DSDN 171
Thesis Statement
St. Peters baldachin, designed by Gian Lorenzo Bernini, is just one
example of how Baroque architecture was a shift away from
Renaissance architecture, and was used to signify the triumph of
the Catholic Church in reviving spiritual values through the use of
more decorative and emotional design.
Name: Jonathan Basile
Student ID: 300157809
St. Peters baldachin (Italian: baldacchino), is an example of how Baroque architecture was very
revolutionary in seventeenth century Italy. It replaced the humanist view of Renaissance
architecture to develop a new theatrical and sculptural way to express the triumph of the
Catholic Church. Renaissance architecture placed an emphasis on symmetry, proportion and
order, which were also features of ancient Roman architecture. Baroque, on the other hand, was
more accessible to the emotions
1
and used features such as dramatic light, ornament,
illusionary effects, and sinuous forms. Whereas Renaissance architecture was focused on wealth
and power of the Italian courts and was a blend of religious forces, the Baroque style was initially
linked to the Counter-Reformation, the period of the revival of the Catholic Church at the start of
the seventeenth century.
2
One famous example of Baroque architecture is in the crossing of St. Peters Basilica in Rome.
Above the Papal Altar stands St. Peters baldachin and was designed by Gian Lorenzo Bernini
(Figure 1). Born in 1598, Bernini was mainly a sculptor but was also a good painter and architect.
The baldachin is a clear example of how sculpture and architecture showed development in the
Baroque style design of church interiors and furnishings. It marks the triumph of Baroque style
over the plain lines of the Renaissance.
3
1
Henry A Millon, Baroque and Rococo Architecture, (New York: George Braziller INC, 1960), 16.
2
Ibid
3
E M Jun-Inglessis, St. Peters, (Italy: SCALA, 1980), 33.
Figure 1. St. Peters Basilica, The Papal Altar and Baldacchino, http://www.saintpetersbasilica.org/
Altars/PapalAltar/PapalAltar.htm
Figure 1. St. Peters baldachin, 1633.
It stands in the crossing of St. Peters Basilica. Designed by Gian Lorenzo
Bernini, It shows features of Baroque style architecture that include
ornament and sinuous forms.
The style of Baroque architecture can be traced back to the Renaissance style of architecture.
The Renaissance was a period of time between the fourteenth and seventeenth centuries and
began in Florence, Italy, and later spread throughout Europe. It was a time when a cultural
movement was taking place which included a restoration of learning based on classical sources,
and the enlightenment and clarity of mind as opposed to the darkness and spirituality of the
Middle Ages
4
. Many people saw this transformation as a connection between the Middle Ages
and the Modern era. As well as revolutions in many social and political aspects, the time of the
Renaissance is best known for artistic developments and included inspiring artists such as
Leonardo da Vinci and Michelangelo.
Architecture in the Italian Renaissance followed the belief that decorative forms would
overwhelm architecture
5
. For Italy it was also a matter of triumph of form over material. The
style of architecture reflects the idea of humanism and involved the revival of classical features of
design from ancient Greek and Roman times. These features included: symmetry, proportion and
geometry (Figures 2-5). These principles were applied to create orderly arrangement of pilasters,
semicircular arches, domes, and facades which are the front side of a building (Figures 2, 5).
4
James Lees-Milne, Buildings of Europe: Baroque Europe, (London: BT Batsford Ltd, 1962), 4.
5
Henry A Millon, Italian Renaissance Architecture, (London: Thames and Hudson Ltd, 1994), 34.
Figures 2-5. Jacob Burckhardt, The Architecture of the Italian Renaissance, (London, Secker and Warburg, 1985), 77.
Characteristics of Renaissance Architecture; clockwise from top left:
Figure 2. Faade of St. Peters based on Michelangelos design.
Figure 3. Side view of pillar showing proportion.
Figure 4. Top view of pillar showing symmetry and geometry.
