a rather soft stone, subject to weathering. Therefore, already in 1783, restoration work began, which was led by I. D. Schade. Since then, for more than 200 years, restoration work has been continuously carried out.

In 1849, during the revolutionary battles in Dresden, a severe fire broke out - almost the entire eastern part of the Zwinger burned down. By 1857, part of the buildings had been restored by K. M. Haenel, who, out of ignorance, caused great harm: until 1863, the statues and walls were covered with drying oil under his leadership, which caused the destruction of the sandstone.

Since 1910, the drying oil began to be removed with a solvent, a partial reconstruction of buildings and sculptures was carried out. By 1936, the restoration was completed, but on February 13, 1945, Anglo-American aircraft bombed the center of Dresden, and the Zwinger was badly damaged. Until 1964 (19 years), restoration work continued there under the leadership of G. Ermish and A. Brown, who were later replaced by arch. Frenzel and the sculptor Schlesinger. Restoration work in the Zwinger cost 20 million marks.

In 1962, the Porcelain Museum was located in the rooms from the Rounded Gallery of the Bell Pavilion to the Eastern Direct Gallery. In the western Rounded Gallery there is a Museum of Zoology, and on the 1st floor of the French Pavilion there is an exhibition about court hunting.

Baroque in Russia A significant landmark of the religious architecture of the Baroque era is the Church of Pope Clement in Zamoskvorechye, which is revered by the Orthodox. Built at the expense of Chancellor Bestuzhev, designed by Pietro Trezzini (1742-1747). First mentioned in written sources under this name in 1612, in connection with the events of the Moscow battle between the Russian militias and the Polish-Lithuanian army of Hetman Khodkevich. On August 24, 1612, heavy battles unfolded between the Cossacks defending the prison and the infantry of Hetman Khodkevich ...

During these battles, when the hetman's troops captured the prison and the church of St. Clement, St. Avraamiy (Palitsyn) accomplished one of his feats by stopping the retreat of the Cossacks from the prison. As St. Avraamy: “the Cossacks, who ran out of the prison from St. Clement, and looked up at the prison of St. Clement, seeing Lithuanian banners on the church ... sensibly and sighing and shedding tears to God - there were not enough of them in number - and thus returning and rushing unanimously to the prison come and take it up."

In his book of memoirs, Apollon Grigoriev wrote the following: “But it is not the Church of Pyatnitsa-Praskoveya that strikes and stops your gaze from the Kremlin peak, when you, gradually deviating your eyes from the southeast, lead them towards the south, but the five-domed, magnificent Church of Pope Clement Roman. You will stop in front of it and walk along Pyatnitskaya: it will amaze you with the severity and majesty of its style, even with its harmony of parts ... But it stands out especially from the countless number of different patterned churches and bell towers, also original and extraordinarily picturesque from afar, which especially distinguishes the southeastern part of "Zamoskvorechye" ...

The Winter Palace in St. Petersburg is a former imperial palace, currently part of the Main Museum Complex of the State Hermitage. The building of the palace was built in 1754-1762 by the Italian architect B. F. Rastrelli in the style of lush Elizabethan baroque with elements of French rococo in the interiors. The three-story building has the shape of a square of 4 wings with a courtyard and facades facing the Neva, the Admiralty and Palace Square. The splendor of the building is given by the magnificent decoration of the facades and rooms.

Differently arranged facades, strong ledges of risalits, accentuation of stepped corners, changeable rhythm of the columns create an impression of restlessness, unforgettable solemnity and magnificence. The palace building has 1084 rooms, 1945 windows, 117 stairs (including secret ones). The length of the facade from the side of the Neva is 137 meters, from the side of the Admiralty - 106 meters, the height is 23.5 meters. In 1844, Nicholas I issued a decree prohibiting the construction of civil buildings in St. Petersburg higher than the height of the Winter Palace ...

They had to be built at least one fathom less. Despite the restructuring and innovations, the main planning scheme of the palace retained the ideas of F.-B. Rastrelli. Palace buildings are formed around the inner Great Courtyard. Light courtyards were created in the northwestern and southwestern wings on the site of the Throne Hall and the Opera House, around which enfilades of living quarters were formed.

