Some features of the turning point between Baroque and Classicism in Russian architecture.

They have both common features and differences, because each of the architectural directions has its own unique properties.

In the era of Enlightenment and New Time in European countries - the period from the 17th to the 19th centuries, bright and rich stylistic trends in art appeared. Baroque, Rococo, Classicism, Empire - these are a few of the styles that were known at that time. Such a high development of architectural art was caused by the fact that royal, imperial and aristocratic dynasties succeeded each other, and each of them wanted to glorify itself and the period of its reign with real masterpieces of art and magnificent creations of architecture.

How does the Empire style (late classicism) differ from ordinary classicism?

Two popular trends - Empire and classicism in architecture - have left a great mark on history. At its core, the Empire style is one of the stages in the historical development of classicism, one of its branches, therefore it is impossible to talk about these styles as completely different directions.

If you ask architects how Empire differs from classicism, it will be difficult even for specialists to answer this question. Empire style is the final stage in the development of classicism; it was popular in the first three decades of the 19th century. Empire, or late classicism - this is how this direction is designated in art, was called upon to serve the state during the reign of Napoleon in order to glorify his personality and the exploits he accomplished.

Classicism began to gradually move into the Empire era during the Napoleonic Empire; these trends were focused on the depiction of art from the period of antiquity. Architects of this time used elements that allowed them to convey as accurately as possible the military valor and majestic power of the state.

For this purpose, decorative techniques such as lictors' bands, military armor, laurel wreaths, lions, and eagles were used. Such elements were also used during the era of the development of classicism in architecture, however, the significant difference is that the Empire style borrowed architectural forms inherent primarily in Ancient Rome, and classicism mainly used the heritage of Ancient Greece. A striking example of a building in the classicist style is the Villa Rotonda in Italy, the author of which was the architect A. Palladio.

How does the Empire style differ from classicism when it comes to choosing colors when arranging premises? The interior, decorated according to the laws of classicism, was strictly maintained in light and rich tones of vanilla, pale blue and the color of young foliage were widely used.

Objects in bright, saturated colors were almost impossible to see, while during the Empire period, on the contrary, designers skillfully combined flashy bright colors with delicate and soft shades. The predominance of rich green and purple shades, as well as gilding, is another technique characteristic exclusively of the Empire era.

The difference between neoclassicism and classicism and empire style

Another common feature for these two directions is the use of expensive wood and luxurious fabrics when decorating the interior of the premises. It was often possible to see pieces of furniture decorated with inlays made of other types of wood, natural stone or ivory.

Among the general characteristics of the trends, one cannot help but notice that they equally often use flower patterns as decoration. Special attention was paid to the choice of fabrics for interior decoration in the era of classicism and empire style. It was possible to add luxury and pomp to the room through the use of natural silk and tapestries with various motifs. Here we should immediately note the difference between neoclassicism and classicism and empire style - it uses exclusively artificial silk, which looks as expensive as natural material.

The differences between Empire style and classicism lie in the fact that the former was characterized by pronounced pomp and luxury. Classicism was endowed with less monumentality; it is more characterized by restraint of forms and lines in the construction of architectural structures and interior design. There is another distinctive feature of the Empire style, characteristic exclusively of this direction - the widespread use of mirrors.

Classicism, neoclassicism and Russian Empire style: similarities and differences

Classicism, Russian Empire and Neoclassicism, like many other architectural styles, had much in common.

First of all, we should mention the following similarity of directions:

1. Luxury. The styles were intended for decorating the interiors of representatives of the aristocracy, which is why many call them “palace” and “royal”. If you pay attention to all the styles that declared themselves in the period from the 17th to the 19th centuries, the most modest was classicism and neoclassicism, although in fact the interiors were distinguished by unprecedented luxury.

2. Large and spacious rooms. The premises of these eras were characterized by rooms with large spaces and high ceilings. This was least characteristic of the Rococo style if we compare all architectural trends of that time.

3. Decoration methods. To decorate the premises, the purpose of which was to give the interior luxury and richness, elements such as stucco molding, wall paintings and paintings with classical subjects, and wood carvings were used.

Neoclassicism differs from classicism and empire style in that this trend, popular at the end of the 18th and beginning of the 19th centuries, inherited the traditions of not only the period of antiquity, but also the art of the Renaissance can be traced in it. In principle, neoclassicism is essentially a continuation of classicism, its modern completion.

Modern, Baroque, Empire, Classicism: distinctive features

Baroque, classicism and modernism are movements that have many distinctive features. Modernism is a “quotation” of all three of these classical styles. It was formed under the strong influence of the culture of Japan, Ancient Egypt and countries of other ancient civilizations.

The difference between Baroque, Empire and Classicism on the one hand and Art Nouveau on the other is that with the advent of the latter movement, architectural art abandoned the heritage of previous eras. During this period, there is a rejection of straight lines and clear geometric shapes, conservatism and pathos in favor of more natural curved, rounded lines and asymmetry.

What is the difference between eclecticism and modernism from empire style?

The majestic Empire style was replaced by eclecticism at the beginning of the 19th century.

Eclecticism and modernism differ from empire style and classicism in that they represent a mixture and “quotation” of all previous styles at the same time.

As a rule, eclecticism unites adjacent, not opposite, directions. Interior elements that are different in style must have something in common - color, texture, general design. On furniture you can see patterns such as stripes, zigzags, circles. Oriental bedspreads and carpets, patterned wallpaper, niches, rounded corners - all this is characteristic of eclecticism.

In general, classicism has much in common, while modernism and eclecticism are their complete opposite.

History itself proves that classical art is eternal. His ideals originated in the ancient world. Time passed, empires collapsed, generations replaced generations. After the Middle Ages, which was considered a decadent period, European art turns to the ideals of the past and begins to draw them precisely from the ancient heritage. The beginning of a new stage in culture, and in particular in architecture and decoration, was laid in the 16th century by the Italian Renaissance. In the interiors of the palaces, hitherto unseen luxury and decorativeness appeared, represented by individual elements that came from the ancient era. The 17th century was the heyday of the classics. It reached its vivid embodiment in the interiors of French palaces during the reign of Louis XVII. It was then that the magnificent Versailles was created. The same century gave rise to a variety of classical styles - Baroque, Rococo, Empire, etc.