Figure 5. Villa Rotonda faade, designed by Andrea Palladio
The transition from the formal Renaissance style to the more decorative Baroque architecture
was not an abrupt change by any means. Historians have concluded that there was first an
intervening style which they term Mannerist. This style lasted from about 1520 to 1570. A second
intermediate style called the Counter-Reformation lasted from 1570 to 1620 and it was during
this time that the Catholic Church went through a revival period and the re-emergence of
spiritual values which it had enjoyed previously in medieval times and that had not been present
during the Renaissance period.
6
This style was the precursor to the soon to be seen Baroque style
of architecture.
Italy experienced a general regeneration of its powers that paralleled the
Churchs newly regained confidence in spiritual matters
7
The first signs that the Renaissance style was being phased out can be seen in Della Portas Gesu
front on the Church of Gesu (Figure 6). Designed by Giacomo Della Porta, an Italian architect and
sculptor, in 1573, it shows a total departure from Renaissance and was a forecast of Baroques
wholeness of pattern
8
. Features that emerged from this include the two heavy scrolls turned on
their sides. They are separated by a centrepiece in the upper story of the building. This became
the prototype for church facades all over Europe for several decades.
Figure 6. Della Portas Gesu front, 1573.
The faade of the Church of Gesu (Italian: Chiesa del Gesu) is seen as the precursor for Baroque church
design and has been described as the first truly baroque faade
9
6
James Lees-Milne, Buildings of Europe: Baroque Europe, (London: BT Batsford Ltd, 1962), 3.
7
Henry A Millon, Baroque and Rococo Architecture, (New York: George Braziller INC, 1960), 15.
8
James Lees-Milne, Buildings of Europe: Baroque Europe, (London: BT Batsford Ltd, 1962), 5.
9
Nathan T Whitman, Roman Tradition and the Aedicular Faade, The Journal of the Society of Architectural
Historians, 29, (1970): 108.
Figure 6. James Lees-Milne, Buildings of Europe: Baroque Europe, (London: BT Batsford Ltd, 1962), 27.
At the start of the seventeenth century, many developments took place in embracing this newly
found style of Baroque architecture. In 1605 Pope Paul V ordered the remains of the old St.
Peters Basilica torn down which was designed by Michelangelo. In 1607, Carlo Maderno
designed the new faade and work was completed in 1612. Born in 1556, the Italian-Swiss
architect was an influential figure and is remembered as one of the fathers of Baroque
architecture. The design of the columns and especially the attic were a precursor of the Baroque
architecture that was soon to come (Figure 7).
Maderno worked on the interior of the church to suggest a fluid, dramatic and dynamic
space.
10
The new nave, which is the long central part of the church (Figure 8), was given
windows to allow for light and the nave was made higher and wider. The result was a lighter and
airier nave where space could flow more freely.
11
Madernos concepts in church design were
revolutionary with regards to fluid interior space and his handling of mass. These ideas helped
form a foundation upon which the later masters of the Baroque were able to build upon.
The mobility of the giant columns and the openings and crestings of the attic is
an earnest of that greater rhythm and freedom which were soon to come.
12
So in summary, at the beginning of the seventeenth century Europe was in a state of disorder
and people were clashing politically, socially and culturally. The Counter-Reformation period was
all about change and confrontation across Europe and with this came the Baroque style of
architecture. In response to the bareness of Renaissance architecture, Baroque buildings were a
sign of the Catholic Churchs triumphant revival of spiritual values. The buildings were heavily
decorated and rather than approach design by using the principles of form and function,
architects of this time approached it with more emphasis on the emotional side of design and
had a focus on energy over balance.
13
10
Henry A Millon, Baroque and Rococo Architecture, (New York: George Braziller INC, 1960), 15.
11
Henry A Millon, Baroque and Rococo Architecture, (New York: George Braziller INC, 1960), 16.
12
James Lees-Milne, Buildings of Europe: Baroque Europe, (London: BT Batsford Ltd, 1962), 4.
