"The Age of the Baroque",

History of the Interior

Group B: Nini Lobzhanidze, Sasha Burshteyn & Mozaiah Tibbs
Charles McCorquodale
Charles McCorquodale was a notable scholar and author in the field of art and architectural
history, particularly recognized for his work on the Baroque period. He was educated at George
Heriot's School, Edinburgh, where he learned the rigorous scientific methods of the Scottish
educational system. In London, in 1969, he took a first-class degree in the History of European
Art at the Courtauld Institute.

He gained recognition primarily in the 1980s with the publication of his influential work, "The
Age of the Baroque," as part of the broader discourse on art and architectural
history. illuminating the complexities of Baroque design and its cultural significance.
McCorquodale's expertise in the field continued to be acknowledged through various
publications and academic contributions.

His writing often explores the cultural and historical contexts of design, examining how art and
architecture reflect broader societal changes. In "The Age of the Baroque," he delves into the
aesthetics, characteristics, and impact of Baroque design, contributing to the understanding of
this influential period in art history.
Historical Context of the Baroque Era
• The Baroque period, beginning in the 17th century, marked a significant shift in interior decoration and furnishings.
• During this time, comfort was not a primary concern in room design. In the Italian Renaissance, architects prioritized
the selection and arrangement of objects to align with architectural styles, often overlooking the comfort of the human
figure. This is evident in the rigid, upright wooden benches and chairs common in Renaissance homes, which suggest
that relaxation was not a focus.
• The Baroque interior revolutionized this approach, becoming an impressive setting for social gatherings in both secular
and religious spaces.
• Furnishings gained importance, reflecting social status and stability. Artists began to depict their subjects in specific
interiors, surrounded by identifiable pieces of furniture, rather than in vague, generalized backgrounds.

(McCorquodale 85).

Antique French Hand-Carved Oak Medieval/Renaissance Settle Italian Renaissance Revival Style Walnut Settee
 For the first time, furniture was designed as part
of cohesive interior schemes, incorporating
elements like fitted mirrors, paintings, and
intricate wooden or stucco frames, alongside
Historical Context frescoed or painted ceilings and walls, as well
as gilded paneling, consoles, mirrors, candle
stands, chairs, and side tables to support
sculptures.
This approach established a unified European
language of interior decoration, emerging with
striking similarities from Rome to Paris, Andrea Pozzo's trompe-l'oeil dome at Sant'Ignazio (1685)
London, and even Russia and Scandinavia.
This basic vocabulary of design spread more
rapidly in the 17th century than in previous
eras.
Several factors contributed to this diffusion of
ideas, including a shift from Italian to French
dominance in aesthetic preferences during the
latter half of the century. The rise of the United
Provinces fostered bourgeois prosperity, while
the return of exiled nobles to England during
the Restoration brought influences from both
French and Dutch courts. This period also
coincided with the age of great monarchies in
France and Spain, while England, Germany,
and Italy remained divided under various
rulers.
Thus, while Italian artists initially invented and
refined the Baroque style, it was the French,
particularly under Louis XIV, who endorsed it
as the official art of the court, setting the
standard for the rest of Europe.
Hall of Mirrors, Palace of Versailles
(McCorquodale 85).
Bedroom, Palazzo Sagredo 1718
Quote 1:
• “Above all, the Baroque interior was considered as a magnificent framework for social events. This applied
to both secular and ecclesiastical interiors, since the two often came to resemble one another, especially in
Italy. The spatial arrangement, decorative richness, and grandeur of Baroque interiors were designed
not only to impress but also to facilitate large gatherings, be they religious ceremonies or courtly functions.
These interiors were highly theatrical, emphasizing movement, light, and dramatic contrasts to enhance
the experience for those within the space.”

(McCorquodale, p. 85)

• Baroque interiors were built for

movement for people, for ceremonies, for
power. They were stages where social
hierarchies played out, from royal
audiences to grand religious processions.
These spaces were theatrical, meant to
evoke emotion through their sheer scale
and detail.

