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58-524: Saint Peter Metropolitan Cathedral , commonly known as Tuguegarao Cathedral , is an 18th-century Baroque Roman Catholic church located along Rizal Street, Barangay Centro 10, Tuguegarao, Cagayan , Philippines. The church, originally built by Dominican friars, is the seat of the Archdiocese of Tuguegarao and is considered one of the largest churches in the Cagayan Valley . A historical marker bearing

116-466: A Spanish-era brick chapel located on the opposite site of the Tuguegarao city proper. The main focal point of the façade is the deeply recessed oculus . To the left of the church rises the five-storey quadrilateral bell tower . The tower mirrors motifs from the façade such as the pilasters and framed windows. Blind windows can be found on the base. The bell tower is topped with a roofed canopy and

174-620: A brief history of the church was installed in 1982 by the National Historical Institute, precursor of the National Historical Commission of the Philippines . Tuguegarao was founded as a mission on May 9, 1604, by Dominican friars. Tomas Villa was assigned as its first vicar. Villa erected a temporary parochial structure made of light materials with Saint Peter and Saint Paul as patron saints. The current church

232-452: A cross. Some few meters away from the church is the Catholic cemetery with its notable brick arched entryway and fence. Spearheaded by the city's parish priest, Gerard Ariston Perez, the parishioners started accumulating 25 million pesos for the restoration of the church. Included in the church's restoration are the rehabilitation of worn-out bricks, reverting the original painted ceiling from

290-519: A design. Beginning in 1664, Bernini proposed several Baroque variants, but in the end the King selected a design by a French architect, Charles Perrault , in a more classical variant of Baroque. This gradually became the Louis XIV style . Louis was soon engaged in an even larger project, the construction of the new Palace of Versailles . The architects chosen were Louis Le Vau and Jules Hardouin-Mansart , and

348-406: A lavish exterior contrasting with a relatively simple interior and multiple spaces. They carefully planned lighting in the interior to give an impression of mystery. Early 18th century, Notable Spanish examples included the new west façade of Santiago de Compostela Cathedral , (1738–50), with its spectacular towers, by Fernando de Casas Novoa . In Seville , Leonardo de Figueroa was the creator of

406-660: A native of Parma who knew Correggio's dome, painted the enormous dome of the church of Sant'Andrea della Valle with an Assumption of the Virgin that overwhelmed contemporary spectators with its exuberant illusionistic effects and became one of the first High Baroque masterpieces. Lanfranco's work in Rome (1613–1630) and in Naples (1634–1646) was fundamental to the development of illusionism in Italy. Pietro Berrettini, called Pietro da Cortona , developed

464-503: A term which was introduced in the seventeenth century and is also normally used in English, became popular with Baroque artists. Although it can also refer to the "opening up" of walls through architectural illusion, the term is most commonly associated with Italian ceiling painting. Unlike other trompe-l'œil techniques or precedent di sotto in sù ceiling decorations, which often rely on intuitive artistic approaches to deception, quadratura

522-696: A way that it seems to continue the existing architecture. The perspective of this illusion is centered towards one focal point. The steep foreshortening of the figures, and the painted walls and pillars were and are used to create an illusion of deep recession; a heavenly sphere or even an open sky. Paintings on ceilings could, for example, simulate statues in niches or openings revealing the sky. Quadratura may also employ other illusionistic painting techniques , such as anamorphosis . Examples of illusionistic painting include: Other examples were by Paolo Veronese at Villa Rotonda in Vicenza and Baldassare Peruzzi in

580-510: A wide popular audience. One of the first Baroque architects, Carlo Maderno , used Baroque effects of space and perspective in the new façade and colonnade of Saint Peter's Basilica , which was designed to contrast with and complement the gigantic dome built earlier by Michelangelo . Other influential early examples in Rome included the Church of the Gesù by Giacomo della Porta (consecrated 1584), with

638-729: Is San Cristobal de las Casas in Mexico. A notable example in Brazil is the São Bento Monastery in Rio de Janeiro . begun in 1617, with additional decoration after 1668. The Metropolitan Tabernacle the Mexico City Metropolitan Cathedral , to the right of the main cathedral, built by Lorenzo Rodríguez between 1749 and 1760, to house the archives and vestments of the archbishop, and to receive visitors. Portuguese colonial architecture

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696-433: Is attributed to Antonio Lobato, who initiated the construction in 1761 and was completed in 1768. The reason why it is called "Cathedral" is because of the chair of the archbishop The church sustained heavy damage during World War II and was subsequently rebuilt by Bishop Constance Jurgens. The cathedral's façade is described as whimsical and playful. Most notable of all its features is the broken and crested pediment that

