Gothic, Renaissance, Baroque, or Rococo Quiz

Answer: Gothic

The construction of Chartres Cathedral began in 1134 in the city of Chartres, France. The building is considered one of the greatest masterpieces of French Gothic architecture. In the Middle Ages, it served both as a major pilgrimage destination and as an important center of learning. Bishop Geoffroy de Lèves initiated the rebuilding of the cathedral in the Gothic style, a project that continued after his death.

Like many Gothic cathedrals, the central entrance on the west façade rises higher than the side portals, and a large rose window organized by geometric principles stands above it. Inside, the stained-glass rose windows create the impression of radiant, colored light, producing a profound sense of sanctity. The two towers flanking the façade accentuate the cathedral's verticality, yet they differ in style and structure-one dating from the 12th century and the other from the 16th-reflecting distinct construction periods.

Gothic architecture is characterized by extensive sculptural programs, including jamb statues and stone carvings depicting stories from the Bible and Christian tradition, serving both decorative and educational purposes. At Chartres Cathedral, statues of royal biblical figures are arranged beneath pointed arches and supported by slender column shafts. Their elongated proportions and vertical alignment were deliberately designed to echo the upward thrust of the architecture, enhancing the sense of height and transcendence. The facial features were stylized to convey an otherworldly spirituality, while subtle variations in posture and expression lend the figures a quiet individuality within their formal unity.

Answer: Rococo

The Rococo style is not always easy to identify. Some within the academic community see it as an extension of the Baroque, but most agree that European architecture in the 18th century shared certain common elements, even if they are difficult to define and characterize. This impressive palace was designed by the local architect Joseph Saint-Pierre for Wilhelmine of Prussia, daughter of Frederick William I of Prussia and Sophia Dorothea of Hanover, as part of her vision to transform Bayreuth into a Prussian version of Versailles.

The palace features a rounded central section crowned with a dome, flanked by two residential wings that extend gracefully to either side. It is designed according to the Rococo principle of congruence, which seeks to align a building's purpose with its form and decoration. The emphasis lies on harmony rather than rigid artistic rules. The Rococo ideals of simplicity, refinement, and nobility are expressed through the building's balanced proportions, modest height, and uniform appearance. The spatial design, conceived as a unified setting, and the use of circular motifs are also characteristic of the Rococo style. This simplicity is further reflected in the paired semicircles formed by the palace and its wings on one side, and by the landscaped garden opposite-together creating an atmosphere of elegance and harmony.

Answer: Renaissance

Santa Maria della Consolazione near Todi in central Italy. The church, completed in the early seventeenth century, is associated with an architect active between 1494 and 1518. Although traditionally attributed to Cola da Caprarola, the design has never been definitively proven and remains the subject of scholarly debate.

During the Renaissance, architectural ideals emphasized symmetry along both horizontal and vertical axes. This church, as you can see in this 1961 photo, exemplifies the Renaissance pursuit of a perfectly proportioned, centrally planned structure with equal radiating arms. Its prominent dome, rising above the harmonious geometric layout, reflects the importance of domed central plans in Renaissance sacred architecture. The source of inspiration for the domes is ancient Rome. Also, note the shape of the rotunda in the photo - a cylindrical form with overall symmetry. This style, which recalls the architectural heritage of ancient Rome, is not universal in Renaissance architecture (there are, of course, other building shapes), but it was popular during the period.

Answer: Baroque

Church of Saint Andrew on the Quirinal in Rome is a seminal example of Roman Baroque architecture. It was designed by Gian Lorenzo Bernini (with the assistance of his pupil Mattia de Rossi) and constructed from 1658 to approximately 1670. It stands as the third Jesuit church to be built in Rome-after the Church of the Gesù and the Sant'Ignazio di Loyola.

As is characteristic in Baroque architecture, the central portion of the façade is emphasised over the flanks. Bernini achieves this by introducing a graceful, arched entablature (the upper part of the building's front, sitting above the tops of the columns) at the forefront (resting above the columns or pilasters), crowned by a richly decorated heraldic shield. This treatment exemplifies the Baroque fondness for flowing, rounded lines and theatrical façade composition.

Saint Andrew embodies the Baroque style through its dramatic, theatrical approach to space and movement. The oval interior and flowing curves draw visitors inward and focus their attention toward the altar, creating an emotional, immersive spiritual experience. The design emphasizes dynamic form, rich decoration, and the sense of ascending toward the divine - all hallmarks of Baroque architecture.

Answer: Gothic

Probably the most recognizable structure in this quiz-known to many not necessarily for its architectural or geographical significance as through Victor Hugo's 1831 novel "The Hunchback of Notre-Dame" and the countless adaptations of it in film, television, and other media. Notre Dame de Paris Cathedral was built between 1163 and 1345 at the initiative of Bishop Maurice de Sully. It was intended to serve as the main cathedral of Paris and to glorify the majesty of the Catholic Church.