The three-story building of the palace has a basement floor and numerous mezzanine floors, some of the main halls of the second floor are double-sided. Engineer M.E. Clark developed triangular truss trusses to support the roof of the Winter Palace - “roofing sprengels”, and for ceilings of the halls of the palace - “puffed elliptical beams”. Sprengels and beams were made at the Alexander Plant, using only two metal processing technologies: forging and casting. A wide variety of connections were used in the designs: on bolts, rivets, wedges, clamps; forging welding was also used.

After cases of structural deformation, spacers were installed between the trusses to prevent displacement. The temperature regime, and hence the behavior of metal structures, depended on the quality of the attic thermal insulation. On August 9, 1841, an accident happened - the ceiling collapsed in the St. George's Hall. The commission investigating this case came to the conclusion that the I-beams rested on the "unreliable places" of the load-bearing walls. During the restoration, sprengels were already used.

The facades and the roof of the palace changed their colors several times. The original color had a very light warm ocher coloration, with the order system and plastic decor highlighted with white lime paint. The minutes of the Chancellery from buildings speak of the release of lime, chalk, ocher and ink for these works. In later documents, there are such names as “pale yellow with white”, “under the color of a wild stone”.

Before the fire of 1837, there were no fundamental changes in the color of the palace, with the exception of the roof, which in 1816 changes its color from white-gray to red. In the course of the post-fire repair, the color scheme of the facade was made up of slaked Tosno lime, ocher, Italian mummy and part of the Olonets earth, which was used as a pigment and had an ivory hue, while the roof is painted with iron minium, giving it a brown-red color.

In the second half of the 1850s - 1860s, under Emperor Alexander II, the color of the palace's facades changed. The ocher becomes more dense. The order system and plastic decor are not stained with an additional color, but acquire a very slight tonal highlight. In the 1880s, under Emperor Alexander III, the coloring of the facades was carried out in two tones: a dense ocher expression with the addition of red pigment and a weaker terracotta tone. With the accession of Nicholas II in 1897, the emperor approved the project for painting the facades of the Winter Palace in the color of the “new fence of the Own Garden” - red sandstone without any tonal highlighting of the columns and decor.

The terracotta-brick color of the palace was preserved until the end of the 1920s, after which experiments and the search for a new color scheme began. In 1927, an attempt was made to paint it gray, in 1928-1930. - in brown-gray tones, and the copper sculpture on the roof - in black. In 1934, for the first time, an attempt was made to paint the palace with orange oil paint, highlighting the order system with white paint, but oil paint had a negative effect on stone, plaster and stucco decoration.

With the beginning of the Great Patriotic War, in order to camouflage the palace, they painted it with reversible adhesive gray paint. In 1945-1947, a commission consisting of the chief architect of Leningrad N.V. Baranov, the head of the State Inspectorate for the Protection of Monuments N.N. Belekhov, representatives of the Leningrad City Executive Committee, the State Construction Control, the State Hermitage Museum and scientific consultants decided to paint the walls of the palace with chromium oxide with adding emerald pigment; columns, cornices, interfloor rods and window frames - in white; stucco decoration, cartouches, capitals - with ocher, while it was decided to leave the sculpture black.

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Issues under consideration: 1. General characteristics of the architecture of Italy in the 17th century 2. The Church of Il Gesu and the space-planning features of the cult Baroque architecture 3. Ensemble in Baroque architecture

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General characteristics of the architecture of Italy in the 17th century. Baroque architecture served to affirm the ideas of Catholicism and absolutism, but it reflected the progressive trends in architecture, which were revealed in the planning of cities, squares, buildings, designed for the masses of the people. Domenico Fontana, Carlo Maderna. Palazzo del Quirinale. Obelisk with figures of the Dioscuri.

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Catholic Rome became a brilliant center of baroque architecture. The origins of the Baroque were laid in the late works of Vignola, Palladio and especially Michelangelo.

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Baroque architects do not introduce new types of buildings, but find for old types of buildings - churches, palazzos, villas - new constructive, compositional and decorative techniques that radically change the form and content of the architectural image. C. Maderna, C. Rainaldi Church of Sant'Andrea della Valle. Rome. Vignola. The first courtyard of the Villa Giulia. Rome

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They strive for a dynamic spatial solution, for the interpretation of volumes by pictorial masses, they use complex plans with a predominance of curvilinear outlines.

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They destroy the tectonic connection between the interior and the façade of the building, increasing the aesthetic and decorative impact of the latter (i.e. the façade).

