Rococo in French Decoration


The rococo architecture was a lighter, more elegant, yet more complicated side of Baroque architecture that was ornate and sober. Even though the styles were related, there are essential differences involving Baroque and Rococo architecture, for instance, symmetry; Rococo stressed the asymmetry of forms, whereas Baroque was quite the reverse. The rococo architecture was a more secular version of the Baroque characterized by cheerful and jocular themes.


Additional elements owned by Rococo architecture consist of many curves, décor, and some pale colors. Salon de la Princesse is a cylindrical interior room and is one of the Rococo styles that integrate minimal architectural aspects and light, airy decoration, which turns into an expert in interior design. Rococo was a revolt against the complex Baroque that embellished the interior of Versailles.  During a revolt in opposition to the palace and following Louis XIV, women in France who owned city houses within Paris stirred a new lightened, airy way of architecture and decoration.


As observed in the Salon de la Princess, the room’s constitution is virtually covered by some white walls made up of wood and mirrors. It includes a hint of the classical order and convention, even as expressing the modern idea of space free of primary structural forms. The pilgrimage church is positioned in an attractive position above the river Main, next to the monastery of Banz. Vierzehnheiligen by itself is a destination of about 160 walking pilgrimages every year.


The restrained outer surface has the type of Latin-cross basilica having remarkable twin-tower front walls. Upon getting inside the building, though, a different world is observed. Within an infinite, bright space, a sequence of oval baldachins is positioned. The rich and lively effect is designed by ordinary systems of colossal columns and pilasters. Additionally, the longitudinal axis appears to be stressed by the large principal altar within the presbytery; however evenly well-built is the center; it is marked by a beautiful Rococo altar of the famous fourteen saints. Its spatial work analysis reveals that two systems are combined: the biaxial organism essentially close to the Hofkirche and the usual Latin cross.

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