Classics and classicism in the interior

By the way, in the description of interior art the terms “classic” and “classicism” are often used. What if there is a fundamental difference between them? Without going into theoretical discussions, let us note: there is a point of view that classicism differs from classics in that it is not a qualitative, but a functional concept that reflects a special type of artistic thinking based on the desire for integrity, clarity, simplicity, balance and logic. In architecture and interior art, the concept of classicism is often used when it comes to the interpretation of the ancient heritage. And the concept of “classic” summarizes the various branches of classical art - baroque, French classicism, rococo, empire, etc. In fairness, it is worth noting that the concept of “classicism” itself appeared only in the 19th century, when this era was already at its end and with This is where the adherents of the romantic movement began their irreconcilable struggle.

Baroque in the interior

The Baroque style originated during the time of one of the most amazing masters of the Italian Renaissance - Michelangelo Buonarroti in the 16th century. Baroque fully revealed itself in France and existed until the middle of the 18th century. Solemnity, dynamism, picturesqueness - this is what characterizes Baroque. His favorite shapes are curved, oval, twisted. They appear both in architectural elements and in furniture, accessories, and individual details. It is not for nothing that the word “baroque” comes from the Portuguese perola barroca - “pearl of a bizarre shape.” The interior decoration is deliberately overloaded with decor: stucco molding, gilded carved baguettes, inlays, etc. Luxury is rampant in all its manifestations.

Rococo in the interior

Rococo appeared in France at the beginning of the 18th century and existed almost until the end of this century. Some considered it a "thinning" of the Baroque. But in essence, their aesthetics do not have striking differences. Rococo, like Baroque, promotes luxury and decorative richness of the interior. Effectiveness is what Rococo used all the familiar elements of Baroque for. But Rococo chooses ornament as a vector of his artistic thought. This style is characterized by complex fractional asymmetrical designs, the favorite motifs of which are plant curls, cupids, rocailles, etc. Graceful stucco molding in the form of lush garlands of flowers, curved branches, birds, etc. is also used.

English classics

English classics, or Victorian style - this double name is due to the fact that English classics took shape during the reign of Queen Victoria (1837-1901). It all started with the fact that the nascent style began to try on all the previously existing trends - Rococo, Empire, Neoclassicism, etc., there was even a “Gothic Revival” movement. Such eclecticism, perceived by some scholars as proof of the conventionality of the Victorian style (there are proposals to even put this definition in quotation marks), nevertheless gave the English classics its own individual character. The furnishings of an English house correspond to the desire of the English aristocracy of that time for a prosperous and measured life. The rooms are filled with various decorative details. The furniture is massive and made of natural materials. Wood in the form of panels was also used in wall decoration. Popular accessories included antiques, porcelain sets, paintings of dogs and horses, and sculptures. Favorite colors of the English classics are yellow, beige, red, brick, green. The decor of such an interior cannot be done without floral patterns on curtains, upholstery and tablecloths, as well as a laconic bright check on a traditional English plaid. A bookcase, or library, became an obligatory piece of furniture in this era. And of course, a fireplace that warms the inhabitants of Foggy Albion. The interior in the English style may seem heavy to many, as if the past has frozen in it, only the grandfather clock, striking loudly every hour (one of the key objects of the English classics), reminds of the incessant passage of time.

Text - Natalya Novikova

The art of the 17th and 18th centuries formed two amazing styles - classicism and baroque. These two largest pan-European styles existed side by side for two centuries. Despite obvious differences, they interacted closely with each other. During their development, classicism and baroque found themselves not only in world and Russian architecture, but also in sculpture, literature, interior design and art. We will consider a comparison of classicism and baroque, two styles, bright, shocking and unique.

History of classicism

Classicism translated from Latin means “exemplary”. A memorable trend in European culture arose in the 17th century. This was the era of the strengthening of the monarchy, everything had to be perfect and at the same time luxurious, which can be seen in the impeccable figures of the ancient world.

The founder of the classicism style was France, where the spirit of freedom and perfection of man, both spiritual and physical, flew. Strict, ideal silhouettes in architectural ensembles, antique subjects in paintings and sculptures, rich but restrained interior decoration. All these are features of classicism.

In Russia, this style took hold under Catherine II; her desire to Europeanize the country played a key role in the construction of famous architectural monuments of that time.

Classicism is classic, harmony of man and nature, simple and laconic in its direction. The style, where certain rules must be followed, very quickly found itself in the palace culture in Germany, Italy, England and Russia.

Baroque history

Baroque means “loose”, “prone to excess”. Italy became the founder of this pompous style. End of the 16th century. - the era of the Renaissance, the strengthening of Catholic power, bright, bold and majestic, it had to make an impression. All the distinctive elements of the Baroque were embodied in the Catholic cities of Italy.

However, European countries also adopted for themselves certain attributes and elements of the “loose” Italian style. England, France, Russia used new cultural trends in their architecture and interior in order to emphasize their brilliance and uniqueness.

The style, aimed at creating the illusion of wealth and luxury of the church, as well as the Italian nobility, was subsequently reflected in all countries of Europe, America and Russia. And he remained an immortal companion of the Catholic Church.

Comparison and classicism

The two styles have walked side by side for centuries. However, they have obvious differences in the history and purpose of creation, in embodiment in art.

Comparison of classicism and baroque

Direction	Classicism	Baroque
General	Ancient art is taken as a model. Simplicity, sophistication, clear and concise images. Ideal rationality. Strictness, uniform images, balance of details	Luxury and pomp, demonstrative wealth are taken as a model. Strong contrasts, theatricality. Bright expressiveness
In art	Volumetric balanced compositions, clarity of lines, ancient ideals in art. Clear plot, restrained emotions	Rapid development of actions. Strong, vivid emotions. Enthusiastic images. Intricate plot
In architecture	Strict clear forms. Scale. Greatness. Harmonious proportions, monumentality. Rigorous simplicity	Complex curved shapes. Festive pomp. Large-scale colonnades, distortion of the proportions of buildings. Color contrasts, large windows
In the interior	Expensive, discreet materials. Calm colors, rich simplicity. Predominance of geometric shapes. Antique ornaments	Rich, varied materials in decor. Bright combinations, gold, marble, varnish. Complex ornaments. Painting on the ceiling, large furniture

Classicism and Baroque clearly

Main features baroque and classicism luxury and discreet wealth. Both styles are reflected in expensive works of art and striking architectural structures. Let's look at the most famous objects of two different styles from the same time period.

Classicism is, of course, Vosstaniya Square and the Pantheon in Paris. St. Isaac's and Kazan Cathedrals in St. Petersburg. Bolshoi Theater in Warsaw. The famous painting by Jacques-Louis David "Napoleon's Crossing of the Alps" completely reflects the style of classicism in painting. "Psyche Awakened by Cupid's Kiss" is the most famous statue in classicism. "Apollo and the Nymphs" is an incredibly beautiful example of the classical style.