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Freely using ancient order forms, they enhance the plasticity and picturesqueness of the overall design of the exterior.

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Particular attention is paid to the development of the type of temple, in which since the end of the 16th century. growing features of the baroque. The facade of the church of the Jesuit order, permeated with movement, is complex in construction - Il Gesù (Chiesa del Gesù, the Church of Jesus; 1568-1584), Giacomo Vignola; facade - 1575, Giacomo della Porta).

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The Church of the Holy Name of Jesus is the cathedral church of the Jesuit Order, in which its founder, Ignatius Loyola, is buried. The construction of the church began in 1568. The church was built on the site of another temple, in which, it is believed, St. Ignatius of Loyola prayed before the image of the Mother of God. This image is now in the saint's chapel on the right hand of the altar. The church was built at the height of the Counter-Reformation and met all the requirements formulated at the Council of Trent. She did not have a vestibule, there was a single nave, so that the entire flock could concentrate on the service held at the large altar. Instead of side aisles, there is a series of identical communicating chapels behind arches, the entrance to which is covered by balustrades. Transepts are reduced. Many Jesuit churches around the world have been built on the model of the church in the holy name of Jesus in Rome.

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Giovanni Batista Gaulli (Il Bachiccio) (it. Giovanni Batista Gaulli) / 1639 Genoa - 1709 / - Italian painter. Since 1657 he has been working in Rome, possibly in the studio of the landscape painter G. Duguet-Poussin. Gaulli's portraits corresponded to the general line of development of baroque art. Gaulli's painting, distinguished by both virtuosity and decorative luxury, and exaggerated affectation of images, was a programmatic expression of the art of the Counter-Reformation era. In the second half of the XVII century. baroque plafond painting reached a brilliant flowering. At this time, the best compositions of the artist Baciccio were created. He created complex multi-figure paintings that evoke the feeling of an irrational breakthrough into heaven. Very expressive is his painting of the plafond of the famous Roman temple of Il Gesu "The Triumph of the Name of Jesus" (1676-1679). It was required to depict not only the righteous ascending to heaven, but also sinners descending into hell. The artist boldly brought the figures of sinners outside the vault, and put them in such angles that they seem to literally fall down into the real space of the temple. The boundaries between the walls and the vault are erased, and all those present are involved in a single mystical action. However, the most remarkable detail of the painting is the light emanating from the monogram of the name of Jesus Christ. It is the picturesque expressiveness of light rays that creates the effect of “vibration” of all colors. Skillfully placed bright juicy spots enhance the emotional impact, give rise to an atmosphere of subtle artistic play that combines real light and depicted light.

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Church of the Jesuits (Church of Saints Peter and Paul of the Jesuit Order). Lviv 1610-1630 Church of St. Michael. Brussels, 17th century Cathedral Basilica of St. Francis Xavier. Grodno, 1703 Church of Santa Maria del Giglio, Venice, e1678-1681 arch. Giuseppe Sardi.

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Church of Peter and Paul in Krakow Church in Nesvizh, 1587-1593 Cathedral of Our Lady, Bordeaux. 1707

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Basilica del Santa Croce, Lecce, completed 1695 Cathedral of Syracuse, Sicily, 1728-1753. Cathedral of Valladolid, after 1595 Facade of the Carthusian monastery of Santa Maria de la Defención, 1667.

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Iglesia de la Compagna, Arequipa, Peru, facade -1698. Iglesia de la Compaña, Quito, façade completed 1765(?) Cathedral in Mexico City, entrance to the tabernacle 1749-1760

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The most notable element of the interior decoration is the grandiose fresco "The Triumph of the Name of Jesus" by Giovanni Battista Gaulli at the end of the 17th century. On the right is the chapel of St. Andrew, decorated with frescoes by Agostino Ciampelli, in the third chapel on the right - frescoes by Federico Zuccari (16th century). The right transept was decorated by Pietro da Cortona, here on the altar there is a painting "The Death of Francis Xavier" by Carlo Maratta in the 17th century. In the first chapel on the left, there is an interesting altar image of St. Francisco Borgia, depicted by Andrea Pozzo, a famous Italian Jesuit, painter and art theorist. In the third chapel on the left, the fresco painting of the walls, made by several prominent Italian artists in the 80s of the 16th century, attracts attention. The most interesting place in the interior of the church is the left transept, decorated by Andrea Pozzo at the end of the 17th century. Here is the chapel of St. Ignatius with a statue of the saint by the French sculptor Pierre le Gros.

