Rococo architecture
Rococo architecture, prevalent during the reign of Louis XV in France from 1715 to 1774, was characterized by the use of rocaille motifs such as shells, curves, mascarons, arabesques, and other classical elements. This period marked an abandonment of the symmetry of earlier Baroque styles in architectural design like facades, cornices, and pediments, opting instead for a more flexible and visually engaging style that maintained a level of classical regularity.[1] Light pastel colors, including shades of blue, green, and pink, replaced the darker elements characteristic of Baroque architecture, such as exposed limestone and extensive gilding.[2]
The iconography of Rococo architecture, predominantly associated with 18-century Europe, had a considerable influence on various architectural styles globally over subsequent centuries. These styles include Dutch Colonial, French Colonial, Neoclassical, Greek Revival, Belle Epoque, Second Empire, Victorian, Art Deco, and Art Nouveau, reflecting Rococo's enduring impact on architectural design trends.[3]
Exterior Design and Andrea Paladio's Quattro Libri
Eighteenth century architecture was influenced by classical ideals of symmetrical design, including columns, capitals, pediments, architraves, statuary, and other exterior ornamentation. The permutations of Andrea Palladio's Quattro Libri Dell'Architectura, or Four Books on Architecture, written in Italy in 1570, were commonly used throughout the second half of the second millennium CE as a template for designing buildings in styles such as Renaissance, Baroque, Rococo, Neoclassical, and Greek Revival, helping architects arrange the rooms and basic exterior elevations of the built environment.[4] During the Rococo period, architects continued to use these basic designs, but adapted them with asymmetrical forms, whimsical curves, and bright colors to form more varied, interesting designs. While some architectural historians might consider the Rococo period to be a form of late Baroque architecture, the majority consider it to be a distinct architectural style. [5]
By the end of the eighteenth century, Rococo was becoming considered a more elaborate, grandiose style with garish cartouches and overly flamboyant curves and gilt ornamentation. As a reaction, the Neoclassical style attempted to return to the simpler allegorical forms and motifs of ancient Greece and Rome.[6] All of these architectural styles incorporated allegorical motifs, such as acanthus leaves, cupids, putti, and Greek and Roman gods and goddesses to project an image of sophistication and moral stability. [7] One motif central to many Rococo architectural friezes was the mascaron, an allegorical face which could serve as either a welcoming symbol or a warning to stay away, depending on the expression it was making. [8]
Interior Elements and Classical Allegorical Motifs
The interiors of Rococo buildings were intended to project an image of both impressive detail and comfort to occupants and visitors. Buildings such as the Hotel Soubise in France and the Catherine Palace in Russia employed copious use of mirrors and large windows, surrounded by gilt frames and arabesques, to project large, bright, and open interiors in rooms such as ballrooms, antechambers, and state dining rooms. Historic plasterwork, water gilding, marquetry and parquet floors, and painted and gilded plafond ceilings were combined with the decorative arts, furniture, and other interior elements to achieve the desired image of interior ornamentation.
Arabesques were wall panels that could be framed or recessed from the walls, or could be plastered onto level walls with techniques such as trompe l'oeil, meaning fool the eye in French, in which false borders around the panels were painted onto the plaster wall in order to distinguish the arabesque panel from the remainder of the wall in a manner that might fool the viewer into believing the panel was separate from the rest of the flat wall.[9] These arabesque panels might contain classical allegorical motifs, such as acanthus leaves, vases, mascarons, and other designs that were based on ancient Greece and Rome, or could contain chinoserie iconography, which was typically based on how European artists wanted to portray Chinese and other East Asian art. [10] These motifs could be painted or plastered onto the wall or panel, or could be inlaid from materials such as marquetry woodwork, lacquered jade, or in the case of Catherine Palace in Tsarskoye Selo, Russia, were even inlaid into amber panels of different colors to form the imagery. [11]
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Decorative art and furniture during the Rococo period was designed to be both at least moderately useful and practical, as well as comfortable. In contrast with the large, dark wooden chairs framed with gold leaf used in the earlier Baroque period, Rococo chairs were typically upholstered with bright cushions and designed to withstand moderately heavy use. Decorative arts, such as soft paste porcelain plaques, could be inlaid into furniture, such as armoires, commodes, console tables, secretaires, and writing tables, and pendulum clocks, vases, and other decorative objects would have completed the Rococo interiors.[12]
Flooring
Wooden flooring during the Rococo period could use a parquetry design, in which panels of wood stained into different colors were inlaid into the floor to create symmetrical and visually interesting designs.