Whereas Baroque is known to us from the Smolny Cathedral in St. Petersburg, the Opera House in Odessa and, of course, the Catholic Church in the Vatican. Rubens and Caravaggio are the most recognizable Baroque painters. And the Italian reveals to us all the expressiveness of the Baroque in his stunning sculptures.

Classicism and Baroque in architecture

As we can see from the descriptions and comparisons of the two styles, the differences between Baroque and Classicism are obvious. In the latter, this is an appeal, first of all, to ancient architecture, in the Baroque - to the luxury of Catholic churches.

Classicism and Baroque in architecture, comparison using the example of two outstanding monuments

Basilica del Santa Croce, Italy - a typical example of Italian Baroque. Distinctive features are lush decor and many statues on the facade. Sculptures, balconies, columns, complex building shape. The center is crowned by a huge round window - already going beyond the standards of typical architecture. Caryatids and Atlases, bizarre forms - all these are distinctive features of the Baroque.

Classicism is the Bolshoi Theater in Moscow. Using his example, we can see the characteristic features in the architecture of this style. Simplicity and conciseness. Monumentality and severity. Clear forms, columns. Small windows of standard shape. Discreet modeling pattern on the facade with typical patterns of the ancient world. Clear geometric shape of the building. Pleasant, discreet, uniform color throughout the building.

Baroque and classicist architecture are very different in comparison. At first glance, you can distinguish them from each other: the pretentiousness of the Baroque is striking, of course, these are complex architectural works. Whereas buildings in the classicist style have such clear proportions and a strict appearance that they involuntarily make you think about their greatness and monumentality.

Classicism and Baroque in painting

Coming from the same era, classicism and baroque, however, have distinctive features in art.

Michelangelo is one of the most famous Italian artists who set a new style in painting - Baroque. These are mainly religious subjects, vivid images, emotional scenes from the lives of ordinary people. Contrast of colors, light and darkness, many household items, realistic emotions. Followers of this style in art include Guido Reni.

Classicism is no less picturesque, but ancient Greece is taken as the basis. Raphael, Giulio Romano depict the ideal physical forms of divine characters in their canvases. Cold mythical plots fascinate with their brevity, nothing superfluous, carefully thought-out composition and space around the characters.

We can highlight the main elements in comparing the art movements of classicism and baroque. Firstly, this is the real emotionality of the Baroque, the strength of the plot and the colorfulness of the images, and secondly, the restrained beauty of ancient mythology, understandable and laconic in its manifestation.

Comparison of classicism and baroque in the interior

In addition to outstanding works of art and incredible architectural monuments, Baroque and classicism are reflected in the interior of houses and rooms. Next - from comparison of classicism and baroque in interior decoration.

These two styles brought their main features into the interior. First of all, it's expensive. In both cases it is luxury and wealth. And then we can talk about color solutions. Baroque is always bright, always gold, marble, lacquered surfaces. Many additional items, complex furniture shapes and fancy patterns of canopies and chair upholstery. Of course, this is the beauty that you want to immerse yourself in, every subject that you want to study. Admiration and pomp, what kings love so much.

Classicism in this regard plays in contrast with Baroque. Restrained pastel colors that harmonize with each other. The calm, but no less majestic interior is designed to calm rather than excite. Mainly light colors, clear lines, correctness of objects. The functionality of the interior attributes, however, is not without its charm.

Classicism and Baroque in Russia

These two styles came to Russia in the 18th century. Tsarist Russia was in close contact with European states and did not want to be left behind in the opportunity to demonstrate its greatness.

Baroque was embodied mainly by Rastrelli. It was he who was involved in the reconstruction and construction of the main buildings of St. Petersburg at that time. Naturally, the styles were Russified, adopting the basic principles of the two directions, and traditional Russian architecture was preserved. The Smolny Monastery is perhaps the most striking representative of the Baroque in St. Petersburg, while the “highlight” of classicism is, naturally, the Kazan Cathedral. The origins of this style in Russia were the architects V. Bazhenov, M. Kazakov, I. Starov; churches and houses built according to their designs can be seen in Moscow.

Baroque and classicism play a big role in Russian architecture. Both in the historical manifestation - the founding of St. Petersburg, the new Moscow, and in the struggle for equality of Russian classic writers.

Now it is impossible to imagine our cities without the Hermitage, the Academy of Sciences and the Tauride Palace.

Classicism and Baroque in our time

In the modern world, architects often turn to Baroque and Classicism, comparing and mixing these styles. The times of kings and emperors have passed, but the love of luxury and grandeur remains. Now you can see modern castles in the Baroque style somewhere on Rublevka or the dacha of another oligarch in the classicist style in the village of Nirvana near St. Petersburg.

At the Trezzini Hotel you can immerse yourself in the luxury of kings, and at the Empire Restaurant you can taste the dishes of modern kings. But this is today’s luxury, although it is still not available to everyone.

In the era of classicism, which followed the Baroque, the role of counterpoint decreased (although the development of the art of counterpoint did not stop) and the homophonic structure of musical works came to the fore. There is less ornamentation in the music. Works began to lean towards a clearer structure, especially those written in sonata form. Modulations (changes in key) have become a structuring element; the works began to be listened to as a journey full of drama through a sequence of tonalities, a series of departures and arrivals to the tonic. Modulations were also present in Baroque music, but did not carry a structuring function. In the works of the classical era, many emotions were often revealed within one part of the work, while in Baroque music one part carried one, clearly drawn feeling. Finally, classical works usually reached an emotional climax that was resolved by the end of the work. In baroque works, after reaching this climax, a slight feeling of the underlying emotion remained until the very last note. A variety of Baroque forms served as a starting point for the development of sonata form, developing many variations of the main cadenzas.

Baroque genres

Composers of the Baroque era worked in various musical genres. Opera, which appeared during the late Renaissance, became one of the main baroque musical forms. One can recall the works of such masters of the genre as Alessandro Scarlatti (1660-1725), Handel, Claudio Monteverdi and others. The oratorio genre reached its peak in the works of J. S. Bach and Handel; operas and oratorios often used similar musical forms.

Forms of sacred music such as the mass and motet became less popular, but the cantata form was given attention by many Protestant composers, including Johann Bach. Such virtuoso forms of composition as toccatas and fugues developed. Instrumental sonatas and suites were written both for individual instruments and for chamber orchestras. The concerto genre appeared in both its forms: for one instrument with an orchestra and as a concerto grosso, in which a small group of solo instruments contrasts with a full ensemble. Works in the form of the French overture, with their contrasting fast and slow parts, added pomp and splendor to many royal courts.

