Art History IIThe Baroque

Palaces and Domes

Versailles (enlarged from the 1660s) showed royal power in a palace and gardens; Christopher Wren rebuilt St. Paul's Cathedral in London (1675–1710) after the Great Fire.

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Baroque architecture began in Rome with Bernini and Borromini and spread to palaces and churches all over Europe. Kings borrowed the style for the same reason the popes used it: grand, theatrical spaces impress visitors and announce power.

Versailles

The Palace of Versailles, about 20 kilometers southwest of Paris, began as a modest hunting lodge built for King Louis XIII around 1623. From the early 1660s his son, Louis XIV, enlarged it again and again with the architects Louis Le Vau and later Jules Hardouin-Mansart, the painter Charles Le Brun and the garden designer André Le Nôtre. In 1682 Louis moved his court and government there. The Hall of Mirrors (1678 to 1684) is 73 meters long, with 357 mirrors facing tall windows onto the gardens. The gardens stretch out along straight axes, with fountains, clipped hedges and a long canal, so that nature itself seems to obey the king.

Key idea

Baroque palaces and churches used scale, axis and dazzling interiors to show power. Versailles grew from a royal hunting lodge into Louis XIV's palace from the 1660s; St. Paul's Cathedral in London was rebuilt by Christopher Wren from 1675 to 1710.

Why it works

A palace was a political tool. At Versailles the nobles of France lived under the king's eye, taking part in daily ceremonies around him, instead of plotting in their own castles. Every vista, painted ceiling and garden path led back to Louis, the "Sun King."

Common mistake

People think Versailles was always a palace. It began as a royal hunting lodge for Louis XIII (around 1623). Louis XIV transformed it in several building campaigns from the 1660s to about 1710. When you date a building, ask whether it was built at once or grew over time.

Looking closely: St. Paul's Cathedral

The west front of St. Paul's Cathedral, London, in an eighteenth-century engraving. Christopher Wren, 1675 to 1710.

Describe. The Great Fire of London in 1666 destroyed the medieval cathedral. Christopher Wren, a scientist turned architect, designed the new one. The west front has two stories of paired columns, two towers, and above them a great dome on a ring of columns. Analyze. The towers, with their curving, layered tops, show Borromini's influence; the calm paired columns and the dome on its drum recall Renaissance models such as Bramante and Michelangelo's St. Peter's. The building rises 111 meters (365 feet) to the cross on top of the dome. Interpret. This is an English Baroque, more restrained than Rome's, built for a Protestant city that wanted grandeur without excess.

How a dome sits on a square space: Wren's dome, like St. Peter's, rests on a drum above the crossing.

Worked example: How do we date it?

An old engraving of St. Paul's shows the finished dome. Could the engraving be from 1680?
  1. Wren began building in 1675.
  2. The cathedral was finished in 1710, and the dome was among the last parts completed.
  3. An engraving of the finished dome must be from about 1710 or later, unless it copies a design drawing.

Answer: Probably not: a view of the finished building dates from about 1710 or later.

Baroque spread from Rome to the courts and capitals of Europe.

Practice

Pass with 3 right answers, the last 2 in a row. Each right answer earns 2 XP.

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Sources and further reading

  • Grokipedia: Palace of Versailles
  • Grokipedia: St Paul's Cathedral
  • Château de Versailles: history of the palace
  • St Paul's Cathedral: Christopher Wren and the building of the cathedral
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