754-400: Is directly tied to seventeenth-century theories of perspective and the representation of architectural space. Due to its reliance on perspective theory, it more fully unites architecture, painting and sculpture and gives a more overwhelming impression of illusionism than earlier examples. The artist would paint a feigned architecture in perspective on a flat or barrel-vaulted ceiling in such

812-675: Is mirrored in other churches in the Cagayan Valley namely, the churches of Dupax del Sur and Bambang and Saint Dominic's Cathedral in Nueva Vizcaya . Archival photos of the Calasiao Church in Pangasinan also showed that it once had the “Cagayan-style” pediment. Other notable architectural features of the church are consistently repeated on many of its parts and on the Ermita de San Jacinto ,

870-701: The Basilica of the Fourteen Holy Helpers and the Wurzburg Residence (1749–51). These works were among the final expressions of the Rococo or the Late Baroque. By the early 18th century, Baroque buildings could be found in all parts of Italy, often with regional variations. Notable examples included the Basilica of Superga , overlooking Turin , by Filippo Juvarra (1717–1731), which was later used as model for

928-527: The Basilica of the Fourteen Holy Helpers and the Würzburg Residence (1749–51). Baroque architecture first appeared in the late 16th and early 17th century in religious architecture in Rome as a means to counter the popular appeal of the Protestant Reformation . It was a reaction against the more severe and academic earlier style of earlier churches, it aimed to inspire the common people with

986-656: The Church of Saint Augustine, Antwerp . Other churches are for example the St. Charles Borromeo Church, Antwerp (1615-1621) and the St. Walburga Church (Bruges) (1619-1641), both built by Pieter Huyssens . Later, secular buildings, such as the Guildhalls on the Grand-Place in Brussels and several Belfries , were constructed too. The first example of early Baroque in Central Europe

1044-851: The Churrigueresque style. The Baroque style was imported into Latin America in the 17th century by the Spanish and the Portuguese, particularly by the Jesuits for the construction of churches. The style was sometimes called Churrigueresque , after the family of Baroque architects in Salamanca . A particularly fine example is Zacatecas Cathedral in Zacatecas City , in north-central Mexico, with its lavishly sculpted façade and twin bell towers. Another important example

1102-516: The Luxembourg Palace (1615–1624) by architect Salomon de Brosse , and for a new wing of the Château of Blois by François Mansard (1635–38). Nicolas Fouquet , the superintendent of finances for the young King Louis XIV , chose the new style for his château at Vaux-le-Vicomte (1612–1670) by Louis Le Vau . He was later imprisoned by the King because of the extravagant cost of the palace. In

1160-659: The Palacio de San Telmo , with a façade inspired by the Italian Baroque. The most ornate works of the Spanish Baroque were made by Jose Benito de Churriguera in Madrid and Salamanca. In his work, the buildings are nearly overwhelmed by the ornament of gilded wood, gigantic twisting columns, and sculpted vegetation. His two brothers, Joaquin and Alberto, also made important, if less ornamented, contributions to what became known simply as

1218-806: The Panthéon in Paris. The Stupinigi Palace (1729–31) was a hunting lodge and one of the Residences of the Royal House of Savoy near Turin. It was also built Filippo Juvarra . The Late Baroque period in France saw the evolving decoration of the Palace of Versailles , including the Hall of Mirrors and the Chapel . Later in the period, during the reign of Louis XV , a new, more ornate variant,

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1276-700: The Pavillon de l’Horloge of the Louvre Palace by Jacques Lemercier (1624–1645), the Chapel of the Sorbonne by Jacques Lemercier (1626–35) and the Château de Maisons by François Mansart (1630–1651). The Late Baroque (1675–1750) saw the style spread to all parts of Europe, and to the colonies of Spain and Portugal in the New World. National styles became more varied and distinct. The Late Baroque in France, under Louis XIV ,

1334-663: The Rocaille style, or French Rococo, appeared in Paris and flourished between about 1723 and 1759. The most prominent example was the salon of the Princess in Hôtel de Soubise in Paris, designed by Germain Boffrand and Charles-Joseph Natoire (1735–40). Christopher Wren was the leading figure of the late Baroque in England, with his reconstruction of St. Paul's Cathedral (1675–1711) inspired by

1392-591: The San Giovanni Evangelista and in the Assumption of the Virgin in the dome of the Parma Cathedral , which is Correggio's most famous work (1520–24); in these frescos Correggio treats the entire surface as the vast and frameless vault of heaven in which the figures float. In a visual continuity between the architectural interior and its painted surfaces, Corregio's clouds and figures appear to inhabit

1450-746: The Southern Netherlands , the Baroque architecture was introduced by the Catholic Church in the context of the Counter-Reformation and the Eighty Years' War . After the separation of the Netherlands Baroque churches were set up across the country. One of the first architects was Wenceslas Cobergher (1560-1634), who built the Basilica of Our Lady of Scherpenheuvel from 1609 until 1627 and