Works for keyboards were quite often written by composers for their own amusement or as educational material. Such works are the mature works of J. S. Bach, the generally recognized intellectual masterpieces of the Baroque era: “The Well-Tempered Clavier”, “Goldberg Variations” and “The Art of Fugue”.

Baroque music was divided into three periods: Early Baroque Music (1600-1654), Mature Baroque Music (1654-1707) and Late Baroque Music (1707-1760).

Early Baroque music

The creation by the Italian composer Claudio Monteverdi (1567-1643) of his recitative style and the consistent development of Italian opera can be considered the conventional point of transition between the Baroque and Renaissance eras. The beginning of opera performances in Rome and especially in Venice already meant the recognition and spread of the new genre throughout the country. All this was only part of a larger process that captured all the arts, and was especially clearly manifested in architecture and painting. Renaissance composers paid attention to the elaboration of each part of a musical work, paying virtually no attention to the comparison of these parts. Separately, each part could sound excellent, but the harmonious result of the addition was more a matter of chance than of regularity. The appearance of the general bass indicated a significant change in musical thinking - namely, that harmony, which is "the putting together of parts into one whole", is as important as the melodic parts (polyphony) themselves. Harmonic thinking also existed among some composers of the previous era, for example, Carlo Gesualdo, but in the Baroque era it became generally accepted. It is necessary to add that the term “harmony” is used here in the meaning of “combining sounds into consonances and their natural sequence,” that is, hierarchical, chordal, tonal harmony. A significant figure of the early Baroque period, whose position was on the side of Catholicism, opposing the growing ideological, cultural and social influence of Protestantism, was Giovanni Gabrieli. His works belong to the “High Renaissance” style (the heyday of the Renaissance). However, some of his innovations in the field of instrumentation (assigning his own, specific tasks to a certain instrument) clearly indicate that he was one of the composers who influenced the emergence of a new style.

Music of the mature Baroque

The period of centralization of supreme power in Europe is often called Absolutism. Absolutism reached its apogee under the French king Louis XIV. For all of Europe, Louis's court was a role model. Including music performed at court. The increased availability of musical instruments (especially keyboards) gave impetus to the development of chamber music. Mature baroque differs from the early baroque in the widespread dissemination of the new style and the increased separation of musical forms, especially in opera. In music theory, the mature Baroque is defined by composers' focus on harmony and attempts to create coherent systems of musical instruction. In subsequent years, this led to the appearance of many theoretical works.

An outstanding representative of the court composers of the court of Louis XIV was Giovanni Battista Lulli (1632-1687). Already at the age of 21, he received the title of “court composer of instrumental music.” Lully's creative work was closely connected with the theater from the very beginning. Following the organization of court chamber music and the composition of “airs de cour”, he began to write ballet music. But the main thing in Lully’s work was still writing operas.

Composer and violinist Arcangelo Corelli (1653-1713) is famous for his work on the development of the concerto grosso genre. Corelli was one of the first composers to have his works published and performed throughout Europe.

Late Baroque music

The precise line between mature and late baroque is a matter of debate; it lies somewhere between 1680 and 1720. To a large extent the complexity of its definition is due to the fact that in different countries styles changed asynchronously; innovations already accepted as the rule in one place were new discoveries in another. Italy, thanks to Arcangelo Corelli and his students Francesco Geminiani and Pietro Locatelli, becomes the first country in which Baroque moves from the mature to the late period. An important milestone can be considered the almost absolute primacy of tonality as the structuring principle of composing music. This is especially noticeable in the theoretical works of Jean Philippe Rameau, who took Lully's place as the main French composer. The forms discovered by the previous period reached maturity and great variability; concert, suite, sonata, concerto grosso, oratorio, opera and ballet no longer had clearly defined national characteristics.

Antonio Vivaldi (1678-1741) - Italian composer, born in Venice. Vivaldi's fame came not from concert performances or connections at court, but from the publication of his works, which included his trio sonatas, violin sonatas and concertos. They were published in Amsterdam and distributed widely throughout Europe. It was to these, at that time still developing instrumental genres (baroque sonata and baroque concerto) that Vivaldi made his most significant contribution.

Johann Sebastian Bach was born on March 21, 1685 in Eisenach, Germany. During his life, he composed more than 1,000 works in various genres, except opera. But during his lifetime he did not achieve any significant success. In the last years of his life and after Bach's death, his fame as a composer began to decline: his style was considered old-fashioned in comparison with the burgeoning classicism. He was better known and remembered as a performer, teacher and father of the younger Bachs, especially Carl Philipp Emmanuel, whose music was more famous.

Only the performance of the St. Matthew Passion by Mendelssohn, 79 years after the death of J. S. Bach, revived interest in his work. Now J. S. Bach is one of the most popular composers of all time.

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Introduction

In the development of each style, a phase comes when internal contradictions between established traditional methods of form-building and the continuously changing requirements of life for the theme and content of architectural design tasks cannot be further resolved using the means of this style. These contradictions accumulate for a long time, little by little slowing down the development of style and gradually leading it to aging, fading, and decay. On the ruins of the old, often in close connection with it, a new style slowly, evolutionarily grows. This is the course of events that is most typical for the process of changing styles.

However, a rapid, avalanche-like growth of contradictions is also possible, accelerating the need for the demolition of the old and the establishment of a new direction. This less common case is the situation that led to the fall of the Baroque architectural style in Russia and the establishment of classicism. At the same time, this situation allows us to clearly see some aspects of the process of changing styles, which, over a longer evolutionary path, lose their sharp outlines.