Palazzo Barberini, Rome Palazzo Barberini, Rome _ Exterior

Furniture & Decorative Arts
Baroque furniture is characterized by its lavish ornamentation,
featuring intricate carvings, gilded accents, and elaborate inlays
that reflected the owner's wealth and status.
The designs were marked by bold, dramatic shapes, curves, and
asymmetry, distinguishing them from the more subdued styles of
the Renaissance and creating a sense of movement and fluidity.
Constructed from high-quality materials such as mahogany, walnut,
and exotic woods, Baroque furniture was often upholstered in Large Baroque Style Brass Chandelier An Arched Baroque Style Marble Fireplace
luxurious fabrics like silk, velvet, and brocade, enhancing the
visual opulence of interiors.
While striking in appearance, these pieces were also functional,
designed for social gatherings and events that encouraged
interaction and showcased the owner’s refined taste.
Furniture was carefully integrated into the architectural framework
of Baroque interiors, complementing the grandeur of the space.
Key pieces, including grand dining tables, ornate throne-like
chairs, and elaborately crafted cabinets, chimney-pieces,
decorative stoves, served as focal points that drew attention and
facilitated social engagement.
Additionally, the use of illusionistic painting techniques, which was
prevalent in these interiors, with furniture often featuring
painted elements that harmonized with wall and ceiling
decorations, creating a cohesive decorative scheme.
Restored Grande Galerie, Lourve Palace, Paris, France Venetian Baroque Walnut Wood Fireplace
Quote 2:
• “Italy's palaces were never conceived as intimate settings for private life, but as theatres for social activity
on the grandest scale - balls, private and official receptions, banquets and so on. This accounts for the fact
that, while the apartments of the ground floor and the piano nobile (where the principal bedchamber was
also found) were lavishly decorated and furnished, the rooms above might be shabby or even completely
unused.”

(McCorquodale, p. 85)

This quote highlights how Italian Baroque palaces

were designed primarily as grand social spaces
rather than intimate private residences. These
palaces served as "theatres" for public events like
balls, receptions, and banquets, with the lavish
decoration of the ground floor and piano nobile where
the principal bedchamber and formal rooms were
located—reflecting their public-facing role. In
contrast, the upper floors were often shabby or
unused, emphasizing that these palaces prioritized
impressing guests and displaying wealth over private
family life. This division reveals the aristocratic focus
on social status and power, with luxury reserved for
areas where it would be most visible.

Palazzo Barberini, Rome, Italy Palazzo Barberini Ceiling, Rome, Italy

Elements of Baroque Aesthetics
Use of light and space
The palaces and villas of the Baroque period emphasized the
concept of ‘parade,’ a key aspect that originated in the
Renaissance. To envision these interiors, one must imagine them
filled with candlelight and vibrant, bejeweled crowds in colorful
attire. To create this grand atmosphere, artists utilized
chiaroscuro effects, employing light and shadow to enhance the
three-dimensional quality of spaces and artworks, adding depth
and drama. Ornate fixtures were also integrated into the overall
décor, contributing to the opulence.
Italian palaces were designed not as intimate spaces for private life
but as grand stages for social events like balls and banquets.
Rooms that lacked lavish decoration were often neglected or left
unused.
The Baroque period amplified the tradition of constructing large-
scale palaces that began in the 15th century. Despite economic
challenges and foreign interventions, the arts in Italy flourished
like never before. The Galleria Farnese, Palazzo Farnese, Rome, 1597-1604

Under the papacies of Paul V Borghese, Urban VIII Barberini, and

X Pamphili, the visual arts gained immense prestige. Major
artists of the time were commissioned to decorate interiors on an
unprecedented scale. Such as Bernini, Borromini, Cortona, and
Juvarra not only designed the structures but also executed the
decorations. This marked a significant moment when artists like
Bernini, a sculptor, and Cortona, a painter, worked seamlessly as
architects. This collaboration reached its peak during the
Baroque period, resulting in interiors that showcased an
extraordinary unity of the arts.