13
Fabrizio Mancinelli, History and Art: Vatican, (Italy: SCALA, 1974), 14.
Figures 7-8. Fabrizio Mancinelli, History and Art: Vatican, (Italy: SCALA, 1974), 7, 13
From left: Figure 7. Faade of St. Peters Basilica, Figure 8. Nave of St. Peters Basilica
Both designed by Carlo Maderno in the early 17
th
century. Features of Baroque architecture include
the use of decorated square windows on the faade and a more dramatic interior in the nave.
Many features of Baroque architecture have already been mentioned but to review these, they
include: wider and more circular naves, strong use of light and shadow effects, ornamentation,
and facades with an expressive central focal point. Many of these features can be seen in Figures
8 and 9 including a very high ceiling. As stated earlier, one significant master of the Baroque was
Gian Lorenzo Bernini who is regarded as one of the greatest sculptors and architects of all time.
The importance of his contribution to architecture lay in his sculptural handling of masses. He
seemed to carve his buildings out of their surroundings.
14
One example of Berninis unique work can be seen in his masterpiece of church architecture, the
Sant'Andrea al Quirinale in Rome (Figures 9, 10). The church is perhaps the high point of the
vision towards the Italian Baroque as it fuses, painting, sculpture, architecture, and stage design
into a totally integrated system.
15
The interior contains large masses of marble and uses light in
an effective way; the altar piece is lighted from a hidden source, and above this is St Andrew who
is supported by a cloud where light falls upon him (Figure 10).
From left: Figure 9. Faade of Sant'Andrea al Quirinale, Figure 10. Interior of the church
The faade is considered one of the finest examples of Baroque architecture. The interior
contains luxurious gilt and coloured marble surroundings with a dramatically lighted step by step
story of the martyrdom of St Andrew.
16
Having covered all of these previous examples from varying artists that show the development
from Renaissance to Baroque architecture, one significant piece of design that marks the triumph
of the Catholic Church in reviving spiritual values, by showing more decoration and emotion in its
appearance, is St. Peters baldachin designed by Gian Lorenzo Bernini and completed in 1633
(Figures 1, 11-14). It is a large sculpted bronze canopy located over the Papal Altar and beneath
the dome of St Peters Basilica. It was intended to mark the place of St Peters tomb in a
monumental way.
17
14
James Lees-Milne, Buildings of Europe: Baroque Europe, (London: BT Batsford Ltd, 1962), 4.
15
Henry A Millon, Baroque and Rococo Architecture, (New York: George Braziller INC, 1960), 18.
16
Ibid, 19.
Figures 9 and 10. Ibid, 62-63.
17
Irving Lavin, Visible Spirit: The Art of Gian Lorenzo Bernini, (London: The Pindar Press, 2007), 62.
The work on the baldachin, which began in July 1623, was
commissioned by Pope Urban VIII. The main aim of the project
was to create something that kept the faithful within the fold by
appealing to their love of drama which was a successful means of
winning the hearts and dominating the souls of simple Latin
people.
18
There are many features of the baldachin that keep to
this promise including the four bronze columns. The details and
meaning they possess is immense (Figure 11). Standing twenty
metres high, their twisted S shape is based on the Solomonic
column and was revived from ancient times to show continuity
and energy. The decoration on each column was nature inspired
and all are decorated with olive leaves, which are a symbol of
poetry and heroism.
19
Among the olive leaves are bees which help
to symbolise rebirth and the search of God.
20
The height of the
columns helps to create an optical illusion with regards to
shortening the height between the floor and ceiling.
The four columns support the ciborium; that is the canopy which
rests on top. The ciborium of the baldachin also has
characteristics of Baroque architecture. On the underside of the
ciborium, in the centre surrounded by golden rays, is a dove
which symbolises the Holy Spirit (Figure 14). Around the cornice,
which is the horizontal rim of the ciborium (Figures 12 and 13), is
a tasselled border made of bronze that is meant to symbolise a
cloth moving in the wind.