Unlike most of the photos in the quiz, which focus on the west façade, or that usually featuring the central portals, here you are looking at the south façade of Notre Dame Cathedral. One of the common elements of the Gothic style that can be clearly identified in this photo is the slender flying buttresses, which transfer the pressure of the vaults from the interior outward, creating a sense of verticality and upward aspiration. The south transept of Notre-Dame de Paris is designed in the Rayonnant Gothic style, distinguished by its radiant rose window, pointed turrets, intricate window and stone tracery, and a sculpted portal crowned by a triangular gable.

Answer: Baroque

One of the characteristics of the Baroque style is the use of curved, undulating walls, which express another key element of Baroque architecture: movement. The rhythmic concave and convex surfaces became a dominant motif in many Baroque buildings.

The Palazzo Carignano (begun in 1679) in Turin, Italy, designed by the architect Guarino Guarini as the residence of the Princes of Carignano, is a clear example of this approach. For instance, its elliptical curved façade emphasizes the center, with gently recessed and projecting sections on its sides. The windows and doors of the brick façade display imaginative and dynamic ornamentation, entirely free from traditional classical forms. The sense of movement is expressed in the design of the walls, which appear almost like giant sculpted forms.

Answer: Baroque

The basilica in Venice was designed by the architect Baldassare Longhena and is considered one of the city's most magnificent landmarks. It was built after a devastating plague in 1629, when Venetians vowed to construct a church to end the epidemic. The building was completed in 1681.

On the exterior of the building, two typical Baroque features stand out: the large scrolls, which connect the wide base to the narrower dome and help support it, and the overall flowing silhouette, of which the scrolls are an integral part. This design cleverly solves the challenge of giving a classical appearance to the structural supports needed for a domed roof. For our more advanced students: the building's location on the Grand Canal and its prominent dome are distinctive features of the Venetian Baroque style.

Answer: Renaissance

The Palazzo Rucellai in Florence was built for the Rucellai family and designed by the polymath Leon Battista Alberti-an architect who was also a writer, philosopher, poet, linguist, and even a cryptographer. Constructed between 1447 and 1451, this urban palace exemplifies a recurring Renaissance ideal: the revival of classical harmony and proportion.

The façade features capitals that reinterpret the Doric order in a refined and balanced manner and includes two classical rectangular portals-a marked departure from the Gothic style, in which portals were typically arched or crowned by archivolts.

A hallmark of the building is its system of classical "orders" stacked one above the other, following the ancient Roman precedent: the ground floor employs the simplest order (Doric or the Tuscan which is a simplified version of the Dorian style), the second floor the Ionic, and the third the Corinthian. This progression from austerity to ornamentation, inspired by the Colosseum in Rome, was intended to convey a sense of upward movement and refinement.

Answer: Gothic

The Papal Palace at Avignon in France is an outstanding example of secular Gothic architecture. It consists of the Old Palace, built for Pope Benedict XII, and the New Palace, constructed under Pope Clement VI. While early plans aimed for a residence of elegance and ecclesiastical refinement, political instability and the need for protection led the architects to adopt a fortified design. As a result, the complex resembles a stronghold, with massive walls, defensive turrets, and narrow openings suited for protection.

Its Gothic character is evident in its monumental scale, intended to inspire awe and assert the authority of the Church. The vast pointed arches and soaring corner towers contribute to a sense of verticality, a defining feature of Gothic design. Throughout the palace, ribbed vaults span major halls and chapels, further expressing the structural ingenuity and aesthetic language of Gothic architecture.

Answer: Renaissance

The arcade of the Florence orphanage, Ospedale degli Innocenti, is the work of Filippo Brunelleschi, widely regarded as the father of Renaissance architecture and one of the most influential architects of his era. A careful examination of the building reveals several hallmarks of 15th-century Italian architecture.

First, the use of the Classical orders, drawn from ancient Greek and Roman architecture, establishes clear rules for proportions and decorative elements. Second, the arcade features wide, semicircular arches. Third, the design emphasizes simplicity and harmonious proportions throughout the structure. In keeping with the Renaissance spirit, the building conveys an impression of rationality and geometric logic, reflecting the influence of Imperial Roman architecture. This is evident, for instance, in the windows on the upper floor, which are crowned with classically inspired triangular gables.

Lastly, unlike Gothic architecture, which is vertical and often relied heavily on sculptural decoration, statues are used sparingly, allowing the building's proportions and geometric clarity to take center stage. The emphasis here is on the horizontal lines that characterize the construction of the period. For example, the height of each column is equal to the distance between the columns and also to the depth of each bay.