1. Classicism and Baroque: two styles of the same era

The long coexistence of classicism and baroque can hardly be considered an accident. Such synchronicity indicates their interconnectedness, which, naturally, does not eliminate the significant differences in the features and genesis of the two styles. Baroque was the direct heir of the Renaissance, but a clearly disappointed heir. This is what A.F. writes, for example. Losev about Montaigne: “His Essays are devoid of any system, sprinkled with ancient quotations, although from antiquity at first only the Stoics were close to him, and then only skeptics became close to him.” Montaigne was the predecessor of Descartes, but here it is worth noting the mention of stoicism and skepticism as being directly related to the Baroque style. If classicism proceeded from Augustianism in the form of a secularized dualism between nature and man, which should be removed by the monism of subordination to a certain unified (but not the only possible) form, then the Baroque proceeded from the universality of the Stoicist Logos, unity in the form of an organism saturated with the breath of pneuma. In the context of the same Augustinianism, it placed emphasis on the psychological complexity of the individual personality. In his view of the world, instead of the rigid monophonic hierarchy of universalism inherent in classicism, a polyphonic universalism of plasticity arose, declaring the possibility of multiple variations of the same form or theme. The non-stop running of Bach's fugue accompanies the "Faustian" man. As a phenomenon, historical baroque preceded classicism, but in terms of the future prospects for changing styles, it should be recognized as a heir rather than a predecessor of classicism. It is well known that the emergence of the Baroque is associated with the Co-Reformation. The canons and goals of the Jesuit order found their expression in the Baroque style. It is enough to recall the main Jesuit temple of Il Gesu in Rome (1568-1584), built according to the design of G. Vignola. This is perhaps the first standard project in the history of architecture, implemented in areas from Paraguay to Livonia. The main feature of the Baroque - its deceptiveness and simulativeness - gave it the opportunity to turn into its fans and enemies the “soldiers of Jesus” - Protestants, with their inherent cult of work. “Baroque - as J. Deleuze notes - invents endless production or an endless process of work. The problem is not how to complete the fold, but how to continue it, cross the ceiling with it, direct it to infinity." Therefore, complex forms and counterpoint, behind which the symmetry of numbers and functions are hidden, turned out to be capable of glorifying the virtues of the Puritans (for example, the oratorio G . F. Handel "Judas Maccabee"). Appeal to Old Testament subjects is also typical of Baroque literature. “Paradise Lost” by J. Milton and “The Greatest Monster in the World” by P. Calderon. The theme of catastrophe arising from the clash of free will and Law dominates the tragic genre of the era. At the same time, the understanding of the Law is very eclectic: it can be Old Testament, Gnostic and rationalistic. In the latter case, a coincidence with classicism is revealed. The Gnostic features of the Baroque found their manifestation in a passion for astrology and alchemy, as evidenced not only by the literature of the era. Thus, I. Kepler never hid his commitment to astrology; it even served him as a means of earning a living. I. Newton preferred to remain silent on this score, as well as regarding his anti-trinitarianism. However, the Newtonian program of physics is imbued not only with mathematics (in its rationalistic Cartesian understanding), but also with the spirit of alchemy, from which its creator was able to extract many scientific ideas

His famous answer to the absolutely fair reproaches of the Cartesians for the revival of the magical principle - “I do not invent hypotheses” - is nothing more than a truism.

The combination of the rigid principles of classicism and flexible baroque can be seen in all subsequent styles. The dominance of some over others is determined only by tactical considerations that should ensure the greatest efficiency. “Do you know,” says Balzac’s Vautrin, this “Napoleon of hard labor,” addressing the young Rastignac, “how they make their way here? This human mass must be hit with a cannonball or penetrated like a plague.” Classicism can be compared with the first, baroque with the second. Both of them were tools of the New Age for the formation of the New Man. Thus, the dominant of classicism can be seen in modernity with its projects of the futurists and Le Corbusier, his pathos of the serious. Postmodernity gives preference to Baroque techniques. Switches to the language of binary codes and deterministic chaos. Shows concern for the environment and covers the world with a web of information networks, simulating the “unbearable lightness of being.”

2. Russian Baroque

Baroque is an era great for its grandiose destruction and equally grandiose creations; it has remained in history as a turning point in the development of world art. At the same time, the Baroque artistic style forever entered the lives of people in countries such as Italy, Spain or Austria. Baroque has become a way of life for entire peoples and cultures to such an extent that, for example, Rome, despite its universal significance as the Eternal City, will now always be perceived as Baroque. Spanish literature or German philosophy and music in our minds are, first of all, baroque. Therefore, we will never be able to establish where the Baroque style begins and where it ends. It is only possible to determine the basic principles and patterns of formation, trends in historical development. In order to avoid ambiguity and contradictions in the interpretation of the term “Baroque”, it is better to use more detailed rather than brief formulations. The term "Baroque" could not establish itself in Russia for a long time. For example, back in the middle of the 19th century. Russian criticism, while overthrowing the style of Classicism in architecture, nevertheless, “did not see an alternative to columns and a dome.” The merits of the Neo-Gothic and “Neo-Renaissance” styles were discussed, but the word “Baroque” was avoided. Architect A. Bryullov, during his retirement trip to Italy in 1822, was indignant at the “depraved taste” and absurdity of F. Borromini’s buildings. Only in the 1880s. researcher of ancient Russian architecture N. Sultanov introduced the term “Russian Baroque”, denoting the pre-Petrine architecture of Rus' in the 17th century. Since then, there has been a stable concept according to which the first phase of the “Russian Baroque” style took shape in the 1640s. and this style developed “in continuous sequence, right up to the works of V. I. Bazhenov that completed it.”

According to D. Likhachev’s definition, “Russian Baroque took on many of the functions of the Renaissance, since... the real Renaissance had previously failed to manifest itself fully enough in Rus'.” This conclusion follows from the “particular density” of the development of artistic styles in Rus', which fundamentally distinguishes their spiritual content from Western European prototypes. “Russian Baroque as a whole, fulfilling its revivalist function, historically opposed the Middle Ages, and not the Renaissance. Hence its cheerfulness and its moderation, alien to the pathos of Western Baroque.” The term “Russian Baroque” is not accepted by everyone; in any case, it is conventional and should be placed in quotation marks. In terms of formal qualities, this style is closer to Mannerism; it distinguishes the stages of “Golitsyn” and “Naryshkin baroque” - the architecture of “Russian patterned” architecture of the late 17th century, “Petrine baroque” of the first quarter of the 18th century, “mature Russian baroque” of the Elizabethan era. The latter style was most vividly embodied in the work of the outstanding architect F. B. Rastrelli the Younger in St. Petersburg. During these years, Russia was rapidly catching up with Europe and the original architecture created by Rastrelli combined the compositional techniques of European Classicism, Baroque and French Rococo (see Elizabethan Rococo). Therefore, researchers rightly note that the preservation of elements of Classicism, rationalism and pragmatism of the architecture of Peter the Great’s time ensured the ease and naturalness of the transition to Classicism in the second half of the 18th century, “almost bypassing the stage of true European Baroque.”

3. Classicism in Russia

Continuing the traditions of the Renaissance (admiration for the ancient ideals of harmony and proportion, faith in the power of the human mind), classicism was also its antithesis, since with the loss of Renaissance harmony, the unity of feeling and reason, the tendency to aesthetically experience the world as a harmonious whole was lost. Concepts such as society and personality, man and nature, element and consciousness, in classicism are polarized and become mutually exclusive, which brings it closer (while maintaining all the fundamental ideological and stylistic differences) with the baroque, also imbued with the consciousness of the general discord generated by the crisis of Renaissance ideals.