Turin, Italy, Interior in Carignano Palace Hall of Mirrors, Versailles France

(McCorquodale 88).
 The Farnese Gallery: A Milestone
The creation of the Farnese Gallery between 1597 and 1604 marks the
emergence of the full Baroque style in both painting and interior
decoration.
Key features of the Italian Baroque interior can be traced back to the 16th
century, including extensive use of frescoes on walls and ceilings,
elaborately molded stucco ornamentation, and intricately carved
woodwork, often painted or gilded to frame inserted canvases. The
technique known as quadratura, or painted illusionistic architecture, was Aurora (1621) by Guercino, after which the villa is
perfected in Bologna and became a popular method for decorating both often referred to, in the main reception hall
large and small wall and ceiling surfaces in 17th and 18th century Italy.
Pope Gregory XIII, originally from Bologna, introduced this style to Rome
by inviting artists Tommaso Laureti and Ottaviano Mascherino to
decorate the Vatican.
Annibale Carracci’s frescoed vault showcases vibrant combinations of
illusionistic “easel paintings” within gold frames, accompanied by “bronze”
rounded and “stone” figures. This exemplifies the festive richness found in
numerous Baroque ceilings. The primary goal of Baroque decoration was
clarity, ensuring that despite a multitude of motifs and colors, the interior
could be easily understood at a glance, as seen in the Farnese Gallery.
Significant advancements in illusionistic frescoes occurred in Rome between
1600 and 1639, culminating in Pietro da Cortona's Barberini ceiling.
Giovanni Barbieri, known as il Guercino, broke new ground with his 1621-
1623 vault fresco in the Casino Ludovisi, where Aurora's chariot appears
to traverse real space above viewers, surrounded by clouds and figures
that penetrate the illusionistic painted ruins above.
Farnese Gallery - Annibale Carracci, The Love of the
Gods - 1597 - Farnese Gallery, Rome
(McCorquodale 89).
Significance of Lighting in the Baroque Period
Mozaiah's Personal Slide
Lighting was instrumental in creating striking contrasts between light and
shadow, enhancing the emotional resonance of artworks and interiors and
creating a dramatic atmosphere. Light often symbolized a divine presence
or enlightenment, especially in religious contexts. Artists and architects
used lighting to highlight sacred elements, emphasizing their importance
within the space.
The manipulation of light helped set the mood within interiors, whether
for intimate gatherings, religious spaces or grand celebrations. Soft,
flickering candlelight created warmth and intimacy, while brighter lighting
highlighted architectural details.
The ocular window in the cupola of the Real Chiesa San Lorenzo in Turin, Italy
Baroque architecture incorporated large windows and openings to
maximize natural light. Interiors were designed to harness this light,
contributing to a sense of openness and grandeur. The use of candles, oil
lamps, and elaborate chandeliers became prevalent, transforming the
ambiance of spaces, particularly during evening gatherings. These fixtures
were often ornate, serving both functional and decorative purposes.
Artists frequently created the illusion of light interacting with surfaces
in their painted works, enhancing the sense of realism. This technique was
particularly effective in ceiling frescoes and wall decorations. All together
lighting played a crucial role in unifying various art forms within Baroque
interiors. The interplay of light with sculptures, paintings, and decorative
elements contributed to the immersive experience in Baroque Interiors.
Citation:

heroek. “Baroque Architecture and Design: Use of Light.” HubPages, discover.hubpages.com/living/Baroque-Architecture-and-Design-

Use-of-light.
Drottningholm Palace Theater in Sweden. Built in the 1600s
Notable Figures: Pietro Berrettini (1596-1669)
Pietro Berrettini, known as da Cortona, arrived in Rome around
1612 or 1613. As a young artist, he began painting frescoes in places
like the Villa Muti in Frascati and the Palazzo Mattei in Rome
(1622-1623), already showing his bold style.
In the 1620s, he perfected a painting style that matched the
grandeur of Baroque style. His grand ceiling in the Palazzo
Barberini, "The Triumph of Divine Providence," is a prime example
of Baroque allegory, and large frescoed ceilings became popular in
many Roman palaces after this work. This work led to his most
famous decorative project, the Planetary Rooms in the Palazzo Pitti
in Florence. Between 1640 and 1647, Cortona painted these rooms,
dedicated to the planets Venus, Apollo, Mars, Jupiter and Saturn,
for Grand Duke Ferdinando II de' Medici. These rooms, now part of
the Palatine Gallery, remain one of the most ambitious examples of
Italian Baroque interior decoration.
The Triumph of Divine Providence by Pietro da
Cortona, Palazzo Barberini, Rome, Italy, 1639.
(McCorquodale 90-93)