Plafonds
Ceilings in large Rococo buildings could be called a plafond, which were often painted and gilded with scenes from ancient Greek and Roman myths, and other classical and allegorical motifs, which could be representative of social values in addition to decorative representations of history.[13]
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Rococo Palace Architecture
Some of the largest and most well known examples of Rococo architecture are royal palaces and other grand houses, including the Nymphenburg Palace and Sans Souci Palace in Germany, the Runsa and Salsta Palaces in Stockholm, Sweden, and the Alexander Palace, Catherine Palace, Pushkin Palace, and Winter Palace in Russia.[14] Many of these palaces and other grand houses have been preserved as historic house museums. [15]
Interiors and Use of Space
The interior use of space in a Rococo palace often featured a two, three, or four level structure, of which each level was two rooms wide. In place of the use of hallways and corridors to access rooms distributed through each level, one or more grand staircases, in addition to service stairwells and lifts, would typically access a central point on the upper levels, from which occupants and visitors would then pass through a series of rooms, such as libraries, antechambers, chambers, boudoirs, and dressing rooms, each progressing from more public to private spaces as business was conducted. This would facilitate a more mixed use, social, and hierarchical use of space between the rooms in addition to increasing the net usable square footage of the palace structure by omitting significant amounts of unusable square footage that would otherwise be dedicated to corridors and passageways. When hallways did connect rooms, they were often used only by servants and workers, traversing behind fireplaces and service entrances, while occupants and guests of higher social status would travel through the full suite of rooms to reach their intended destination. Butlers' pantries, guardrooms, ancillary offices, porcelain and silver cabinet rooms, warming kitchens, and other rooms with service functions were often located on the ground level, with access to outdoor outbuildings and service entrances, stairwells, and lifts, while ballrooms, chapels, reception rooms, more important offices, and state dining rooms might be located closer to the center of the palace, with more access to a grand staircase and other important rooms.[16]
Food Service
Eighteenth century kitchens for large houses and palaces were typically a separate building from the main structure. This reduced the amount of heat and smell generated from the kitchen that would enter the main palace, and in the event of a fire in the kitchen, the main palace would be at less risk of full involvement than it would be if it was attached to the cooking kitchen. Once the food was cooked in the outdoor kitchen, it would then be brought to a warming kitchen, typically a room on the ground floor of the main palace, where it would be prepared on plates and other dishes brought from the porcelain cabinet or butler's pantry. The food would then be brought from the warming kitchen to the dining room by way of a special hallway, stairwell, or elevator from where it would be served to the participants of the meal. The food elevator could take the form of a dumbwaiter, or simple cargo elevator powered by a mechanical or steam pulley or shaft, or the form of a system of thieves, in which each place setting within the dining table contained its own elevator to raise and lower dishes between the warming kitchen and the dining room. In some cases, this could eliminate the need for servants to be in the dining room altogether, which could be beneficial if the participants of the meal wanted greater privacy to discuss classified information.
Retreat Buildings
Some Rococo palace complexes could contain retreat buildings, which were separate living and dining areas from the main palace that could offer greater intimacy from the large circulation of family and government officials, servants, and guests in the main palace. These buildings were sometimes referred to as hermitages, and were often two levels tall with a few rooms on each level.
Carriage Houses
Rococo palace complexes often contained carriage houses for the storage and maintenance of horse powered wagons and equipment, which were often adjoined to stables and grazing areas for the horses that powered them.[17] In the English speaking world, this complex for equine housing and care was often known as a mews building, and many historic British mansions contained a separate mews building for the care of horses and horse powered equipment. [18]
Service Outbuildings and Dependencies
In addition to the cooking kitchen and the carriage house, Rococo palaces often contained numerous other outbuildings and dependencies, such as the scullery, where vegetables were prepped and the dishes were washed, and the smokehouse, where meats were stored over hot coals in order to extend the usefulness and freshness of the smoked meats. The servant's quarters could occupy a separate outbuilding from the main palace, or could be located in an area of the main palace accessible only by a separate circulation system of corridors and stairwells from that used by occupants and visitors of higher social status in the central block of the building.
