Baroque
The Baroque style added to the round-arched and rectangular light- openings those in the shape of a basket-handle arch and even of an oval shape, and sought to enrich them by drawing in the corners and by curving the sides in and out. This led to the appearance of a great variety of lines the number and lack of repose of which is characteristic of the Baroque. The framing which the Renaissance had given the windows remained customary during the Baroque period, but in agreement with the entire development of the style they were augmented, were more artificial, and had less repose. The most frequently used was the flat or profiled framing, in which the cornice no longer ran parallel to the light- opening, but assumed an independent arbitrary form; at times the frame was interrupted by quarry-faced ashlar. The support-framing was seldom used, the combined framing was changed so that the frames were no longer laid one by the other, but one over the other, only a small part of the under one being visible on the two sides. The part of the frame above the window received a rich development; it was generally either a horizontal cornice or a gable cornice; where the windows were arched it also followed the curved line, with the result of an unlimited variety of artistic forms.
Read more about this topic: Windows In Church Architecture
Famous quotes containing the word baroque:
“The truth is that Mozart, Pascal, Boolean algebra, Shakespeare, parliamentary government, baroque churches, Newton, the emancipation of women, Kant, Marx, and Balanchine ballets don’t redeem what this particular civilization has wrought upon the world. The white race is the cancer of human history.”
—Susan Sontag (b. 1933)
“Prose is architecture, not interior decoration, and the Baroque is over.”
—Ernest Hemingway (1899–1961)
“It is the Late city that first defies the land, contradicts Nature in the lines of its silhouette, denies all Nature. It wants to be something different from and higher than Nature. These high-pitched gables, these Baroque cupolas, spires, and pinnacles, neither are, nor desire to be, related with anything in Nature. And then begins the gigantic megalopolis, the city-as-world, which suffers nothing beside itself and sets about annihilating the country picture.”
—Oswald Spengler (1880–1936)