In this essay I will put forth an argument to prove that in Baroque architecture the plan alone can not give one a

particularly well in the example of Borromini's San Carlino.

experience as you move through the building. As your eye gets swept up and along the walls it is a delight

interpreted as a complex composition of geometrical forms. But as you move throughout this complex

The plans use of geometric forms create domes of various shapes and sizes producing a three dimensional experience that produces a strong consciousness of the mass of the building and the space enclosed within. Baroque utilizes bold masses of curved shapes, strong lines and rich colours. It was about magnificent exaggeration, little attention was paid to proportion, indeed it could be said that the only proportion observed is one of overwhelming the viewer with exaggeration. In painting and sculpture this was achieved by means of highly developed naturalistic illusionism, usually heightened by dramatic lighting effects, creating an unequaled sense of theatricality, energy and movement of forms, Architecture, departing from the classical canon revived during the Renaissance, took on the fluid, plastic aspects of sculpture.

Some topics in this essay:
Europe Baroque, Le Notre, Rome Baroque, San Carlo, Europe Borromini, Francesco Borromini, Vision Movement, Americas Seventeenth, Quattro Fontane, Fontane Rome, baroque architecture, carlo alle, quattro fontane, alle quattro fontane, san carlo, carlo alle quattro, san carlo alle, alle quattro, baroque style, san carlino, move building, means propagating faith, upper story, means propagating, quattro fontane rome,