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The uneven vertical division of the walls by double pilasters enhances their plasticity, and the concentration of order elements towards the center emphasizes the direction of movement.

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A semicircular pediment above the entrance portal of the first floor and powerful decorative volutes of the second floor connect both floors, giving the impression of facade integrity, dynamism and heightened emotionality.

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The inner space of the temple is also activated, the central nave is expanded and stands out.

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Powerful profiled cornices, leading the eye into the depths, create movement towards the altar and the central dome.

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Francesco Borromini (1599-1667) He finds his extreme expression of the irrationality, expressiveness and picturesqueness of the Baroque in the work of Francesco Borromini. Ignoring the logic of constructions and the possibilities of materials, he replaces straight lines and planes with curved, rounded, wriggling ones.

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On the alternation of concave and convex lines, arranged in the shape of a rhombus, he builds a plan for a small church of San Carlo at four fountains in Rome (1634-1667). It was consecrated in honor of the canonized Milanese cardinal and church reformer Carlo Borromeo, as well as the Holy Trinity.

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Its complex undulating facade, dissected by a two-tier colonnade, is decorated with decorative sculpture, deep niches, oval picturesque panels that break the cornice and upset the balance of the composition. The fractional plasticity of the walls, the restless rhythm of the windows, the intricately profiled horizontal rods emphasize the tense dynamism of the building.

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Baroque palaces and villas A large place in baroque architecture belongs to palaces, proudly elegant, with outbuildings protruding from the sides of the main building, open courts of honor. Representativeness and grandeur in them are combined with the splendor of Guarino. Palazzo Carignano, Milan Bernini, Borromini. Palazzo Barberini. Rome

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Extraordinarily beautiful country villas surrounded by gardens, terraced on the slopes of the hills Villa d'Este

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They skillfully used the complex terrain, the richness of southern vegetation, reservoirs, combined with pavilions, sculptural groups. Intended for aristocratic customers, such ensembles to a certain extent also reflected the interest in nature that natural scientists of the 17th century showed. New town-planning principles were embodied in Rome, which during this period acquired its unique appearance. According to the project of Domenico Fontana, the construction of the Piazza del Popolo ensemble was carried out with three rays of central streets diverging from it, densely built up with buildings.

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Domenico Fontana (1543 - 1607, Naples) - Italian architect and engineer of the early Baroque. was born in 1543 in the city of Melide (now Switzerland, the canton of Ticino). In 1563 he moved to Rome to study architecture. In Rome, Fontana was patronized by Cardinal Montalto, by whose order the architect built a chapel (Cappella del Presepio) in the church of Santa Maria Maggiore, as well as the Palazzo Montalto. In 1585, Cardinal Montalto became Pope Sixtus V and appointed Fontan as chief architect of the papal curia. During this period, Fontana created projects for the reconstruction of the Quirinal and Lateran palaces, three of the four fountains on the Quirinal, the building of the Vatican Library, and also completed the construction of the dome of the Cathedral of St. Peter. Fontana supervised the installation of an Egyptian obelisk in the square in front of St. Peter's Cathedral (1586). Fontana later erected obelisks in Piazza del Popolo, Piazza di Santa Maria Maggiore and Piazza di San Giovanni in Laterano. slide 31 In the façade of the Church of Santa Susanna (1603), Maderna returns to the theme of the façade of Il Gesú Giacome della Porta, but develops it with greater plastic emphasis, especially in portals and semicircular tympanums, which is also explained by the need to provide a double view - horizontally and vertically. This is already a transition from a mannerist facade, understood as a plane, on which only articulations suggest an almost symbolic spatiality, to a baroque facade, which from the outside allows you to feel the structure of the interior and plastically connects the church with the space of the street or square.

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Lorenzo Bernini (1598-1680) Like the masters of the Renaissance, the founder of the mature baroque style, Lorenzo Bernini, was a multi-talented man. An architect, sculptor, painter, and brilliant decorator, he mostly executed orders from the Roman popes and headed the official direction of Italian art. One of his most characteristic buildings is the church of Sant'Andrea al Quirinale in Rome (1653-1658).