Northern and Southern Portuguese Baroque

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Humanities

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As with the previous DBs, I will provide some points to help guide your approach to the material, but stuents should also continue to feel free to discuss their own ideas and impressions. Please do not hesitate to pose new questions or ask for clarification.

1. Compare and Contrast the main characteristics of Northern and Southern Portuguese Baroque architectural styles that emerged in the regional centers of Lisbon, Porto and Braga. What made each distinctive? What qualities did they have in common which made them distinctively “Portuguese”? Mention at least one representative example from each regional center and the architect most closely associated with it.

2. Describe the stylistic evolution of eighteenth-century Portuguese architecture from Baroque to Rococo to Neoclassicism. Again, please cite the major buildings (Mafra, Queluz, Clerigos, etc.) or the work of major architects (Ludovice, Nasoni, Soares, Mardel).

3. . Discuss the Lisbon earthquake of 1755 and the problems of reconstruction faced by Pombal. Explain the process he set up to deal with reconstruction and the various options that were presented to him. Discuss Pombal’s ubran plan for the reconstruction of Lisbon, including the Enlightenment ideas behind it, the architecture designed to satisfy these principles, and the solution for the Praça do Comércio.



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Portuguese Baroque Architecture ARH/POR 313 Mario Pereira Milagres, Leiria, 1732 Senhor da Pedra, Obidos, 1740 Mafra, 1717-35 Nineteenth-century print of Mafra, 1717-35 Mafra, 1717-35 Mafra, 1717-35 Interior of Basilica, Mafra, 1717-35 Interior courtyard, Mafra, 1717-35 Library, Mafra, 1717-35 Library, Mafra, 1717-35 Palacio de Queluz, 1747-52 Palacio de Queluz, 1747-52 Interior, Palacio de Queluz, 1747-52 Palacio de Queluz, 1747-52 Library, University of Coimbra, 1716-28 Madre de Deus, remodeling 1730-50 Madre de Deus, remodeling 1730-50 Santa Clara, Porto Sao Francisco, Porto Sao Francisco, Porto Sao Francisco, Porto Mosteiro de Jesus, Aveiro, 1725 Façade of Portocarreiro Palace, Vila Boa de Quires, 1745-50 Façade of Portocarreiro Palace, Vila Boa de Quires, 1745-50 Lobo Machado house, 1750-75 Lobo Machado house, 1750-75 Nasoni, Church of Clerigos, Porto, 1731-50 Nasoni, Church of Clerigos, Porto, 1731-50 Nasoni, Church of Clerigos, Porto, 1731-50 Nasoni, Casa de Mateus, 1739-43 Sao Vicente, Braga Sao Bento da Vitoria, Porto Andre Soares, Santa Maria Madalena do Monte da Falpera, Braga, 1753-55 Andre Soares, Casa do Raio, Braga, 1753-55 Andre Soares, Sao Martinho, Tibaes, 1756-60 Andre Soares, Casa da Camara, Braga, 1753-56 John Whitehead, Feitoria Inglesa, 1786, Porto Amarante, Nossa Senhora do Popolo, Braga, 1775-80 Amarante, Nossa Senhora do Popolo, Braga, 1775-80 Amarante, Bom Jesus do Monte, Braga, 1784-1811 Nossa Senhora dos Remedios, Lamego, 1750-60 Nossa Senhora dos Remedios, Lamego, 1750-60 Church of Misericordia, Viseu, 1775 Chapel of Sao Bartolomeo, Trancoso, 1786-87
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Outline
Introduction
Body
Conclusion
References


Running head: PORTUGUESE BAROQUE

Portuguese Baroque
Student's Name
Name of Course
Instructor’s Name

1

PORTUGUESE BAROQUE

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Portuguese Baroque

Question one
The similarities that were evident in the Portuguese architectural styles that were cited in
Porto, Lisbon, and Braga were the clerestory and the triforium features that help. The structures
both in the north and the south had some similarities in the sense that they have elongated walls
with shallowly arched gallery within the inner wall (triforium). This feature could be constructed
at the level of the clerestory ventilations (Brites, 2015). The clerestory plays a role in the circulation
of air into the building as well as allowing light into the structure. The structures also had curvy
forms of ventilat...


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