Rococo Landscaping
A Rococo palace or grand house could contain several formal and informal gardens, including parterres, vegetable gardens, hedge mazes, fountains, and reflecting ponds.[19] Parterres, which were formal gardens closely mowed with scythes, mowers, and other implements to a height of no more than about half a meter, were considered the most private outdoor areas to discuss any confidential information, as any other palace officials or visitors that would be within a range to hear a conversation would be visible due to the lack of substantial shrubbery. [20] [21] Vegetable gardens could be grown by servants and gardeners to produce foods that supplemented those purchased from external sources. Hedge mazes could be grown with both an entrance and an exit, with the object of the maze being for the participant to navigate their way through the passages, or with only one entrance that also doubled as the exit, with the object of the maze being for the participant to locate a central cul-de-sac. [22] This was a small clearing near the center of the maze which could include small statues or fountains, and was considered an appropriate location for couples on a date to make out.[23] One of the most common forms of pottery in Rococo gardens was the campana vase, a large stone vase with a narrow base and a large, wide, cylinder shaped body which was based on ancient Roman vases and jugs used in wine production. [24]
References
- ^ "The Rococo style – an introduction · V&A". Victoria and Albert Museum.
- ^ "The Rise of Pastel in the Eighteenth Century". The Metropolitan Museum of Art.
- ^ "The Exuberant and Ornate Style of Rococo: An Exploration of 18th-Century Art and Design". www.madridacademyofart.com. December 22, 2021.
- ^ "Andrea Palladio | I quattro libri dell'architettura di Andrea Palladio . . . | Venice: Domenico de'Franceschi, 1570". The Metropolitan Museum of Art.
- ^ Saisselin, Rémy G. (1960). "The Rococo as a Dream of Happiness". The Journal of Aesthetics and Art Criticism. 19 (2): 145–152. doi:10.2307/428280. JSTOR 428280 – via JSTOR.
- ^ "Neo-classicism and the French Revolution". Oxford Art Online.
- ^ Venable, Bradford (2008). "The "Iconologia:" Helping Art Students Understand Allegory". Art Education. 61 (3): 15–21. JSTOR 27696292 – via JSTOR.
- ^ "Grotesque heads or mascarons from Pont-Neuf, small arm, upstream side | Musée Carnavalet - Histoire de Paris". www.carnavalet.paris.fr.
- ^ "Trompe l'oeil".
- ^ "Chinoiserie – an introduction · V&A". Victoria and Albert Museum.
- ^ Art, Authors: Department of Islamic. "Geometric Patterns in Islamic Art | Essay | The Metropolitan Museum of Art | Heilbrunn Timeline of Art History". The Met’s Heilbrunn Timeline of Art History.
- ^ "Rococo Decorative Arts of the Mid-1700s". www.nga.gov.
- ^ "Jeremias Wachsmuth | Design for a Ceiling Decoration, Plate 4 from 'Unterschiedliche neu inventierte Deken oder Plafond'". The Metropolitan Museum of Art.
- ^ Pinna, Geovanni (2001). “Introduction to Historic House Museums” Museum International.
- ^ Chateau de Versailles (2023). “Preventative Conservation in Historic Houses and Palace Museums: Assessment Methodologies and Applications”
- ^ "Inside the Baroque palace · V&A". Victoria and Albert Museum.
- ^ "The Garden and Coach House of 524 Keizersgracht in Amsterdam, Hendrik Keun, 1772". Rijksmuseum.
- ^ "History of the Royal Mews". www.rct.uk.
- ^ "Painswick Rococo Garden, Gloucestershire". March 6, 2021.
- ^ "Parterre gardens". English Heritage.
- ^ "Parterre - History of Early American Landscape Design". heald.nga.gov.
- ^ "The Maze | Hampton Court Palace | Historic Royal Palaces".
- ^ Matthews, William Henry (November 19, 1922). Mazes and Labyrinths: A General Account of Their History and Developments. Longmans, Green. ISBN 9781690139263 – via Google Books.
- ^ Chappell, Troy Dawson (2016). “An English Pottery Heritage” Northern Ceramic Society.