Editing Baroque (section)

==Architecture: origins and characteristics==
{{Main|Baroque architecture}}
[[File:G.B.Gaulli-Triumph of the Name of Jesus.jpg|thumb|right|upright|''Quadratura'' or [[trompe-l'œil]]  ceiling of the [[Church of the Gesù]], Rome, by [[Giovanni Battista Gaulli]], 1673–1678<ref>{{cite book |last1=Denizeau|first1=Gérard|title=Zapping Prin Istoria Artelor|date=2018|publisher=rao|page=117|isbn=978-606-006-149-6|language=ro}}</ref>]]
The Baroque style of architecture was a result of doctrines adopted by the [[Catholic Church]] at the [[Council of Trent]] in 1545–1563, in response to the [[Protestant Reformation]]. The first phase of the [[Counter-Reformation]] had imposed a severe, academic style on religious architecture, which had appealed to intellectuals but not the mass of churchgoers. The Council of Trent decided instead to appeal to a more popular audience, and declared that the arts should communicate religious themes with direct and emotional involvement.<ref>Hughes, J. Quentin (1953). [http://melitensiawth.com/incoming/Index/Melita%20Historica/MH.01(1952-55)/MH.1(1953)2/orig05.pdf The Influence of Italian Mannerism Upon Maltese Architecture] {{Webarchive|url=https://web.archive.org/web/20170314232116/http://melitensiawth.com/incoming/Index/Melita%20Historica/MH.01(1952-55)/MH.1(1953)2/orig05.pdf |date=14 March 2017}}. ''Melitensiawath''. Retrieved 8 July 2016. pp. 104–110.</ref><ref>Helen Gardner, Fred S. Kleiner, and Christin J. Mamiya, ''Gardner's Art Through the Ages'' (Belmont, CA: [[Thomson/Wadsworth]], 2005), p. 516.</ref> Similarly, Lutheran Baroque art developed as a confessional marker of identity, in response to the [[Iconoclastic Fury|Great Iconoclasm]] of [[Calvinist]]s.<ref>{{cite web|url=https://blog.oup.com/2018/02/reformation-lutheran-baroque/|title=The Reformation and Lutheran Baroque|last=Heal|first=Bridget|date=20 February 2018|publisher=[[Oxford University Press]]|language=en|access-date=1 May 2018|quote=However, the writings of theologians can go only so far towards explaining the evolution of confessional consciousness and the shaping of religious identity. Lutheran attachment to religious images was a result not only of Luther's own cautious endorsement of their use, but also of the particular religious and political context in which his Reformation unfolded. After the reformer's death in 1546, the image question was fiercely contested once again. But as Calvinism, with its iconoclastic tendencies, spread, Germany's Lutherans responded by reaffirming their commitment to the proper use of religious images. In 1615, Berlin's Lutheran citizens even rioted when their Calvinist rulers removed images from the city's Cathedral.}}</ref>

Baroque churches were designed with a large central space, where the worshippers could be close to the altar, with a dome or cupola high overhead, allowing light to illuminate the church below. The dome was one of the central symbolic features of Baroque architecture illustrating the union between the heavens and the earth. The inside of the cupola was lavishly decorated with paintings of angels and saints, and with stucco statuettes of angels, giving the impression to those below of looking up at heaven.<ref>Ducher, p. 102</ref> Another feature of Baroque churches are the ''[[quadratura]]''; [[trompe-l'œil]] paintings on the ceiling in stucco frames, either real or painted, crowded with paintings of saints and angels and connected by architectural details with the balustrades and consoles. ''Quadratura'' paintings of [[Atlas (architecture)|Atlantes]] below the cornices appear to be supporting the ceiling of the church.  Unlike the painted ceilings of [[Michelangelo]] in the [[Sistine Chapel]], which combined different scenes, each with its own perspective, to be looked at one at a time, the Baroque ceiling paintings were carefully created so the viewer on the floor of the church would see the entire ceiling in correct perspective, as if the figures were real.

The interiors of Baroque churches became more and more ornate in the High Baroque, and focused around the altar, usually placed under the dome. The most celebrated baroque decorative works of the High Baroque are the [[Chair of Saint Peter]] (1647–1653) and [[St. Peter's Baldachin]] (1623–1634), both by [[Gian Lorenzo Bernini]], in [[St. Peter's Basilica]] in Rome. The Baldequin of St. Peter is an example of the balance of opposites in Baroque art; the gigantic proportions of the piece, with the apparent lightness of the canopy; and the contrast between the solid twisted columns, bronze, gold and marble of the piece with the flowing draperies of the angels on the canopy.<ref name="Ducher pages 106-107">Ducher (1988) pp. 106–107</ref> The [[Dresden Frauenkirche]] serves as a prominent example of Lutheran Baroque art, which was completed in 1743 after being commissioned by the Lutheran city council of Dresden and was "compared by eighteenth-century observers to St Peter's in Rome".<ref name="Heal2011" />

The twisted column in the interior of churches is one of the signature features of the Baroque. It gives both a sense of motion and also a dramatic new way of reflecting light.

The [[cartouche (design)|cartouche]] was another characteristic feature of Baroque decoration. These were large plaques carved of marble or stone, usually oval and with a rounded surface, which carried images or text in gilded letters, and were placed 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.<ref>Ducher (1988), p. 102</ref>

Baroque architects sometimes used [[forced perspective]] to create illusions. For the [[Palazzo Spada]] in Rome, [[Francesco Borromini]] used columns of diminishing size, a narrowing floor and a miniature statue in the garden beyond to create the illusion that a passageway was thirty meters long, when it was actually only seven meters long. A statue at the end of the passage appears to be life-size, though it is only sixty centimeters high. Borromini designed the illusion with the assistance of a mathematician.

===Italian Baroque===
{{main|Italian Baroque architecture}}
<gallery mode="packed" heights="170px">
Basilique Saint Pierre - Vatican (VA) - 2021-08-25 - 4.jpg|[[St. Peter's Basilica]], Rome, by [[Donato Bramante]], [[Michelangelo]], [[Carlo Maderno]] and others, completed in 1615{{sfn|Bailey|2012|p=211}}

File:Santa Maria della Salute from Hotel Monaco.jpg|[[Santa Maria della Salute]], Venice, by [[Baldassare Longhena]], 1631–1687{{sfn|Hodge|2019|p=29}}

San Carlo alle Quattro Fontane - Front.jpg|[[San Carlo alle Quattro Fontane]], Rome, by [[Francesco Borromini]], 1638–1677

File:Obelisco Fontana dei Fiumi Piazza Navona Roma.jpg|[[Fontana dei Quattro Fiumi]], Rome, by [[Gian Lorenzo Bernini]], 1648–1651{{sfn|Bailey|2012|p=213}}
File:St Peter's Square, Vatican City - April 2007.jpg|[[St. Peter's Square]], Rome, by Gian Lorenzo Bernini, 1656–1667{{sfn|Bailey|2012|p=211}}
File:Église Santa Maria Pace - Rome (IT62) - 2021-08-28 - 3.jpg|Santa Maria della Pace, Rome, by [[Pietro da Cortona]], 1656–1667{{sfn|Hopkins|2014|p=73}}
</gallery>
The first building in Rome to have a Baroque façade was the [[Church of the Gesù]] in 1584; it was plain by later Baroque standards, but marked a break with the traditional Renaissance façades that preceded it. The interior of this church remained very austere until the high Baroque, when it was lavishly ornamented.