21
The Baroque feature of this is that
the border curves inwards.
Above this is the crown. This part of the baldachin contains many features that express the values
and beliefs of the Catholic Church, which was the main objective of the design in the first place.
Each of the four corners contains an angel (Figures 12 and 13). These were all the work of
Francois du Duquesnoy, who was born in Italy in 1597 and was well known for his work in
Baroque sculptor. In between these are smaller angels holding emblems of the Pope: the keys,
the papal tiara (papal crown), the gospel, and the sword.
22
Also on the crown, at each corner, are
four large scrolls that are decorated with palm fronds. The scrolls curve inwards and upwards
towards the centre point of the baldachin that contains a golden globe; and on top of this is the
cross (Figures 12 and 13).
18
James Lees-Milne, Buildings of Europe: Baroque Europe, (London: BT Batsford Ltd, 1962), 4.
19
Irving Lavin, Visible Spirit: The Art of Gian Lorenzo Bernini, (London: The Pindar Press, 2007), 94.
20
E M Jun-Inglessis, St. Peters, (Italy: SCALA, 1980), 33.
21
Ibid.
22
Mark S Weil, The Literature of Art: The Crossing Of St. Peters, The Burlington Magazine, 113, (1971): 100.
Figure 11. St. Peters Basilica, The Papal Altar and Baldacchino, www.saintpetersbasilica.org /Altars/PapalAltar/
Baldacchino-bees.jpg
Figure 11. Columns of the baldachin
The twisted columns with bronze olive leaves
and bees are symbols of nature and were used
to emphasise the rebirth of the Catholic Church
23
24
So in summary, St Peters baldachin is a landmark in the
history of Baroque architecture. It signified that the
Catholic Church was well and truly alive and had been
triumphant in regaining its spiritual values during the
Counter-Reformation in the early seventeenth century,
that had been absent during the Renaissance period. The
Baroque style was a shift away from the conservative
and formal style of Renaissance architecture. Gian
Lorenzo Bernini will always be considered a master of
the Baroque, as his emotional, expressive, and sculptural
design expressed the values of the Catholic Church and
helped people regain and keep their faith in the
Catholic Church.
Figures 12 and 14. Fabrizio Mancinelli, History and Art: Vatican, (Italy: SCALA, 1974), 14, 16.
Figure 13. Irving Lavin, Visible Spirit: The Art of Gian Lorenzo Bernini, (London: The Pindar Press, 2007), 129.
From left: Figures 12 and 13. Ciborium and crown
Above the tasselled cornice stand four large angels
that surround four large scrolls that curve in and
up to support a globe and cross.
Figure 14. Ciborium of St. Peters baldachin
The ciborium (canopy) is heavily decorated in a
Baroque style, and contains many religious symbols
such as the dove on the underside of the ciborium.
Bibliography
Burckhardt, Jacob. The Architecture of the Italian Renaissance. London: Secker and Warburg,
1985.
Jung-Inglessis, E.M. St.Peters. Italy: SCALA, 1980.
Lavin, Irving, Visible Spirit: The Art of Gian Lorenzo Bernini. London: The Pindar Press, 2007.
Mancinelli, Fabrizio. History and Art: Vatican. Italy: SCALA, 1974.
Millon, Henry A. Baroque and Rococo Architecture. New York: George Braziller INC, 1960.
Millon, Henry A. Italian Renaissance Architecture. London: Thames and Hudson Ltd, 1994.
St. Peters Basilica. The Papal Altar and Baldacchino.
http://www.saintpetersbasilica.org/Altars/PapalAltar/PapalAltar.htm
(accessed on October 15, 2009).
Whitman, Nathan T. Roman Tradition and the Aedicular Faade. The Journal of the Society of
Architectural Historians. No. 29, (1970): 108.
Weil, Mark S. The Literature of Art: The Crossing of St. Peters. The Burlington Magazine. Vol.
113, No. 815, (1971): pp 98-100.