1508-496: The Villa Farnesina of Rome. Italian Renaissance artists applied their confidence in handling perspective to projects for ceilings and overcame the problems of applying linear perspective to the concave surfaces of domes in order to dissolve the architecture and create illusions of limitless space. Painted and patterned ceilings were a Gothic tradition in Italy as elsewhere, but the first ceiling painted to feign open space

1566-642: The High Baroque (1625–1675), when it was used in churches and palaces in Italy, Spain, Portugal, France, Bavaria and Austria. In the Late Baroque period (1675–1750), it reached as far as Russia, the Ottoman Empire and the Spanish and Portuguese colonies in Latin America. In about 1730, an even more elaborately decorative variant called Rococo appeared and flourished in Central Europe. Baroque architects took

1624-529: The Italian Jesuit architect Giovanni Maria Bernardoni . Pope Urban VIII , who occupied the Papacy from 1623 to 1644, became the most influential patron of the Baroque style. After the death of Carlo Maderno in 1629, Urban named the architect and sculptor Gian Lorenzo Bernini as the chief Papal architect. Bernini created not only Baroque buildings, but also Baroque interiors, squares and fountains, transforming

1682-477: The King, in charge of all royal architectural projects. The Académie royale d'architecture was founded in 1671, with the mission of making Paris, not Rome, the artistic and architectural model for the world. The first architectural project of Louis XIV was a proposed reconstruction of the façade of the east wing of the Louvre Palace. Bernini , then Europe's most famous architect, was summoned to Paris to submit

1740-578: The architect Jacques Lemercier to Rome between 1607 and 1614 to study the new style. On his return to France, he designed the Pavillon de l’Horloge of the Louvre Palace (beginning 1626), and, more importantly, the Sorbonne Chapel , the first church dome in Paris. It was designed in 1626, and construction began in 1635. The next important French Baroque project was a much larger dome for the church of Val-de-Grâce begun in 1645 by Lemercier and François Mansart , and finished in 1715. A third Baroque dome

1798-418: The basic elements of Renaissance architecture , including domes and colonnades , and made them higher, grander, more decorated, and more dramatic. The interior effects were often achieved with the use of quadratura (i.e. trompe-l'œil painting combined with sculpture): the eye is drawn upward, giving the illusion that one is looking into the heavens. Clusters of sculpted angels and painted figures crowd

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1856-416: The ceiling. Light was also used for dramatic effect; it streamed down from cupolas , and was reflected from an abundance of gilding . Twisted columns were also often used, to give an illusion of upwards motion, and cartouches and other decorative elements occupied every available space. In Baroque palaces, grand stairways became a central element. The Early Baroque (1584–1625) was largely dominated by

1914-618: The center of Rome into an enormous theater. Bernini rebuilt the Church of Santa Bibiana and the Church of San Sebastiano al Palatino on the Palatine Hill into Baroque landmarks, planned the Fontana del Tritone in the Piazza Barberini , and created the soaring baldacchino as the centerpiece of St Peter's Basilica . The High Baroque spread gradually across Italy, beyond Rome. The period saw

1972-504: The colonies of Spain and Portugal in the New World and the Philippines. It often took different names, and the regional variations became more distinct. A particularly ornate variant appeared in the early 18th century, called Rocaille in France and Rococo in Spain and Central Europe. The sculpted and painted decoration covering every space on the walls and ceiling. The most prominent architects of this style included Balthasar Neumann , noted for

2030-574: The construction of Santa Maria della Salute by Baldassare Longhena in Venice (1630–31). Churches were not the only buildings to use the Baroque style. One of the finest monuments of the early Baroque is the Barberini Palace (1626–1629), the residence of the family of Urban VIII, begun by Carlo Maderno, and completed and decorated by Bernini and Francesco Borromini . The outside of the Pope's family residence,

2088-550: The effects of surprise, emotion and awe. To achieve this, it used a combination of contrast, movement, trompe-l'œil and other dramatic and theatrical effects, such as quadratura —the use of painted ceilings that gave the illusion that one was looking up directly at the sky. The new style was particularly favored by the new religious orders, including the Theatines and the Jesuits , who built new churches designed to attract and inspire

2146-468: The façades of the new palace were constructed around the earlier Marble Court between 1668 and 1678. The Baroque grandeur of Versailles, particularly the façade facing the garden and the Hall of Mirrors by Jules Hardouin-Mansart, became models for other palaces across Europe. During the period of the Late Baroque (1675–1750), the style appeared across Europe, from England and France to Central Europe and Russia, from Spain and Portugal to Scandinavia, and in