The Venus Room, Palazzo Pitti, The Apollo Room, Palazzo The Mars Room, Palazzo The Jupiter Room, Palazzo Pitti, The Saturn Room, Palazzo
Florence, Italy, 1647 Pitti, Florence, Italy, 1647 Pitti, Florence, Italy, 1647 Florence, Italy, 1647 Pitti, Florence, Italy, 1647
 Quote 3:
• “Furnishings assumed an increasingly important role, underlining both social status and social
stability. In Baroque interiors, furniture was no longer merely functional but became an integral
part of the room's overall decorative scheme. Chairs, tables, mirrors, and other items were
carefully chosen to reflect the grandeur and wealth of the space's owner. The craftsmanship and
materials used in these furnishings, such as carved wood, gilded details, and rich fabrics, were all
meant to reinforce the social standing of the occupants and complement the opulence of the
architectural surroundings.”
(McCorquodale, p. 86)

• The furnishings were no longer just functional every object in a Baroque interior was a symbol.
Chairs, mirrors, and tapestries all spoke to the wealth and taste of the owner, reinforcing their
place in the social hierarchy. Each piece was crafted to match the grandeur of the space it
inhabited, creating a complete visual experience.

Marie Antoinette's Private Versailles Quarters, France

Architectural Innovations
Advances in building techniques and materials during the
Baroque period

Quadratura: This technique, using painted ceilings to create

the illusion of extended space, was one of the most striking
advancements of the Baroque period. Artists like Pietro da
Cortona mastered the art of making ceilings appear infinite,
turning rooms into immersive environments.

Architects: Figures like Bernini and Borromini didn’t just

design buildings; they orchestrated the entire interior,
blending architecture with painting and sculpture to create
a seamless aesthetic experience.

Plasterwork: Building on Mannerist traditions, stucco workers

created intricate and expressive plaster decorations, either white
or gilded, as frames for paintings or frescoes. While figurative
decoration became dominant, antique classical motifs still
inspired many designs. This kind of decoration also.
foreshadowed the transition to Rococo.

Barberini Ceiling, Rome

Cultural Influences on Baroque
Interiors
Counter-Reformation: The Church’s desire to
inspire awe and devotion led to interiors that
were overwhelming in their grandeur. These
spaces were designed to humble the viewer and
remind them of the Church’s power.

Patronage: The wealthiest patrons royalty and

the Church drove the development of Baroque
interiors. The grandeur of the spaces they
commissioned served not only to express their
wealth but also their dominance.

Interior of St. Peter’s Basilica, Rome Louis XIV’s Bedroom, Versailles, France
 French Classicism
France became the leader of European taste during the 17th century, as Italy's influence
declined. During the ministries of Richelieu and Mazarin (around 1630-1660), French
supremacy in the arts was established. Under Louis XIV (who reigned from 1643-1715),
European monarchs looked to France for artistic guidance.
The French middle class gained wealth and power, and most important art and architectural
commissions came from the bourgeoisie, whose support helped create the great era of French
classicism.

Under Louis XIV, the best artists and craftsmen were drawn to Versailles and Paris, where the
king sought to monopolize their talents. A key development was the establishment of the
Manufacture Royale des Meubles de la Couronne in 1633 (commonly known as the Manufacture
des Gobelins), which produced furnishings for royal residences and helped create a national style.
Although much focus was on the grandeur of Versailles, the earlier part of the century still saw
significant achievements in French interior decoration.
(McCorquodale 96)

Interior of the Palace of Versailles, 1715

 Notable Figures: François Mansart

The architect who first fully realized the desire for a distinct French style was François
Mansart. Born in Paris in 1598, Mansart never visited Italy and developed his refined and
luxurious classicism in France. His first major project was the Hôtel de la Vrillière (1635),
which featured a gallery with paintings by artists like Poussin and Guido Reni. Here,
Mansart introduced a key feature of his designs: a staircase following the outer walls of a
square space with a central opening. His interiors were not overly decorated but relied on
the contrast between plain surfaces and rich sculptural details, creating a balance between
simplicity and elegance.
Mansart’s designs were known for their clever planning, especially in Parisian homes.
Instead of using color and gilding like his contemporaries, Mansart focused on the contrast
between solid and open spaces, and plain and decorative elements.
(McCorquodale 97)

