Renaissance into Baroque: * see Endnote 74

Renaissance art developed in Italy 1400 thru 1600; Barque art emerged after this date and is the main artistic style until the early 1700s.  There is a slow transition between the 2 styles, they share many common points.  Renaissance art promoted balance & symmetry, simplicity & calm serenity.  The Baroque value emotions, decorations, a breaking away from simple lines & frontal perspectives.

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Michaelangelo (and early Baroque): * see Endnote 75

St Peters Basilica Rome (1506-1626) stands in both Renaissance & Baroque worlds.  It is rooted in Renaissance Classical form with its dome and Greco-Roman columns, yet has nuances which clearly look to the future Baroque, which are attributable to Michelangelo. 

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Vignola (and early Baroque):

(1507-73) Italian architect (mannerist style); his 2 great masterpieces are the Villa Farnese (Caprarola) & the Jesuits' Church of the Gesù (Rome); responsible for popularizing Italian Renaissance architecture throughout Western Europe.  Began career as architect in Bologna; Francois I called him to Fontainebleau (1541–1543); returned to Bologna & later Rome, working for Pope Julius III & later the Farnese popes.  Worked with Michelangelo, who deeply influenced his style.  In 1558, went to Piacenza to revise Palazzo Farnese.  From 1564 worked on St Peter's, constructing 2 subordinate domes according to Michelangelo’s plans.

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Romano-Florentine colonnading & storying: * see Endnote 76

early Renaissance civic architectural style emphasizing the use of a simple 3 story, plain surface; interior use of colonnades, respecting  mathematical fixed proportions, used simple straight lines & unadorned surfaces.

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scrollwork (of Baroque):

decorative work in which scroll forms figure prominently.

cartouches (of Baroque):

characteristic feature of Baroque; large plaques of carved marble or stone, usually oval and with a rounded surface, which carried images or text in gilded letters used as interior decoration or above the doorways of buildings, delivering messages to those below. They showed a wide variety of invention, and were found in all types of buildings, from cathedrals and palaces to small chapels.

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decorative elements (Baroque):

The interiors of baroque churches became more and more ornate in the High Baroque, and focused around the altar under the dome. The most celebrated baroque decorative works are the Chair of Saint Peter (1647-53) and the Baldachino of St. Peter (1623-34), both by Bernini, in St. Peter's Basilica.  The exterior of Baroque churches moved away from simple straight lines & solid surfaces of the Renaissance, instead using a profusion of angles & surfaces, the solid surface broken up with decoration.

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mature Baroque: * see Endnote 77

(aka Rococo) describes a style, originating in Paris France, late 18th Century; embraced all aspects of art (painting, sculpture & architecture, interior design, music); reaction against the grandeur, symmetry & strict regulations of the earlier Baroque style, especially the Palace of Versailles.  In contrast to the Baroque’s political majesty, it employed playful & witty themes, was more jocular, florid & graceful.  It was ornate, employed light colours, asymmetrical designs, curves & gold.

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Bernini:

(1598 -1680) Italian, major architect but more prominently, the sculptor of his age, creating the Baroque style of sculpture; what Shakespeare is to drama, Bernini may be to sculpture; he was a painter & a man of the theatre; architect & city planner;  possessed the ability to depict dramatic narratives with characters showing intense psychological states & organize large-scale sculptural works that convey a magnificent grandeur; a worthy successor of Michelangelo, far outshining other sculptors of his generation.

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Rococo of Dresden. Paris, Vienna: * see Endnote 78

Rococo architecture was a lighter, more graceful, yet also more elaborate version of Baroque architecture, which was ornate and austere.  Notable differences between the 2 styles include symmetry (Rococo emphasized asymmetry of forms, Baroque was the opposite) and themes (Baroque was more serious, emphasizing religion, characterized by Christian themes; Rococo architecture was more secular).  Other elements belonging to the architectural style of Rococo include numerous curves and decorations, as well as the use of pale colors.

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Dresden Zwinger:  * see Endnote 79

palace built 1710-28 by court architect Pöppelmann, Baroque style; served as the orangery, exhibition gallery and festival arena of the Dresden Court; sculpture was provided by Balthasar Permoser; formally opened in 1719, on the occasion of the electoral prince Frederick August’s marriage to the daughter of the Habsburg emperor, the Archduchess Maria Josepha.