In Rome in 1605, [[Paul V]] became the first of series of [[popes]] who commissioned basilicas and church buildings designed to inspire emotion and awe through a proliferation of forms, and a richness of colours and dramatic effects.<ref>Cabanne (1988) p.12</ref> Among the most influential monuments of the Early Baroque were the façade of [[St. Peter's Basilica]] (1606–1619), and the new nave and loggia which connected the façade to Michelangelo's dome in the earlier church. The new design created a dramatic contrast between the soaring dome and the disproportionately wide façade, and the contrast on the façade itself between the [[Doric style|Doric]] columns and the great mass of the portico.<ref>Ducher (1988)</ref>

In the mid to late 17th century the style reached its peak, later termed the High Baroque. Many monumental works were commissioned by Popes [[Urban VIII]] and [[Alexander VII]]. The sculptor and architect [[Gian Lorenzo Bernini]] designed a new quadruple colonnade around [[St. Peter's Square]] (1656 to 1667). The three galleries of columns in a giant ellipse balance the oversize dome and give the Church and square a unity and the feeling of a giant theatre.<ref name="Ducher page 104">Ducher (1988) p. 104.</ref>

Another major innovator of the Italian High Baroque was [[Francesco Borromini]], whose major work was the [[Church of San Carlo alle Quattro Fontane]] or Saint Charles of the Four Fountains (1634–1646). The sense of movement is given not by the decoration, but by the walls themselves, which undulate and by concave and convex elements, including an oval tower and balcony inserted into a concave traverse. The interior was equally revolutionary; the main space of the church was oval, beneath an oval dome.<ref name="Ducher page 104" />

Painted ceilings, crowded with angels and saints and trompe-l'œil architectural effects, were an important feature of the Italian High Baroque. Major works included ''The Entry of Saint Ignatius into Paradise'' by [[Andrea Pozzo]] (1685–1695) in the [[Sant'Ignazio Church, Rome]], and ''[[The Triumph of the Name of Jesus]]'' by [[Giovanni Battista Gaulli]] in the Church of the Gesù in Rome (1669–1683), which featured figures spilling out of the picture frame and dramatic oblique lighting and light-dark contrasts.<ref>Cabanne (1988) p. 15</ref>

The style spread quickly from Rome to other regions of Italy: It appeared in Venice in the church of [[Santa Maria della Salute]] (1631–1687) by [[Baldassare Longhena]], a highly original octagonal form crowned with an enormous [[cupola]]. It appeared also in [[Turin]], notably in the [[Chapel of the Holy Shroud]] (1668–1694) by [[Guarino Guarini]]. The style also began to be used in palaces; Guarini designed the [[Palazzo Carignano]] in Turin, while Longhena designed the [[Ca' Rezzonico]] on the [[Grand Canal (Venice)|Grand Canal]], (1657), finished by [[Giorgio Massari]] with decorated with paintings by [[Giovanni Battista Tiepolo]].<ref>Cabanne (1988), pp. 18–19.</ref> A series of massive earthquakes in [[Sicily]] required the rebuilding of most of them and several were built in the exuberant late Baroque or [[Rococo]] style.

===Spanish Baroque===
{{Main|Spanish Baroque architecture}}
<gallery mode="packed" heights="150px">
File:Palacio San Telmo facade Seville Spain.jpg|[[Palacio de San Telmo]], Seville, Andalusia, by [[Leonardo de Figueroa]], 1682–1754
File:Palacio de La Merced (52004775643).jpg|[[Palacio de la Merced]], Córdoba, Andalusia, 1245–1760
Palacio Real de Madrid - 13.jpg|[[Royal Palace of Madrid]], by [[Jean Bautista Sachetti]], 1735–1764<ref>{{cite book|last1=|first1=|title=1000 de Minuni Arhitecturale|date=2009|publisher=Editura Aquila|isbn=978-973-714-450-8|page=190|url=|language=ro}}</ref>
File:Catedral de Santiago de Compostela agosto 2018 (cropped).jpg|Façade of the Cathedral of [[Santiago de Compostela]], Spain, by [[Fernando de Casas Novoa]], 1738{{sfn|Bailey|2012|p=12}}
File:Barcelona - Palau de la Virreina - façana.jpg|[[Virreina Palace]] in [[Barcelona]], Catalonia, built between 1772 and 1778 by Josep Ausich
File:Basílica Mercè BCN.jpg|[[Basilica of Our Lady of Mercy]] in [[Barcelona]], Catalonia, built between 1765 and 1775 by José Mas Dordal
File:Salamanca - Clerecia 13.jpg|[[La Clerecía, Salamanca]], Castile and León, built between 1617 and 1754.
Iglesia-convento de Santa Teresa - Ávila 001.jpg|[[Iglesia-convento de Santa Teresa]], in [[Ávila]], Castile and León, built in the early 17th century
Ayuntamiento de Cuenca.JPG|Casa consistorial de Cuenca, in [[Cuenca, Spain|Cuenca]], Castile-La Mancha, built between 1760 and 1788 by Lorenzo de Santa María and Mateo López 
File:Iglesia de los Juanes, Valencia, España, 2014-06-29, DD 19.JPG|[[Church of Santos Juanes, Valencia]], built between 1240 and 1702
</gallery>

The Catholic Church in Spain, and particularly the [[Jesuits]], were the driving force of Spanish Baroque architecture. The first major work in this style was the San Isidro Chapel in [[Madrid]], begun in 1643 by [[Pedro de la Torre]]. It contrasted an extreme richness of ornament on the exterior with simplicity in the interior, divided into multiple spaces and using effects of light to create a sense of mystery.<ref>Cabanne (1988) page 48–49</ref> The [[Santiago de Compostela Cathedral]] was modernized with a series of Baroque additions beginning at the end of the 17th century, starting with a highly ornate bell tower (1680), then flanked by two even taller and more ornate towers, called the ''Obradorio'', added between 1738 and 1750 by [[Fernando de Casas Novoa]]. Another landmark of the Spanish Baroque is the chapel tower of the [[Palace of San Telmo]] in [[Seville]] by [[Leonardo de Figueroa]].<ref name="Cabanne pages 48-51">Cabanne (1988) pp. 48–51</ref>

[[Granada]] had only been conquered from the Moors in the 15th century, and had its own distinct variety of Baroque. The painter, sculptor and architect [[Alonso Cano]] designed the Baroque interior of [[Granada Cathedral]] between 1652 and his death in 1657. It features dramatic contrasts of the massive white columns and gold decor.

The most ornamental and lavishly decorated architecture of the Spanish Baroque is called [[Churrigueresque]] style, named after the brothers [[Churriguera]], who worked primarily in [[Salamanca]] and Madrid. Their works include the buildings on Salamanca's main square, the [[Plaza Mayor, Salamanca|Plaza Mayor]] (1729).<ref name="Cabanne pages 48-51" /> This highly ornamental Baroque style was influential in many churches and cathedrals built by the Spanish in the Americas.