View of the Hôtel de la Vrillière by François Mansart

 Notable Figures: Charles Le Brun

Charles Le Brun rose to prominence as one of the first

all-around decorators, overseeing every aspect of
high-level interior design. Born in Paris in 1619 into
a family of painters and sculptors, he initially
painted in a somber style. In 1642, he went to Rome
to study ancient art and the great masters. In 1648,
he helped establish the Académie Royale de
Peinture et Sculpture to place all arts under state
control.

After gaining recognition for his domestic decorations

and following the fall of Fouquet, Le Brun became
the head of the Manufacture des Gobelins--royal
factory known for producing high-quality tapestries
and furnishings-- in 1663, a powerful position
overseeing decoration and furnishings for royal
residences. His leadership contributed to the
uniformity of interiors at Versailles. His work on the
Tuileries and the Galerie d'Apollon in the Louvre,
featuring white and gilded stuccoes, paintings, and
arabesque panels, defined the Louis XIV style.

(McCorquodale 98) Galerie d'Apollon, The Louvre, Paris, France

Nini's personal reflection on Cultural Influences on Baroque Interiors

• I think that Baroque interiors are all about showcasing power and wealth. The grandeur, intricate
details, and theatrical design are meant to overwhelm and impress anyone who enters. It’s like
these spaces are telling you who’s in control. When I was researching, I found that Japanese
interiors follow a completely different philosophy of minimalism. Minimalism is a design approach
that focuses on simplicity, using only what is essential. It embraces clean lines, natural materials,
and open spaces, aiming to create a sense of tranquility. In Japanese interiors, minimalism helps
cultivate mindfulness and harmony by eliminating distractions, allowing people to connect with
their environment and themselves.
• On the other hand, some might say that Baroque interiors represent maximalism, which is the
opposite approach. Maximalism is all about abundance and excess. It celebrates layering, intricate
details, and rich textures where every inch of space is filled with decoration, color, and drama. In
Baroque design, maximalism is used to create an overwhelming sense of grandeur. The use of bold
contrasts, heavy ornamentation, and lavish materials like gold, marble, and velvet all contribute to
the sense of power and dominance. The intention is to dazzle the viewer and reflect the wealth and
status of those who inhabit the space.
• Personally, this contrast made me reflect on how design speaks to deeper cultural ideals. Baroque
interiors, with their excess and drama, reflect a society focused on hierarchy and dominance, while
Japanese minimalism encourages peace, mindfulness, and living with less. It’s fascinating to see
how two such different styles can each create impactful environments that resonate with the people
who live in them.
Sasha's Personal Reflection

What resonates with me in this reading is the idea that Baroque interiors were designed to evoke
specific feelings and experiences. The use of grand scales, intricate details, and luxurious materials
created environments that transcended mere living spaces, transforming them into expressions of
power, wealth, and cultural identity.
Something that stood out to me the most was the distinction between public and private spaces within
Italian palaces. The ground floor being lavishly decorated while the rooms above are shabby or
unused emphasizes that these grand structures were primarily designed for social interaction and
spectacle rather than intimate living.
This suggests that the spaces meant for daily living were secondary to those intended for public
performance. This hierarchy within the architecture of palaces prompts me to consider how the design
of a space influences its use and the behaviors of those who inhabit it.
Finally, McCorquodale's text is particularly helpful for my final essay, for which I will be focusing on
painted ceilings in Roman Baroque interiors. He discussed some case studies that I was planning on
using, such as the Palazzo Barberini, and provided valuable insights and analyses that would be
really helpful for my work.
Questions:
• How did Baroque interiors reflect the political and social power of
their patrons, and in what ways did they reinforce authority
through design?
• How did the emotional and sensory experience of Baroque spaces
differ from earlier periods like the Renaissance, and why do you
think this shift occurred?
• What role did religious and secular influences play in shaping
Baroque interior design, and how do you think this impacted
European society at large?
• In what ways did regional variations of Baroque design,
particularly in Italy, France, and Spain, differ in their approach
to grandeur and power?