The facade is the “face” of the building, particularly on its front side. Baroque structures vary in size from single-family homes to basilicas and palaces. No matter the size of the structure, though, the facade usually makes them seem even bigger.
Lithe angels or chubby cherubs who are flying and playing wind instruments. Scroll features that seem to be rolling or unrolling. Garlands that appear to be sagging from the weight of fruits attached to them. Flames that are lapping from candles, pots, or vases.
Pilasters—which look like columns but project out from the facade rather than standing freely—are frequently used to create subtle changes in depth. Niches—recessed areas that may be left empty or contain sculptures or other elements—are used to create areas of shadow.
You might, for example, see a vase or a coat of arms at the center of a broken pediment. The pediment may also have a scroll-like component on either side of the break.
Scrolls, cherubs, garlands, niches, and pilasters often frame the main entrance as well. Porticos—small front “porches” with supporting columns—are less common in Baroque architecture.
Above a building’s cornice you might also spot vase-shaped balusters—short, decorative columns—supporting a thick top rail. Alternatively, you might see the vase-shaped balusters along a balcony railing, or at ground level to enclose a courtyard or similar element. The vase-shaped balusters may also have a spiral element to indicate movement.
For example, each sash might be broken up into 9 “lights”—rectangular glass panes in a 3 x 3 pattern. Sashes containing 12 lights (in a 3 x 4 or 4 x 3 pattern) or 16 lights (4 x 4) are also common in Baroque architecture. The windows themselves are usually fairly plain, but are often framed by ornate pediments and other design elements.
The ornate stone pediment on the exterior of a door or window might be replicated in wood on the inside. Or, interior niches and pilasters might mimic those on the facade.
The interior of the Palace of Versailles in France is one of the most ostentatious examples of Baroque design. Things as simple as benches have vase-shaped legs with gilding, thick, puffy seat padding, and deep red fabrics with golden elements.
Roman Catholic churches built in Baroque style often direct natural light toward the altar, for example, highlighting its centrality during the Counter-Reformation era in Europe.
Versailles’ famous Hall of Mirrors—with its row of grand arcade windows on one side matched by equally grand arcade mirrors on the other—is a great example of a Baroque “statement room. ”
Classical structures tend to feel like they’re “set in stone” forever. Baroque structures feel as though they’re in constant motion.
St. Peter’s Square at the Vatican is a great example of Baroque theatricality. The curved colonnades surround you and draw your focus towards the ornate entry to the basilica, with its even more ornate interior awaiting your attention.
Your response to Baroque architecture will be uniquely yours, of course, as it should be. But take a moment to really try to express to yourself how it makes you feel! In fact, do this when experiencing any architectural style.