Other notable Spanish baroque architects of the late Baroque include [[Pedro de Ribera]], a pupil of Churriguera, who designed the [[Real Hospicio de San Fernando]] in Madrid, and [[Narciso Tomé]], who designed the celebrated [[El Transparente]] altarpiece at [[Toledo Cathedral]] (1729–1732) which gives the illusion, in certain light, of floating upwards.<ref name="Cabanne pages 48-51" />

The architects of the Spanish Baroque had an effect far beyond Spain; their work was highly influential in the churches built in the Spanish colonies in Latin America and the Philippines. The church built by the [[Jesuit]]s for the [[Museo Nacional del Virreinato|College of San Francisco Javier]] in [[Tepotzotlán]], with its ornate Baroque façade and tower, is a good example.<ref>Cabanne (1988) p. 63</ref>

===Central Europe===
<gallery mode="packed" heights="170px">
File:Iglesia colegial de Poznan, Poznan, Polonia, 2014-09-18, DD 19-21 HDR.jpg|[[Poznań Fara]], Poznań, Poland, by [[Bartłomiej Nataniel Wąsowski]], [[Giovanni Catenazzi]] and [[Pompeo Ferrari]], 1651–1732
281012 Detail of the Wilanów Palace - 19.jpg|[[Wilanów Palace]], Warsaw, Poland, unknown architect, 1677–1679<ref>{{cite book|last1=|first1=|title=1000 de Minuni Arhitecturale|date=2009|publisher=Editura Aquila|isbn=978-973-714-450-8|page=208|url=|language=ro}}</ref>
File:Wien Graben Pestsäule Ostseite.jpg|[[Plague Column, Vienna]], Austria, by [[Matthias Rauchmiller]] and [[Johann Bernhard Fischer von Erlach]], 1682 and 1694{{sfn|Bailey|2012|p=216}}
File:St. Nikolaus auf der Kleinseite Innenraum 1.jpg|[[St. Nicholas Church (Malá Strana)|Church of Saint Nicholas]], Prague, Czech Republic, by [[Christoph Dientzenhofer]], 1703–1711{{sfn|Bailey|2012|p=188}}

Karlskirche Wien September 2016.jpg|Exterior of the [[Karlskirche]], Vienna, by Johann Bernhard Fischer von Erlach, 1715–1737{{sfn|Jones|2014|p=230}}

Iglesia de San Carlos Borromeo, Viena, Austria, 2020-01-31, DD 49-51 HDR.jpg|Interior of the Karlskirche, by Johann Bernhard Fischer von Erlach, 1715–1737{{sfn|Jones|2014|p=230}}

File:Palacio Belvedere, Viena, Austria, 2020-02-01, DD 87-89 HDR.jpg|[[Belvedere, Vienna#Upper Belvedere|Upper Belvedere]], Vienna, by [[Johann Lukas von Hildebrandt]], 1717–1723{{sfn|Hopkins|2014|p=77}}
File:Pałac w Rogalinie od strony ogrodu 02.jpg|Rogalin Palace, [[Rogalin]], Poland, unknown architect, 1768–1774{{sfn|Bailey|2012|p=231}}
</gallery>
From 1680 to 1750, many highly ornate cathedrals, abbeys, and [[pilgrimage church]]es were built in Central Europe, Austria, Bohemia and southwestern Poland. Some were in [[Rococo]] style, a distinct, more flamboyant and asymmetric style which emerged from the Baroque, then replaced it in Central Europe in the first half of the 18th century, until it was replaced in turn by classicism.{{sfnp|Ducher|2014|p=92}}

The princes of the multitude of states in that region also chose Baroque or Rococo for their palaces and residences, and often used Italian-trained architects to construct them.<ref>Cabanne (1988), pp. 89–94.</ref>

A notable example is the [[St. Nicholas Church (Malá Strana)]] in Prague (1704–1755), built by [[Christoph Dientzenhofer]] and his son [[Kilian Ignaz Dientzenhofer]]. Decoration covers all of walls of interior of the church. The altar is placed in the nave beneath the central dome, and surrounded by chapels, light comes down from the dome above and from the surrounding chapels. The altar is entirely surrounded by arches, columns, curved balustrades and pilasters of coloured stone, which are richly decorated with statuary, creating a deliberate confusion between the real architecture and the decoration. The architecture is transformed into a theatre of light, colour and movement.<ref name="Ducher pages 106-107" />

In Poland, the Italian-inspired [[Baroque in Poland|Polish Baroque]] lasted from the early 17th to the mid-18th century and emphasised richness of detail and colour. The first Baroque building in present-day Poland and probably one of the most recognizable is the [[Saints Peter and Paul Church, Kraków]], designed by [[Giovanni Battista Trevano]]. [[Sigismund's Column]] in [[Warsaw]], erected in 1644, was the world's first secular Baroque monument built in the form of a column.<ref>{{cite web|url=https://culture.pl/pl/dzielo/kolumna-zygmunta-iii-wazy-w-warszawie|title=Kolumna Zygmunta III Wazy w Warszawie|website=Culture.pl|access-date=24 June 2019}}</ref> The palatial residence style was exemplified by the [[Wilanów Palace]], constructed between 1677 and 1696.<ref>{{cite web|url=http://www.anothertravelguide.com/destinations/europe/poland/warsaw/culture/muzeji/wilanow_palace/|title=WILANÓW PALACE|website=www.anothertravelguide.com|access-date=24 June 2019}}</ref> The most renowned Baroque architect active in Poland was [[Dutch people|Dutchman]] [[Tylman van Gameren]] and his notable works include Warsaw's [[St. Kazimierz Church]] and [[Krasiński Palace]], [[Church of St. Anne, Kraków]] and [[Branicki Palace, Białystok]].<ref>{{cite web|url=https://www.codart.nl/guide/agenda/tylman-z-gameren-architekt-warszawy-polak-z-wyboru-holender-z-pochodzenia/|title=Tylman z Gameren – architekt Warszawy: Polak z wyboru, Holender z pochodzenia |website=CODART|access-date=24 June 2019}}</ref> However, the most celebrated work of Polish Baroque is the [[Poznań Fara]] Church, with details by [[Pompeo Ferrari]]. After [[Thirty Years' War]] under the agreements of the [[Peace of Westphalia]] two unique baroque [[wattle and daub]] structures was built: [[Church of Peace in Jawor]], [[Holy Trinity Church of Peace in Świdnica]] the largest wooden Baroque temple in Europe.

