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Baroque Architecture in England Russia and America
English BaroqueBaroque aesthetics, whose influence was so potent in mid-17th century France, made little impact in England during the Protectorate and the first Restoration years. For a decade between the death of Inigo Jones in 1652 and Christopher Wren's visit to Paris in 1665 there was no English architect of the accepted premier class. Unsurprisingly, general interest in European architectural developments was slight.It was Wren who presided over the genesis of the English Baroque manner, which differed from the continental models by clarity of design and subtle taste for classisism. Following the Great Fire of London, Wren rebuilt fifty-three churches, where Baroque aesthetics are apparent primarily in dynamic structure and multiple changing views. His most ambitious work was St Paul's Cathedral, which bears comparison with the most effulgent domed churches of Italy and France. In this majestically proportioned edifice, the Palladian tradition of Inigo Jones is fused with contemporary continental sensibilities in masterly equilibrium. Less influential were straightforward attempts to engraft the Berniniesque vision onto British church architecture (e.g. by Thomas Archer in St. John's, Smith Square, 1728). |
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Although Wren was also active in secular architecture, the first
truly Baroque country house in England was built to a design by
William Talman at Chatsworth, starting in 1687. The culmination of
Baroque architectural forms comes with Sir John Vanbrugh and
Nicholas Hawksmoor. Each was capable of a fully developed
architectural statement, yet they preferred to work in tandem, most
notably at Castle Howard (1699) and Blenheim Palace (1705). Although these two palaces may appear somewhat ponderous or turgid to Italian eyes, their heavy embellishment and overpowering mass captivated the British public, albeit for a short while. Castle Howard is a flamboyant assembly of restless masses dominated by a cylindrical domed tower which would not be out of place in Dresden or Munich. Blenheim is a more solid construction, where the massed stone of the arched gates and the huge solid portico becomes the main ornament. Vanbrugh's final work was Seaton Delaval Hall (1718), a comparatively modest mansion yet unique in the structural audacity of its style. It was at Seaton Delaval that Vanbrugh, a skillful playwright, achieved the peak of Restoration drama, once again highlighting a parallel between Baroque architecture and contemporary theatre. Despite his efforts, Baroque was never truly to the English taste and well before his death in 1724 the style had lost currency in Britain. RussiaIn Russia, Baroque architecture passed through three stages - the early Moscow Baroque, with elegant white decorations on red-brick walls of rather traditional churches, the mature Petrine Baroque, mostly imported from the Low Countries, and the late Rastrelliesque Baroque, in the words of William Brumfield, "extravagant in design and execution, yet ordered by the rhythmic insistence of massed columns and Baroque statuary."Hungary and RomaniaIn the Kingdom of Hungary the first great Baroque building was the Jesuit Church of Nagyszombat built by Pietro Spozzo in 1629-37 modelling the Church of the Gesu in Rome. Jesuits were the main propagators of the new style with their churches in Győr (1634-1641), Košice (1671-1684), Eger (1731-1733) and Székesfehérvár (1745-1751). The reconstruction of the territories devastated by the Ottomans was carried out in Baroque style in 18th century. Intact Baroque townscapes can be found in Győr, Székesfehérvár, Eger, Veszprém, Esztergom and the Castle District of Buda. The most important Baroque palaces in Hungary were the Royal Palace in Buda, Grassalkovich Castle in Gödöllő and Esterházy Castle in Fertőd. Smaller Baroque castles of the Hungarian aristocracy are scattered all over the country. Hungarian Baroque shows the double influence of Austrian and Italian artistic tendencies as many German and Italian architects worked in the country. The main characteristics of the local version of the style were modesty, lack of excessive decoration and some "rural" flavour, especially in the works of the local masters. Important architects of the Hungarian Baroque were András Mayerhoffer, Ignác Oraschek and Márton Wittwer. Franz Anton Pilgram also worked in the Kingdom of Hungary, for example on the great Premonstratensian monastery of Jászó. In the last decades of the 18th century Neo-Classical tendencies became dominant. The two most important architects of that period were Menyhért Hefele and Jakab Fellner.Two representative Baroque structures in Transylvania (Romania) are the Brukenthal Palace in Sibiu and the former Bishopric Palace in Oradea, state museums. Spanish AmericaThe combination of the Native American and Moorish decorative influences with an extremely expressive interpretation of the Churrigueresque idiom may account for the full-bodied and varied character of the Baroque in the American and Asian colonies of Spain. Even more than its Spanish counterpart, American Baroque developed as a style of stucco decoration. Twin-towered façades of many American cathedrals of the 17th century had medieval roots and the full-fledged Baroque did not appear until 1664, when a Jesuit shrine on Plaza des Armas in Cusco was built. Even then, the new style hardly affected the structure of churches.Church San Francisco in Quito, Ecuador (1536).The Peruvian Baroque was particularly lavish, as evidenced by the monastery of San Francisco at Lima (1673). While the rural Baroque of the Jesuit Block and Estancias of Córdoba in Córdoba, Argentina, followed the model of Il Gesu, provincial "mestizo" (crossbred) styles emerged in Arequipa, Potosí and La Paz. In the 18th century, architects of the region turned for inspiration to the Mudejar art of medieval Spain. The late Baroque type of Peruvian façade first appears in the Church of Our Lady of La Merced, Lima). Similarly, the Church of La Compańia, Quito) suggests a carved altarpiece with its richly sculpted façade and a surfeit of spiral salomónica. To the north, the richest province of 18th-century New Spain — Mexico — produced some fantastically extravagant and visually frenetic architecture known as Mexican Churrigueresque. This ultra-Baroque approach culminates in the works of Lorenzo Rodriguez, whose masterpiece is the Sagrario Metropolitano in Mexico City). Other fine examples of the style may be found in remote silver-mining towns. For instance, the Sanctuary at Ocotlán (begun in 1745) is a top-notch Baroque cathedral surfaced in bright red tiles, which contrast delightfully with a plethora of compressed ornament lavishly applied to the main entrance and the slender flanking towers (exterior, interior). The true capital of Mexican Baroque is Puebla, where a ready supply of hand-painted ceramics (talavera) and vernacular gray stone led to its evolving further into a personalised and highly localised art form with a pronounced Indian flavour. There are about sixty churches whose façades and domes display glazed tiles of many colours, often arranged in Arabic designs. The interiors are densely saturated with elaborate gold leaf ornamentation. In the 18th century, local artisans developed a distinctive brand of white stucco decoration, named "alfenique" after a Pueblan candy made from egg whites and sugar. |
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