The architecture of classicism as a whole is characterized by a logical layout and geometric volumetric shape. The constant appeal of the architects of classicism to the heritage of ancient architecture implied not only the use of its individual motifs and elements, but also the comprehension of the general laws of its architectonics. The basis of the architectural language of classicism was an order, in proportions and forms closer to antiquity than in the architecture of previous eras; in buildings it is used in such a way that it does not obscure the overall structure of the structure, but becomes its subtle and restrained accompaniment. The interior of classicism is characterized by clarity of spatial divisions and softness of colors. By making extensive use of perspective effects in monumental and decorative painting, the masters of classicism fundamentally separated the illusory space from the real. The urban planning of classicism of the 17th century, genetically related to the principles of the Renaissance and Baroque, actively developed (in the plans of fortresses) the concept of an “ideal city” and created its own type of residence (Versailles). In the 2nd half. 18th century New planning techniques are emerging that provide for the organic combination of urban development with elements of nature, the creation of open spaces that spatially merge with the street or embankment. The subtlety of laconic decor, the expediency of forms, the inextricable connection with nature are inherent in the buildings (mainly country palaces and villas) of representatives of Palladianism of the 18th - early. 19th centuries

The heyday of Russian classicism dates back to the last third of the 18th and first third of the 19th centuries, although already at the beginning of the 18th century. marked by a creative appeal (in the architecture of St. Petersburg) to the urban planning experience of French classicism of the 17th century. (the principle of symmetrical-axial planning systems). Russian classicism embodied a new historical stage in the flowering of Russian secular culture, unprecedented for Russia in scope, national pathos and ideological content. Early Russian classicism in architecture (1760s-70s; J.B. Vallin-Delamot, A.F. Kokorinov, Yu.M. Felten, K.I. Blank, A. Rinaldi) still retains plasticity and richness and the dynamics of forms inherent in Baroque and Rococo. Architects of the mature period of classicism (1770-90s; V.I. Bazhenov, M.F. Kazakov, I.E. Starov) created classical types of metropolitan palace-estate and large comfortable residential building, which became models in wide construction country noble estates and in the new, ceremonial buildings of cities. The art of the ensemble in country park estates is a major national contribution of Russian classicism to world artistic culture. In estate construction, the Russian version of Palladianism arose (N. A. Lvov), and a new type of chamber palace emerged (C. Cameron, J. Quarenghi). The peculiarity of Russian classicism in architecture is the unprecedented scale of organized state urban planning: regulatory plans for more than 400 cities were developed, ensembles of the centers of Kostroma, Poltava, Tver, Yaroslavl and other cities were formed; the practice of “regulating” urban plans, as a rule, consistently combined the principles of classicism with the historically established planning structure of the old Russian city. Turn of the 18th - 19th centuries. marked by the largest urban development achievements in both capitals. A grandiose ensemble of the center of St. Petersburg took shape (A. N. Voronikhin, A. D. Zakharov, J. Thomas de Gaumont, and later K. I. Rossi). “Classical Moscow” was formed on different urban planning principles, which was built up during the period of its restoration and reconstruction after the fire of 1812 with small mansions with cozy interiors. The principles of regularity here were consistently subordinated to the general pictorial freedom of the spatial structure of the city. The most prominent architects of late Moscow classicism were D. I. Gilardi, O. I. Bove, A. G. Grigoriev.

4. Some features of the turning point period between Baroque and Classicism in Russian architecture

architectural classicism baroque urban planning

The characteristics of each developed style do not present any particular methodological difficulties. Another thing is the analysis of the turning point between two specific styles, which is contradictory in its essence. How does such a fracture occur? We are interested not so much in the question of what causes it in a general sense, but in clarifying the basic patterns in the change of styles. In search of such patterns, we will deliberately allow some polemical sharpness of formulations in order to more clearly reveal the proposed point of view. The transition from Baroque to Classicism was one of the fastest in changing styles of domestic architecture. The end of the 1750s was still the heyday of the Baroque. The mid-1760s were already a time of widespread classicism. In an extremely short period of five to seven years, a complete change in aesthetic tastes occurs. Russian Baroque architecture of the 18th century. was a historically conditioned, complex and original phenomenon that absorbed many traditions of Russian architecture of the 17th century, and a number of features of domestic architecture of the immediately preceding period - that is, the beginning of the 18th century, and the influence of the contemporary architecture of the main European countries. These very different components, however, formed a durable alloy that had features of unique originality. Both directions did not yet know their future names, but the essence of the stylistic differences and their boundaries are clearly visible in the examples of the best buildings created or designed in almost the same years. The emphatically rich decorativeness and dynamism of Baroque forms is contrasted with the slightly dry rationalistic architecture of early classicism. The most prominent buildings of the Russian Baroque - the Winter Palace of B. F. Rastrelli and the St. Nicholas Naval Cathedral of S. I. Chevakinskrgo, so typical in their overflowing bravura, were completed by 1762. At the same time, already in 1760 A. F. Kokorinov designs the Pleasure House near Oranienbaum - a work in which the principles of a new direction in architecture dominate. The plan, silhouette, and entire volume of the structure are designed very compactly, emphasizing the dominance of horizontal lines. The details are made in classic shapes and proportions. In the same year, A.F. Kokorinov, together with Zh.B. M. Wallen Delamot created the first version of the project of the Bolshoi Gostiny Dvor in St. Petersburg. This version, which became the basis for the final decision made two years later, already contained the idea of a majestic business structure in its simplicity with the measured rhythm of two-story arcades, dissected by modest pilasters of the Tuscan order. In 1763--1764. Projects are being developed for the Academy of Arts (A.F. Kokorinov and J.-B. Wallen Delamoth), orphanages in Moscow (K.I. Blank) and St. Petersburg (Yu. M. Felten) - the first buildings specifically designed for educational purposes. Of these, the building of the Academy of Arts is the best work of the initial period of Russian classicism. Located on a critical site, with its main facade facing the main waterway of the capital - the Neva River, it contributes to the architectural organization of a significant section of the embankment. The building plan is based on a strictly thought-out functional process for the artists' training: the main working areas are located along the outer perimeter of the building and around a huge circular courtyard, which ensures that they are well lit. The surface of the walls is abundantly dissected, but the divisions with clearly defined order proportions are mainly planar in nature. A period of decline and gradual degradation did not precede a change in style. On the contrary, just at the moment of its greatest flowering, Baroque turned out to be unsuitable for solving new problems, and immediately buildings in the style of classicism appeared with amazing speed. Such rapidity in changing styles is not typical. It is, as already mentioned, a distinctive feature of this particular turning point - from Baroque to Classicism - and was caused by the general situation when artificially slow historical development began to intensively make up for lost time. The concept of Baroque as a holistic style ceased not only to dominate in architecture, but also to generally have any significant influence on its further development. Although certain features of the old system appeared for some time in certain elements of the buildings of early classicism, they were only relics that gradually became obsolete. Only in the provinces did Baroque forms continue to exist by inertia almost until the end of the 18th century. The historical prerequisites for a change in style include material and ideological factors. The most important ones should be noted: the significant strengthening of Russia’s military and political power, accompanied by the rapid growth of its economic potential.