===German Baroque===
{{Main|Architecture of Germany#Baroque}}
<gallery mode="packed" heights="100px">
File:Dresden Germany Zwinger-01.jpg|[[Zwinger (Dresden)|Zwinger, Dresden]], Germany, by [[Matthäus Daniel Pöppelmann]] and [[Balthasar Permoser]], 1710–1728
File:Würzburger Residenz, Gartenfront.jpg|[[Würzburg Residence]], Würzburg, Germany, [[Balthasar Neumann]], 1720–1744
File:100130 150006 Dresden Frauenkirche winter blue sky-2.jpg|[[Frauenkirche, Dresden]], Germany, by [[George Bähr]], 1726 and 1743
</gallery>
The many [[Imperial Estate|states]] within the [[Holy Roman Empire]] on the territory of today's Germany all looked to represent themselves with impressive Baroque buildings.<ref>{{cite web |url=https://www.medievalchronicles.com/medieval-architecture/medieval-architecture-history/holy-roman-empire-architecture |title=Holy Roman Empire Architecture |website=Medieval Chronicles |date=23 May 2016}}</ref> Notable architects included [[Johann Bernhard Fischer von Erlach]], [[Lukas von Hildebrandt]] and [[Dominikus Zimmermann]] in [[Electorate of Bavaria|Bavaria]], [[Balthasar Neumann]] in [[Brühl (Rhineland)|Bruhl]], and [[Matthäus Daniel Pöppelmann]] in Dresden. In [[Prussia]], [[Frederick II of Prussia]] was inspired by the [[Grand Trianon]] of the [[Palace of Versailles]], and used it as the model for his summer residence, [[Sanssouci]], in [[Potsdam]], designed for him by [[Georg Wenzeslaus von Knobelsdorff]] (1745–1747). Another work of Baroque palace architecture is the [[Zwinger (Dresden)]], the former orangerie of the palace of the electors of [[Electorate of Saxony|Saxony]] in the 18th century.

One of the best examples of a rococo church is the Basilika Vierzehnheiligen, or [[Basilica of the Fourteen Holy Helpers]], a pilgrimage church located near the town of [[Bad Staffelstein]] near Bamberg, in Bavaria, southern Germany. The Basilica was designed by Balthasar Neumann and was constructed between 1743 and 1772, its plan a series of interlocking circles around a central oval with the altar placed in the exact centre of the church. The interior of this church illustrates the summit of Rococo decoration.<ref>Ducher (1988) pp. 104–105.</ref>
Another notable example of the style is the Pilgrimage Church of Wies ({{langx|de|[[Wieskirche]]}}). It was designed by the brothers [[Johann Baptist Zimmermann|J. B.]] and [[Dominikus Zimmermann]]. It is located in the foothills of the [[Alps]], in the municipality of [[Steingaden]] in the [[Weilheim-Schongau]] district, Bavaria, Germany. Construction took place between 1745 and 1754, and the interior was decorated with frescoes and with stuccowork in the tradition of the [[Wessobrunner School]]. It is now a [[UNESCO]] [[World Heritage Site]].

===French Baroque===
{{main|French Baroque architecture|Louis XIV style}}
<gallery mode="packed" heights="170px">
File:Château de Maisons-Laffitte 001.jpg|[[Château de Maisons]], France, by [[François Mansart]], 1630–1651{{sfn|Hopkins|2014|p=85}}

Galerie d'Apollon du Louvre déserte 1.jpg|[[Galerie d'Apollon]], Louvre Palace, Paris, by [[Louis Le Vau]] and [[Charles Le Brun]], after 1661<ref>{{cite book|last1=Sharman|first1=Ruth|title=Yves Saint Laurent & Art|date=2022|publisher=Thames & Hudson|isbn=978-0-500-02544-4|page=147|url=|language=en}}</ref>

File:Louvre-facade-est.jpg|[[Louvre Colonnade|East front]] of the Louvre Palace, Paris, by [[Claude Perrault]] and Louis Le Vau, 1665–1680{{sfn|Hopkins|2014|p=86}}
Versailles Chapel - July 2006 edit.jpg|[[Chapels of Versailles#Fifth Chapel|Chapel of the Palace of Versailles]], Versailles, France, 1696–1710<ref>{{cite book|last1=Martin|first1=Henry|title=Le Style Louis XIV|date=1927|publisher=Flammarion|isbn=|page=39|url=|language=fr}}</ref>
File:Porte Saint-Denis 01.jpg|[[Porte Saint-Denis]], Paris, by [[François Blondel]], 1672<ref>{{cite book|last1=Larbodière|first1=Jean-Marc|title=L'Architecture de Paris des Origins à Aujourd'hui|date=2015|publisher=Massin|isbn=978-2-7072-0915-3|page=73|url=|language=fr}}</ref>
File:Cathédrale Saint-Louis-des-Invalides, 140309 2.jpg|[[Les Invalides|Dôme des Invalides]], Paris, by [[Jules Hardouin-Mansart]], 1677–1706{{sfn|Bailey|2012|p=238}}
File:Chateau Versailles Galerie des Glaces.jpg|[[Hall of Mirrors]] of the Palace of Versailles, 1678–1684<ref>{{cite book|last1=Martin|first1=Henry|title=Le Style Louis XIV|date=1927|publisher=Flammarion|isbn=|page=31|url=|language=fr}}</ref>
File:Palace of Versailles June 2010.jpg|Garden façade of the Palace of Versailles, by Jules Hardouin-Mansart, 1678–1688<ref>{{cite book|last1=Martin|first1=Henry|title=Le Style Louis XIV|date=1927|publisher=Flammarion|isbn=|page=21|url=|language=fr}}</ref>
File:Cour de Marbre du Château de Versailles October 5, 2011.jpg|Marble Court of the Palace of Versailles, 1680<ref>{{cite book|last1=Martin|first1=Henry|title=Le Style Louis XIV|date=1927|publisher=Flammarion|isbn=|page=18|url=|language=fr}}</ref>
File:Place Vendome, Paris 20 April 2011.jpg|[[Place Vendôme]], Paris, by Jules Hardouin-Mansart, 1699–1706<ref>{{cite book|last1=Martin|first1=Henry|title=Le Style Louis XIV|date=1927|publisher=Flammarion|isbn=|page=15|url=|language=fr}}</ref>
File:Hôtel de Rothelin - façade cour.jpg|[[Hôtel de Rothelin-Charolais]], Paris, by [[Pierre Cailleteau]], 1700–1704<ref>{{cite book|last1=Martin|first1=Henry|title=Le Style Louis XIV|date=1927|publisher=Flammarion|isbn=|page=37|url=|language=fr}}</ref>
</gallery>

Baroque in France developed quite differently from the ornate and dramatic local versions of Baroque from Italy, Spain and the rest of Europe. It appears severe, more detached and restrained by comparison, preempting [[Neoclassicism]] and the architecture of the [[Age of Enlightenment|Enlightenment]]. Unlike Italian buildings, French Baroque buildings have no broken pediments or curvilinear façades. Even religious buildings avoided the intense spatial drama one finds in the work of [[Borromini]]. The style is closely associated with the works built for [[Louis XIV]] (reign 1643–1715), and because of this, it is also known as the [[Louis XIV style]]. Louis XIV invited the master of Baroque, Bernini, to submit a design for the new [[Louvre Colonnade|east wing of the Louvre]], but rejected it in favor of a more classical design by [[Claude Perrault]] and [[Louis Le Vau]].<ref>Cabanne (1988) pp. 25–32.</ref>{{sfn|Jones|2014|p=223}}

