Editing Baroque (section)

===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.