No less important prerequisites for the change in style were the ideas of enlightenment, humanism, and the ideals of the natural man, characteristic of all advanced thinking of the 18th century. The call for reason as the main criterion and measure of all achievements was heard louder and louder. The ideas of rationalism have received widespread development since the second half of the century.

In architecture, all these factors led to serious changes. The economic prosperity of the country has caused rapid growth in construction in all areas. Changes in the ideological order required a significant expansion of architectural themes and a different figurative content. Previously unprecedented topics and tasks constantly arose.

Meanwhile, Baroque architecture was distinguished by its thematic narrowness. The scope of architecture as an art was limited mainly to palace and religious construction. If it was necessary to create structures for other purposes, then they were developed in the same ceremonial, highly ceremonial forms, close to palace ones, an example of which is the project of the Gostiny Dvor in St. Petersburg, proposed by F. B. Rastrelli in 1757.

The development of baroque forms along the path of their further complexity could continue for quite a long time, but the very range of application of such forms could not be expanded. The possibilities of style came into conflict with reality. This determined his fate.

By the middle of the 18th century, there was a need to create various types of new public buildings or buildings that had no artistic significance during the Baroque period - for example, industrial, warehouse, and commercial buildings. New challenges also arose in housing construction. Finally, the city as a whole, as a social unit, received a significantly different characteristic than before and, in this regard, required a different planning and volumetric solution.

All this growth in demands took place on the scale of a gigantic country.

Traditional creative methods could not cope with such tasks. But similar, albeit simpler, tasks already faced architects at the beginning of the 18th century. The architecture of Peter the Great's time is characterized by clear and practical decisions based on clear rationalistic principles. The traditions of rationalism appeared in Russian architecture at the beginning of the 18th century, of course, not for the first time. These traditions have existed for a long time, but there were eras that were especially favorable for their development, and times when rationalism existed latently in architecture as a residual phenomenon of the previous period. Russian Baroque of the second quarter of the 18th century. also, the influence of the Petrine architecture that preceded him did not escape, and the rationalism of the latter entered with some individual elements into the stylistic features of a direction that was opposite to it in essence.

Even in the work of the leading master of the Baroque, Rastrelli, one can notice elements of rationalism. For example, the fantastically rich and complex decorative decoration of this architect’s palace buildings does not interfere with the simplicity and clarity of the plans.

In the works of D.V. Ukhtomsky and S.I. Chevakinsky, rationalistic tendencies manifest themselves even more noticeably. It is worth recalling the design of the Invalid House in Moscow, created by Ukhtomsky, or the bell tower of the St. Nicholas Naval Cathedral in St. Petersburg, the clear clarity of the architecture of which is so different from the ebullient gaiety of the cathedral itself that some scholars did not even want to recognize it as the work of Chevakinsky. Both architects were students of I.K. Korobov, whose activities partially coincided with the Baroque period. However, among the masters of this time, Korobov, one of Peter’s glorious pensioners, retained the most rationalistic orientation of his creativity. It was through Korobov that the traditions of rationalism were continued in the works of his many students and in the work of the youngest of them - A.F. Kokorinov - they were revived in a different artistic quality, rethought in the spirit of the tasks of the new architectural direction.

Rationalism as a desire for clarity, understandability, and consistency of the architectural image - the whole and its individual components - became the main factor in the formation of the new style. His principles required a particularly harmonious, logically integral artistic concept. This concept had already been created earlier in the classical schools of architecture of antiquity and the Renaissance. Architects began to carefully study the heritage of antiquity (in its Roman interpretation, the only one available at that time) and the Renaissance. Close attention to the classics became, as it were, a secondary factor in shaping the architecture of early Russian classicism.

Naturally, in the Russian conditions of those years, the study of the classical traditions of shape-making could only take place through familiarization with the theoretical works of Vitruvius, Andrea Palladio, Vignola and with uvrazhs, which contained measurement drawings or sketches of architectural monuments. The inadequacy of this method of familiarization was realized very quickly. It is characteristic that if the young B. F. Rastrelli at one time traveled abroad no further than Germany, where he only became acquainted with the experience of contemporary German architecture, then already in the first half of the 1750s the idea arose of sending the promising Gezel Kokorinov to Italy for the study of ancient and Renaissance architecture. Since 1760, the newly founded Academy of Arts began to regularly send its best students abroad, and charged them with familiarizing themselves with the monuments of architectural classics.

Finally, another factor that influenced the formation of a new style in Russia was the connections of Russian architecture with the contemporary architecture of other countries, among which France was at that time the leading country in all areas of ideology.

For Russian architecture, connections with French architecture became very significant back in the first quarter of the 18th century, when J.-B.A. Leblon, invited to Russia, created here not only one of the fundamental planning projects for St. Petersburg, but also developed types of exemplary houses, in many ways defining the physiognomy of the young Russian capital.

The rationalist tendencies characteristic of that branch of French architecture, of which Leblon was a representative, coincided with the main direction of Russian architecture of the early 18th century. The change in the orientation of architecture in the post-Petrine period also led to a change in the nature of ties with French architecture. They began to enjoy the success of the Rococo tricks, which in France itself had by that time suffered a serious defeat. Competition for the design of the main facade of the Church of St. Sulpicius in Paris became the harbinger of a turn in the development of architectural ideas. It was at this competition that the principles of Rococo decorativism, brought to the highest degree of sophistication by J. O. Meissonnier, were rejected, and preference was given to the strict and classically clear composition of J. N. Servandoni, which was then mainly implemented in 1733-- 1745

The development of public life in the 1750s led Russian architecture to focus on the advanced achievements of French architects. An important stage in the victory of classicism in France was the competition for the creation of Place Louis XV in Paris. As a result of several successive rounds of the competition (late 1740s - early 1750s), the project of J. A. Gabriel won, which marked the approval of new views on urban planning principles. For the first time in world history, the city square was designed in correlation and connection with the entire space of the city.

The success of J.-J. that soon followed. Soufflot at the design competition for the Church of St. Genevieve in Paris and Gabriel's construction of the intimate palace mansion Petit Trianon in Versailles already meant the final victory of the new direction in French architecture.