The main architects of the style included [[François Mansart]] (1598–1666), [[Pierre Le Muet]] (Church of [[Val-de-Grâce (church)|Val-de-Grâce]], 1645–1665) and [[Louis Le Vau]] ([[Vaux-le-Vicomte]], 1657–1661). Mansart was the first architect to introduce Baroque styling, principally the frequent use of an applied [[Classical order|order]] and heavy [[rustication (architecture)|rustication]], into the French architectural vocabulary. The [[mansard roof]] was not invented by Mansart, but it has become associated with him, as he used it frequently.{{sfn|Hopkins|2014|pp=84, 85}}

The major royal project of the period was the expansion of [[Palace of Versailles]], begun in 1661 by Le Vau with decoration by the painter [[Charles Le Brun]]. The [[Gardens of Versailles|gardens]] were designed by [[André Le Nôtre]] specifically to complement and amplify the architecture. The Galerie des Glaces ([[Hall of Mirrors]]), the centerpiece of the château, with paintings by Le Brun, was constructed between 1678 and 1686. Mansart completed the [[Grand Trianon]] in 1687. The chapel, designed by [[Robert de Cotte]], was finished in 1710. Following the death of Louis XIV, [[Louis XV]] added the more intimate [[Petit Trianon]] and the highly ornate theatre. The fountains in the gardens were designed to be seen from the interior, and to add to the dramatic effect. The palace was admired and copied by other monarchs of Europe, particularly [[Peter the Great]] of Russia, who visited Versailles early in the reign of Louis XV, and built his own version at [[Peterhof Palace]] near Saint Petersburg, between 1705 and 1725.<ref>Cabanne (1988), pp. 28–33.</ref>

===Portuguese Baroque===
<gallery mode="packed" heights="170px">
File:Biblioteca Joanina Universidade de Coimbra IMG 0664.JPG|[[Biblioteca Joanina|University Library]], University of Coimbra, Coimbra, Portugal, by [[Gaspar Ferreira]], 1716–1728{{sfn|Bailey|2012|p=269}}

File:Mafra (27595630149) (cropped).jpg|[[Palace of Mafra]], Mafra, Portugal, by [[João Frederico Ludovice]], 1717–1755{{sfn|Bailey|2012|p=245}}

Patriarcato di Lisbona (3093346552).jpg|[[Azulejo]] in the cloisters of the [[Monastery of São Vicente de Fora]], Lisbon, Portugal, with a scene based on a print by [[Jean Le Pautre]], unknown architect or craftsman, 1730–1735<ref>{{cite book|last1=van Lemmen|first1=Hans|title=5000 Years of Tiles|date=2013|publisher=The British Museum Press|isbn=978-0-7141-5099-4|page=129|url=|language=en}}</ref>

File:Bom Jesus 2017 (10).jpg|Grand Staircase of the [[Sanctuary of Bom Jesus do Monte]], Braga, Portugal, by [[Carlos Luís Ferreira Amarante]] and others, {{circa|1784}}{{sfn|Bailey|2012|p=246}}
</gallery>
Baroque architecture in Portugal lasted about two centuries (the late seventeenth century and eighteenth century). The reigns of [[John V of Portugal|John V]] and [[Joseph I of Portugal|Joseph I]] had increased imports of gold and diamonds, in a period called Royal Absolutism, which allowed the Portuguese Baroque to flourish.

Baroque architecture in Portugal enjoys a special situation and different timeline from the rest of Europe.

It is conditioned by several political, artistic, and economic factors, that originate several phases, and different kinds of outside influences, resulting in a unique blend,<ref>{{Cite web|url=https://www.nga.gov/research/publications/pdf-library/age-of-the-baroque-in-portugal.html|title=Age of the Baroque in Portugal|website=www.nga.gov}}</ref> often misunderstood by those looking for Italian art, find instead specific forms and character which give it a uniquely Portuguese variety. Another key factor is the existence of the Jesuitical architecture, also called "plain style" (Estilo Chão or Estilo Plano)<ref>{{Cite web |url=http://www.resumos.net/files/caracterizacaodaarquiteturacha.doc |title=Caracterização da arquitetura chã |access-date=3 February 2020 |archive-date=8 August 2014 |archive-url=https://web.archive.org/web/20140808093614/http://resumos.net/files/caracterizacaodaarquiteturacha.doc }}</ref> which like the name evokes, is plainer and appears somewhat austere.

The buildings are single-room basilicas, deep main chapel, lateral chapels (with small doors for communication), without interior and exterior decoration, simple portal and windows. 
It is a practical building, allowing it to be built throughout the empire with minor adjustments, and prepared to be decorated later or when economic resources are available.

In fact, the first Portuguese Baroque does not lack in building because "plain style" is easy to be transformed, by means of decoration (painting, tiling, etc.), turning empty areas into pompous, elaborate baroque scenarios. The same could be applied to the exterior. Subsequently, it is easy to adapt the building to the taste of the time and place, and add on new features and details. Practical and economical.

With more inhabitants and better economic resources, the north, particularly the areas of Porto and [[Braga]],<ref>{{Cite journal|title=Late Baroque and Rococo in North Portugal|author=Bury, J. B.|date=1956|journal=Journal of the Society of Architectural Historians|volume=15|issue=3|pages=7–15|doi=10.2307/987760|jstor=987760}}</ref><ref>{{Cite web|url=https://tastebraga.com/um-roteiro-pelo-barroco-bracarense/|title=Um Roteiro pelo Barroco bracarense|date=30 August 2017|website=Taste Braga}}</ref><ref>{{Cite web|url=https://culturanorte.gov.pt/pt/noticias/apresentacao-do-livro-itinerarios-barrocos/|title=Notícias – Direção Regional de Cultura do Norte|website=culturanorte.gov.pt|access-date=3 February 2020|archive-date=3 February 2020|archive-url=https://web.archive.org/web/20200203175857/https://culturanorte.gov.pt/pt/noticias/apresentacao-do-livro-itinerarios-barrocos/}}</ref> witnessed an architectural renewal, visible in the large list of churches, convents and palaces built by the aristocracy.

[[Porto]] is the city of Baroque in Portugal. Its historical centre is part of [[UNESCO]] [[World Heritage List]].<ref>{{Cite web|url=https://whc.unesco.org/en/list/755/|title=Historic Centre of Oporto, Luiz I Bridge and Monastery of Serra do Pilar|first=UNESCO World Heritage|last=Centre|website=UNESCO World Heritage Centre}}</ref>

Many of the Baroque works in the historical area of the city and beyond, belong to [[Nicolau Nasoni]] an Italian architect living in Portugal, drawing original buildings with scenographic emplacement such as the [[Clérigos Church|church and tower of Clérigos]],<ref>{{Cite web|url=http://www.torredosclerigos.pt/en/history-and-architecture/architecture-and-baroque/|title=Architecture and the Baroque|website=www.torredosclerigos.pt}}</ref> the logia of the [[Porto Cathedral]], the church of Misericórdia, the [[Palace of São João Novo]],<ref>{{Cite web|url=https://www.upt.pt/page.php?p=654|title=Church of S. João Novo|website=www.upt.pt}}</ref> the [[Palácio do Freixo|Palace of Freixo]],<ref>{{Cite web|url=http://www.patrimoniocultural.gov.pt/pt/patrimonio/patrimonio-imovel/pesquisa-do-patrimonio/classificado-ou-em-vias-de-classificacao/geral/view/70403/|title=DGPC &#124; Pesquisa Geral|website=www.patrimoniocultural.gov.pt}}</ref> the [[Episcopal Palace of Porto|Episcopal Palace]] ([[Portuguese language|Portuguese]]: ''Paço Episcopal do Porto'')<ref>{{Cite web|url=http://www.patrimoniocultural.gov.pt/en/patrimonio/patrimonio-imovel/pesquisa-do-patrimonio/classificado-ou-em-vias-de-classificacao/geral/view/70404|title=DGPC &#124; Pesquisa Geral|website=www.patrimoniocultural.gov.pt}}</ref> along with many others.