In Russia, the works of architectural theorists M. A. Laugier, J. F. Blondel and others were studied with interest and attention. It is characteristic that it was Blondel who was commissioned to design the initial design for the building of the Academy of Arts, intended for construction in Moscow (1758). Blondel's plan was distinguished by too obvious French national flavor and was still far from the consistent implementation of classical forms, which, among other reasons, played a role in the rejection of the project. But this was already an accident in the general course of history. Since the late 1750s, advanced French architecture has become closest to Russian architecture in terms of goals and aspirations.

Using the example of the transition from Baroque to Classicism, we can try to deduce some general patterns in the change of architectural styles.

A newly emerging style meets new requirements, and in this sense its path is always original and unexplored. The more innovative this neophyte is, the broader must be the traditions on which he draws. But at the same time, the emerging direction treats with understandable antagonism the methods of its predecessor, which at a certain moment revealed their inconsistency. Therefore, each new style seeks support in the traditions of art not of the immediately preceding period, but of a more distant past, and above all in the traditions of the “grandfathers”. After all, the previous style also denied the direction that existed before it, due to which each time the “grandfather’s” traditions become the main source of borrowing.

In fact: the architecture of Russian Baroque of the second third of the 18th century is much closer in spirit to the buildings of Rus' at the end of the 17th century than to the architecture of the era of Peter I.

For the same reason, the desire for enlightenment, utilitarianism and all-encompassing rationalism, characteristic of Peter's architecture, found its independent continuation in the architecture of classicism. Such an original building for a complex of scientific institutions as the Kunstkamera, conceived under Peter I, received neither further development as a new type of building during the Baroque period, nor even repetitions, even simplified ones. Meanwhile, the architecture of classicism began precisely with the creation of a structure of this kind: the building of the Academy of Arts united the highest art center, a museum, an educational institution of the “three most noble” arts with a boarding school and even a theater attached to it, artists’ workshops and residential apartments for teaching staff.

The Petrine era did not pay particularly close attention to palace buildings, but attached great importance to utilitarian construction, raising it to the level of real architecture. The Admiralty in St. Petersburg was envisioned not simply as an industrial enterprise combined with a defensive structure, but as a monument to Russia's naval power. The building was very low and the material - half-timbered timber - was not at all monumental, but the very idea of a wide, 400-meter-long structure, marked in the center by a tower with a spire, was the idea of great architecture.

One of the major masters of Russian Baroque, S.I. Chevakinsky, in his position as an architect of the Admiralty Colleges, designed and built many utilitarian structures for the domestic fleet. But among these works of his there are no buildings similar to the Admiralty, significant in their architectural design. Having built the St. Nicholas Naval Cathedral, Chevakinsky created a joyful, jubilant hymn using the means of architecture. Nevertheless, in utilitarian structures the era did not require anything from him other than durability and usefulness.

It is characteristic that in the early 1760s, having begun the project of building timber warehouses on the island of New Holland in St. Petersburg, Chevakinsky developed a new technology for storing timber, and also created a construction plan, but could not cope with the figurative solution of the facades, and this part of the work was entrusted to to the architect of a new direction - Wallen Delamoth.

Rationalism, which forms the basis of the concept of classicism, also found an echo in the traditions of architecture of the early 18th century, although, as noted earlier, Russian Baroque architecture itself to some extent used these traditions.

Here I would like to emphasize that the most important traditions never die. They develop in an upward spiral. With each subsequent revolution, part of the movement, relatively speaking, takes place in the shadow. The dominant style at this time only tolerates such a “shaded” tradition, and often even uses it in the opposite meaning.

Conclusion

Each newly emerging trend is characterized by an antagonistic attitude towards its predecessor. Moreover, it can apparently be argued that the birth of a new style is accompanied by an obligatory rejection of the directly related traditions of the past. On the other hand, the new style is widely based on deeper traditions, the creative understanding of which lays the foundation for its further development. How does baroque differ from classicism?

The art and architecture of the 18th century was dominated by two fundamental styles - Baroque and Classicism. It is no coincidence that they coexisted side by side for quite a long time, in the same era. It is impossible not to note their close relationship, although there are also many characteristic features inherent only to a specific direction. What is the difference between Baroque and Classicism and how, when looking at a painting or building, can you determine which style they belong to? What is baroque and classicism

Baroque is an artistic style that originated in Italy and was widespread in European art until the mid-18th century.

Classicism is an artistic style characteristic of European art and which manifested itself especially clearly in the second half of the 18th century.

Comparison of Baroque and Classicism

IN what is the difference between baroque and classicism?

Baroque and classicism are antagonistic movements, although they have many common features, because they were formed in the same era.

Characteristic features of the style		Classicism
	Designed to demonstrate luxury and wealth. Increased emotionality. Dynamism. The essence of life is in movement and in the struggle of changeable elements. Irrationalism, mysticism, expression. Emphasized theatricality, decorativeness, exaltation.	The embodiment of the best examples of antiquity. Calmness and sophistication. Clarity and conciseness. Noble simplicity. Striving for perfection. Rationalism. Following the principles of order, uniformity, consistency.
In architecture	Pretentiousness and complexity of forms. Parade and pomposity. The popularity of spatial illusions that distort the proportions of a building. Gigantic sizes. Play of light and shadow.	Feeling of greatness. Clear layout, scale and severity of forms. Balance of parts, harmony of proportions. Regularity of planning. Functionality, orderliness.
In the interior	Splendor, grandeur, richness, spatial scope. Predominance of curved lines, varnishing. Abundance of decor and inlays. Richness of decoration (gold, marble, mosaic, bone). Sophisticated ornate ornament. The furniture is very massive and complex in shape, replete with decorations.	Clear geometric shapes. Restraint in decor. Use of expensive materials in decoration, but without frills. Simplicity of lines, harmony of color combinations. The ornament with antique motifs, strict and geometric. Maximum functionality and design of furniture.
In art	Dynamism of compositions. Interest in triumphs, ecstatic manifestations of nature. Grandiosity, dramatic tension.	Balanced composition, logical development of the storyline. Lack of expression of strong emotions.

TheDifference.ru determined that the difference between Baroque and Classicism is as follows:

1. Baroque characterized by riotous and dynamic forms. Classicism is characterized by harmony and balance of all details.

2. Baroque puts luxury, splendor, brilliance, pomp, and richness of decoration at the forefront. Classicism values restraint and simplicity of lines; decor is used very carefully.

3. Baroque uses spatial illusions that distort proportions and add scale. Classicism is based on the harmony of proportions, originating in the ancient tradition.

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