===Russian Baroque===
{{Main|Naryshkin Baroque|Petrine Baroque|Elizabethan Baroque|Siberian Baroque}}
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File:2019-08-02-3847-Saint Petersburg.jpg|[[Peterhof Palace|Peterhof]] Gardens, [[Saint Petersburg]], Russia, unknown architect, 1746–1758{{sfn|Bailey|2012|p=360}}
File:Smolny Cathedral SPB 02.jpg|[[Smolny Convent]], Saint Petersburg, by [[Francesco Bartolomeo Rastrelli]], 1748{{sfn|Bailey|2012|p=354}}
File:Catherine Palace in Tsarskoe Selo.jpg|[[Tsarskoe Selo]], Pushkin, Russia, by Francesco Bartolomeo Rastrelli, 1749–1756{{sfn|Bailey|2012|p=358}}
</gallery>
The debut of Russian Baroque, or [[Petrine Baroque]], followed a long visit of [[Peter the Great]] to western Europe in 1697–1698, where he visited the Châteaux of [[Palace of Fontainebleau|Fontainebleau]] and [[Palace of Versailles|Versailles]] as well as other architectural monuments. He decided, on his return to Russia, to construct similar monuments in [[St. Petersburg]], which became the new capital of Russia in 1712. Early major monuments in the Petrine Baroque include the [[Saints Peter and Paul Cathedral, Saint Petersburg|Peter and Paul Cathedral]] and [[Menshikov Palace]].

During the reign of [[Anna of Russia|Anna]] and [[Elisabeth of Russia|Elisabeth]], Russian architecture was dominated by the luxurious Baroque style of Italian-born [[Francesco Bartolomeo Rastrelli]], which developed into [[Elizabethan Baroque]]. Rastrelli's signature buildings include the [[Winter Palace]], the [[Catherine Palace]] and the [[Smolny Cathedral]]. Other distinctive monuments of the Elizabethan Baroque are the bell tower of the [[Troitse-Sergiyeva Lavra]] and the [[Red Gate]].<ref>{{cite book|author=William Craft Brumfield|title=A History of Russian Architecture|place=Cambridge|publisher=Cambridge University Press|date=1993|isbn=978-0-521-40333-7|chapter=Chapter Eight: The Foundations of the Baroque in Saint Petersburg|url-access=registration|url=https://archive.org/details/historyofrussian0000brum}}</ref>

In [[Moscow]], [[Naryshkin Baroque]] became widespread, especially in the architecture of [[Eastern Orthodox]] churches in the late 17th century. It was a combination of western European Baroque with traditional [[Russian architecture|Russian]] folk styles.

===Baroque in the Spanish and Portuguese Colonial Americas===
{{main|Mexican art#Mexican Baroque|Baroque in Brazil|Andean Baroque|Churrigueresque|New Spanish Baroque|Spanish missions in the Americas}}
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Igreja de São Francisco de Assis (Ouro Preto, MG) por Rodrigo Tetsuo Argenton.jpg|[[Church of Saint Francis of Assisi (Ouro Preto)]], Minas Gerais, [[Brazil]], by [[Aleijadinho]], 1765–1788
File:Basilica Menor de San Francisco de Asis in Havana 2016.jpg|[[Basilica of San Francisco de Asís, Havana]], Cuba, unknown architect, 1548–1738<ref>{{cite book|url=https://books.google.com/books?id=Um1dDwAAQBAJ&dq=basilica+san+francisco+havana&pg=PT32|title=100 Places in Cuba Every Woman Should Go|author=Conner Gorry|publisher=Travelers' Tales|isbn=978-1-60952-130-1|date=2018}}</ref>
File:Vista de la Fachada del Templo de San Francisco Acatepec 9.jpg|[[Church of San Francisco Acatepec]], San Andrés Cholula, Puebla, Mexico, unknown architect, 17th–18th centuries
File:Catedral metropolitana de Quito - panoramio - Quito magnífico (17).jpg|[[Quito Metropolitan Cathedral]], Quito, Ecuador, by Antonio García and others, 1535–1799
Church in Historic Center - Sucre - Bolivia.jpg|[[Metropolitan Cathedral of Sucre]] in [[Sucre]], Bolivia, 1551–1712
File:Iglesia de Santo Domingo, Santiago, 2017-09-24.jpg|[[Santo Domingo Church, Santiago de Chile|Santo Domingo Church, Santiago]], Chile, unknown architect, 1747–1808<ref>{{cite web|url=http://www.santiagocapital.cl/fichas/home/iglesia-de-santo-domingo/iglesias/|archive-url=https://web.archive.org/web/20160121200744/http://www.santiagocapital.cl/fichas/home/iglesia-de-santo-domingo/iglesias/|archive-date=21 January 2016|title=Iglesia de Santo Domingo|website=Ministry of Tourism of Chile website|language=es}}</ref>
File:Taxco Santa Prisca.jpg|[[Church of Santa Prisca de Taxco]], Taxco, Mexico, by [[Diego Durán]] and [[Cayetano Sigüenza]], 1751–1758{{sfn|Hopkins|2014|p=83}}
File:Iglesia de la Recoleccion - Leon - Nicaragua - 01 (31416391552).jpg|[[Church of la Recolección, León, Nicaragua]], 1786–1788

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{{multiple image
|direction = vertical
|align = right
|width =190px
|footer =
|image1 = Compañía de Jesus Décembre 2007 - Vue de Côté.jpg
|caption1 =Façade of the [[Iglesia de la Compañía de Jesús, Cusco|Jesuit Church of Cusco]], Peru, by Jean-Baptiste Gilles and Diego Martínez de Oviedo, 1576–1668<ref>{{cite book|url=https://books.google.com/books?id=7rIaCgAAQBAJ&q=church+of+the+society+of+jesus+cusco&pg=PT247|page=608|title=Gardner's Art through the Ages: The Western Perspective|volume=2|author=Fred S. Kleiner|edition=Fifteen|year=2010|isbn=978-1-305-64505-9|publisher=[[Cengage]]|location=Boston}}</ref>
|image2 =Fresque église huaro.JPG
|caption2 = Preserved colonial wall paintings of 1802 depicting Hell,<ref>{{cite book|url=https://books.google.com/books?id=A6nutjzmxvkC&q=historia+colonial+de+cusco&pg=PA382|page=106|title=The Colonial Andes: Tapestries and Silverwork, 1530–1830|author1=Elena Phipps|author2=Joanna Hecht|author3=Cristina Esteras Martín|date=2004|publisher=[[Metropolitan Museum of Art]]|location=New York|isbn=0-300-10491-X}}</ref><ref>{{cite book|url=https://books.google.com/books?id=Vpi5xwEACAAJ&q=SEBASTI%C3%81N+L%C3%93PEZ,+Santiago.+El+barroco+iberoamericano+1990|title=El bárroco iberoamericano. Mensaje iconográfico|date=1990|location=Madrid|page=241|publisher=Ediciones Encuentro|author=Santiago Sebastián López|isbn=978-84-7490-249-5}}</ref><ref>{{cite web|url=https://mavcor.yale.edu/conversations/collections/painting-beyond-frame-religious-murals-colonial-peru|title=Painting Beyond the Frame: Religious Murals of Colonial Peru|author=Ananda Cohen Suarez|date=May 2016|publisher=MAVCOR of the [[Yale University]]}}</ref> by Tadeo Escalante, inside the Church of San Juan Bautista in [[Huaro District|Huaro]], Peru
}}
Due to the colonization of the Americas by European countries, the Baroque naturally moved to the [[New World]], finding especially favorable ground in the regions dominated by [[Spanish America|Spain]] and [[Portuguese America|Portugal]], both countries being centralized and irreducibly Catholic monarchies, by extension subject to Rome and adherents of the Baroque [[Counter-Reformation]]. European artists migrated to America and made school, and along with the widespread penetration of [[Christian mission|Catholic missionaries]], many of whom were skilled artists, created a multiform Baroque often influenced by popular taste. The [[Criollo (people)|Criollo]] and [[Indigenous peoples of the Americas|indigenous]] crafters did much to give this Baroque unique features. The main centres of American Baroque cultivation, that are still standing, are (in this order) [[Mexico]], [[Peru]], [[Brazil]], [[Cuba]], [[Ecuador]], [[Colombia]], [[Bolivia]], [[Guatemala]], [[Nicaragua]], [[Puerto Rico]] and [[Panama]].
[[File:Honduran spanish colonial catholic painting.jpg|thumb|278x278px|Painting inside an 18th-century church in Honduras.]]
Of particular note is the so-called "Missionary Baroque", developed in the framework of the Spanish reductions in areas extending from Mexico and southwestern portions of current-day United States to as far south as Argentina and Chile, indigenous settlements organized by Spanish Catholic missionaries in order to convert them to the Christian faith and acculturate them in the Western life, forming a hybrid Baroque influenced by Native culture, where flourished Criollos and many indigenous artisans and musicians, even literate, some of great ability and talent of their own. Missionaries' accounts often repeat that Western art, especially music, had a hypnotic impact on foresters, and the images of saints were viewed as having great powers. Many natives were converted, and a new form of devotion was created, of passionate intensity, laden with mysticism, superstition, and theatricality, which delighted in festive masses, sacred concerts, and mysteries.<ref>{{cite book|author1=Thomas da Costa Kaufmann|chapter-url=https://books.google.com/books?id=Hzbsz3TOsZAC&pg=PA274|chapter=12 / East and West: Jesuit Art and Artists in Central Europe, and Central European Art in the Americas|title=The Jesuits: Cultures, Sciences, and the Arts, 1540–1773, Volume 1|editor=John W. O'Malley|editor2=Gauvin Alexander Bailey|editor3=Steven J. Harris|editor4=T. Frank Kennedy|publisher=University of Toronto Press|date=1999|pages=274–304|isbn = 978-0-8020-4287-3}}</ref><ref>{{cite book|author=Gauvin Alexander Bailey|url=https://books.google.com/books?id=6-sWGjwVmEQC&q=missions+jesuits&pg=PA1|title=Art on the Jesuit Missions in Asia and Latin America, 1542–1773|publisher=University of Toronto Press|date=1999|isbn = 978-0-8020-8507-8|pages=4–10}}</ref>

The Colonial Baroque architecture in the Spanish America is characterized by a profuse decoration (portal of [[Church of San Felipe Neri "La Profesa"|La Profesa Church]], Mexico City; façades covered with [[Talavera pottery|Puebla-style]] [[azulejo]]s, as in the [[Church of San Francisco Acatepec]] in [[San Andrés Cholula]] and [[Convent Church of San Francisco, Puebla]]), which will be exacerbated in the so-called [[Churrigueresque]] style (Façade of the Tabernacle of the [[Mexico City Metropolitan Cathedral]], by [[Lorenzo Rodríguez]]; [[Museo Nacional del Virreinato|Church of San Francisco Javier, Tepotzotlán]]; [[Church of Santa Prisca de Taxco]]). In Peru, the constructions mostly developed in the cities of [[Lima]], [[Cusco]], [[Arequipa]] and [[Trujillo, Peru|Trujillo]], since 1650 show original characteristics that are advanced even to the European Baroque, as in the use of [[Wall padding|cushioned walls]] and [[solomonic column]]s ([[Iglesia de la Compañía de Jesús, Cusco]]; [[Basilica and Convent of San Francisco, Lima]]).<ref>{{cite web|url=https://www.iberlibro.com/Historia-Arte-Cou-Jos%C3%A9-Maria-Azcarate/30142498322/bd|author1=José Maria Azcarate Ristori|author2=Alfonso Emilio Perez Sanchez|author3=Juan Antonio Ramirez Dominguez|title=Historia Del Arte|date=1983}}</ref> Other countries include: the [[Metropolitan Cathedral of Sucre]] in Bolivia; [[Cathedral Basilica of Esquipulas]] in Guatemala; [[Tegucigalpa Cathedral]] in Honduras; [[León Cathedral, Nicaragua|León Cathedral]] in Nicaragua; the [[Church of la Compañía de Jesús, Quito]], Ecuador; the [[Church of San Ignacio, Bogotá]], Colombia; the [[Caracas Cathedral]] in Venezuela; the [[Cabildo of Buenos Aires]] in Argentina; the [[Santo Domingo Church, Santiago de Chile|Church of Santo Domingo]] in [[Santiago]], Chile; and [[Havana Cathedral]] in Cuba. It is also worth remembering the quality of the churches of the [[Jesuit Missions of Chiquitos|Spanish Jesuit Missions in Bolivia]], [[Jesuit Missions of La Santísima Trinidad de Paraná and Jesús de Tavarangue|Spanish Jesuit missions in Paraguay]], the [[Spanish missions in Mexico]] and the [[Spanish missions in California|Spanish Franciscan missions in California]].<ref>{{cite book|url=https://www.iberlibro.com/DICCIONARIO-ENCICLOPEDICO-LAROUSSE-12-TOMOS-VV.AA/1337306759/bd|title=Diccionario Enciclopedico Larousse. 12 Tomos.|author=Larousse|publisher=Editorial Planeta|date=1990|location=Barcelona}}</ref>

In [[Brazil]], as in the metropolis, [[Portugal]], the architecture has a certain [[Italian Baroque architecture|Italian influence]], usually of a [[Francesco Borromini|Borrominesque]] type, as can be seen in the [[Co-Cathedral of Recife]] (1784) and [[Church of Nossa Senhora da Glória do Outeiro]] in [[Rio de Janeiro]] (1739). In the region of [[Minas Gerais]], highlighted the work of [[Aleijadinho]], author of a group of churches that stand out for their curved planimetry, façades with concave-convex dynamic effects and a plastic treatment of all architectural elements ([[Church of São Francisco de Assis, Ouro Preto]], 1765–1788).

===Baroque in the Spanish and Portuguese Colonial Asia===
{{see also|Earthquake Baroque}}
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File:Restos de la Catedral de San Pablo, Macao, 2013-08-08, DD 05.jpg|[[Ruins of Saint Paul's|São Paulo]] in [[Macau]], China, unknown architect, 1601{{sfn|Bailey|2012|p=226}}
File:Eglise St Paul.jpg|[[St. Paul's Church, Diu|São Paulo]] in [[Diu, India]], unknown architect, 1601{{sfn|Bailey|2012|p=378}}
File:Manila Cathedral (1792) by Brambila.jpg|[[Manila Cathedral]] in a painting of 1792, in [[Intramuros]], Manila, Philippines
File:Old Goa Church 01.jpg|[[Basilica of Bom Jesus]] in [[Goa]], India, 1594–1605
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In the [[Portuguese India|Portuguese colonies of India]] ([[Goa]], [[Daman and Diu]]) an architectural style of Baroque forms mixed with Hindu elements flourished, such as the [[Se Cathedral]] and the [[Basilica of Bom Jesus]] of Goa, which houses the tomb of St. [[Francis Xavier]]. The set of [[churches and convents of Goa]] was declared a [[World Heritage Site]] in 1986.

In the [[Philippines]], which was a Spanish colony for over three centuries, a large number of [[Baroque Churches of the Philippines|Baroque constructions]] are preserved. Four of these as well as the Baroque and Neoclassical city of [[Vigan]] are both [[UNESCO]] [[World Heritage Site]]s; and although they lack formal classification, The [[Intramuros|Walled City of Manila]] along with the city of [[Tayabas]] both contain a significant extent of Spanish-Baroque-era architecture.

===Echoes in Wallachia and Moldavia===
{{main|Brâncovenesc style}}
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File:Biserica „Înălțarea Domnului” (1).jpg|[[Golia Monastery]] Church, [[Iași]], Romania, unknown architect, 1650–1660

Hurezi (14572944446).jpg|[[Horezu Monastery]], Horezu, Romania, with a [[Solomonic column]], unknown architect, 17th–18th centuries<ref>{{cite book|last1=Florea|first1=Vasile|title=Arta Românească de la Origini până în Prezent|date=2016|publisher=Litera|isbn=978-606-33-1053-9|page=243|url=|language=ro}}</ref>

File:Horezu bis man portal.jpg|Door and ''[[pisanie]]'' of the Saints Constantine and Helena Church, Horezu Monastery, unknown architect or sculptor, 1692–1694

File:Palatul Brâncovenesc, Potlogi, DB, 4.JPG|Maximalist railing of the [[Potlogi Palace]], Potlogi, unknown architect, 1698

File:Mogosoaia Museum (128813769).jpeg|Twisting columns and railings of the [[Mogoșoaia Palace]], Mogoșoaia, unknown architect, early 18th century{{sfn|Celac|Carabela|Marcu-Lapadat|2017|p=216}}

Stone in the courtyard of the Antim Monastery 19.jpg|[[Cartouche (design)|Cartouche]] on a damaged stone in the courtyard of [[Antim Monastery]], Bucharest, unknown sculptor, late 17th-early 18th century
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As we saw, the Baroque is a Western style, born in Italy. Through the commercial and cultural relationships of Italians with countries of the [[Balkan Peninsula]], including [[Moldavia]] and [[Wallachia]], Baroque influences arrive to Eastern Europe. These influences were not very strong, since they usually take place in architecture and stone-sculpted ornaments, and are also mixed intensely with details taken from [[Byzantine art|Byzantine]] and [[Islamic art]].

Before and after the fall of the [[Byzantine Empire]], all the art of Wallachia and Moldavia was primarily influenced by that of [[Constantinople]]. Until the end of the 16th century, with little modifications, the plans of churches and monasteries, the murals, and the ornaments carved in stone remain the same as before. From a period starting with the reigns of [[Matei Basarab]] (1632–1654) and [[Vasile Lupu]] (1634–1653), which coincided with the popularization of Italian Baroque, new ornaments were added, and the style of religious furniture changed. This was not random at all. Decorative elements and principles were brought from Italy, through [[Venice]], or through the [[Dalmatia]]n regions, and they were adopted by architects and craftsmen from the east. The window and door frames, the ''[[pisanie]]'' with dedication, the tombstones, the columns and railings, and a part of the bronze, silver or wooden furniture, received a more important role than the one they had before. They existed before too, inspired by the Byzantine tradition, but they gained a more realist look, showing delicate floral motifs. The [[relief]] that existed before too, became more accentuated, having volume and consistency. Before this period, reliefs from Wallachia and Moldavia, like the ones from the East, had only two levels, at a small distance one from the other, one at the surface and the other in depth. Big flowers, maybe [[rose]]s, [[peony|peonies]] or [[thistle]]s, thick leaves, of [[Acanthus (ornament)|acanthus]] or another similar plant, were twisting on columns, or surround door and windows. A place where the Baroque had a strong influence was [[column]]s and the [[Guard rail|railing]]s. [[capital (architecture)|Capitals]] were more decorated than before with foliage. Columns have often twisting shafts, a local reinterpretation of the [[Solomonic column]]. [[Maximalism|Maximalist]] railings are placed between these columns, decorated with [[rinceau]]x. Some of the ones from the [[Mogoșoaia Palace]] are also decorated with dolphins. [[Cartouche (design)|Cartouches]] are also used sometimes, mostly on tombstones, like on the one of [[Constantin Brâncoveanu]]. This movement, is known as the '''[[Brâncovenesc style]]''', after [[Constantin Brâncoveanu]], a ruler of Wallachia whose reign (1654–1714) is highly associated with this kind of architecture and design. The style is also present during the 18th century, and in a part of the 19th. Many of the churches and residences erected by [[boyard]]s and [[voivode]]s of these periods are Brâncovenesc. Although Baroque influences can be clearly seen, the Brâncovenesc style takes much more inspiration from the local tradition.

As the 18th century passed, with the [[Phanariots|Phanariot]] (members of prominent [[Greeks|Greek]] families in [[Fener|Phanar]], Istanbul) reigns in Wallachia and Moldavia, Baroque influences come from Istanbul too. They came before too, during the 17th century, but with the Phanariots, more Western Baroque motifs that arrived to the [[Ottoman Empire]] had their final destination in present-day Romania. In Moldavia, Baroque elements come from Russia too, where the influence of Italian art was strong.<ref>{{cite book|author=[[George Oprescu]]|title=Manual de Istoria Artei - Barocu
|date=1985|publisher=Editura Meridiane|isbn=|pages=233, 234, 235, 236, 237, 238|url=|language=ro}}</ref>