2204-439: The first Baroque façade and a highly ornate interior, and Santa Susanna (1603), by Carlo Maderno. The Jesuits soon imported the style to Paris. The Church of St-Gervais-et-St-Protais in Paris (1615–1621) had the first Baroque façade in France, featuring, like the Italian Baroque façades, the three superimposed classical orders. The Italian style of palaces was also imported to Paris by Marie de' Medici for her new residence,

2262-633: The first half of the 18th century a distinctive Vilnian Baroque architectural style of the Late Baroque was formed in capital Vilnius (in which architecture was taught at Vilnius Jesuit Academy , Jesuits colleges , Dominican schools ) and spread throughout Lithuania. The most distinctive features of churches built in the Vilnian Baroque style are very tall and slender towers of the main façades with differently decorated compartments, undulation of cornices and walls, decorativeness in bright colors, and multi-colored marble and stucco altars in

2320-573: The illusionistic ceiling fresco to an extraordinary degree in works such as the ceiling (1633–1639) of the gran salone of Palazzo Barberini . From 1676 to 1679 Giovanni Battista Gaulli , called Baciccio, painted an Adoration of the Name of Jesus on the ceiling of the Church of the Gesù , the Jesuit headquarters in Rome. From 1691 to 1694 Andrea Pozzo painted the Entrance of Saint Ignatius into Paradise on

2378-673: The interiors. The Lithuanian nobility funded renovations and constructions of Late Baroque churches, monasteries (e.g. Pažaislis Monastery ) and their personal palaces (e.g. Sapieha Palace , Slushko Palace , Minor Radvilos Palace ). Notable architects who built buildings in a Late Baroque style in Lithuania are Johann Christoph Glaubitz , Thomas Zebrowski , Pietro Perti (cooperated with painters Michelangelo Palloni , Giovanni Maria Galli ), Giambattista Frediani, Pietro Puttini, Carlo Puttini, Jan Zaor , G. Lenkiewicz, Abraham Würtzner, Jan Valentinus Tobias Dyderszteyn, P. I. Hofer, Paolo Fontana  [ it ] , etc. Many of

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2436-487: The landmarks of the high Baroque. Another important monument of the period was the Church of Santi Luca e Martina in Rome by Pietro da Cortona (1635–50), in the form of a Greek cross with an elegant dome. After the death or Urban VIII and the brief reign of his successor, the Papacy of Pope Alexander VII from 1666 until 1667 saw more construction of Baroque churches, squares and fountains in Rome by Carlo Rainaldi , Bernini and Carlo Fontana . King Louis XIII had sent

2494-426: The latter artist's influence and is called prospettiva melozziana ("Melozzo's perspective"). Another notable use is by Antonio da Correggio in the Parma Cathedral , which foreshadows Baroque architectural grandeur. The technique often uses foreshortened figures and an architectural vanishing point to create the perception of true space on a painted, most often frescoed, ceiling above the viewer. Quadratura ,

2552-401: The leading Baroque architect was Christoph Dientzenhofer , whose building featured complex curves and counter-curves and elliptical forms, making Prague , like Vienna, a capital of the late Baroque. Political and economic crises in the 17th century largely delayed the arrival of the Baroque in Spain until the late period, though the Jesuits strongly promoted it. Its early characteristics were

2610-478: The model of St. Peter's Basilica in Rome, his plan for Greenwich Hospital (begun 1695), and Hampton Court Palace (1690–96). Other British figures of the late Baroque included Inigo Jones for Wilton House (1632–1647 and two pupils of Wren, John Vanbrugh and Nicholas Hawksmoor , for Castle Howard (1699–1712) and Blenheim Palace (1705–1724). In the 17th century Late Baroque style buildings in Lithuania were built in an Italian Baroque style , however in

2668-524: The most extraordinary buildings of the Late Baroque were constructed in Austria, Germany, and Czechia. In Austria, the leading figure was Fischer von Erlach , who built the Karlskirche , the largest church of Vienna , to glorify the Habsburg emperors. These works sometimes borrowed elements from Versailles combined with elements of the Italian Baroque to create grandiose new effects, as in the Schwarzenberg Palace (1715). Johann Lukas von Hildebrandt used grand stairways and ellipses to achieve his effects at

2726-486: The same architectural space in which the spectator stands. In Baroque Rome , the long-standing tradition of frescoed ceilings received a push from the grand projects in Palazzo Farnese under the guidance of Annibale Carracci and his team, but the figural subjects were still enclosed within multiple framed compartments ( quadri riportati ), and the perspective of subjects seen from below was not consistently taken into consideration. From 1625 to 1627 Giovanni Lanfranco ,

2784-407: The sky, with courtiers , a peacock , and putti leaning over a balustrade , seen in strongly foreshortened perspective from below; di sotto in sù . This was the prototype of illusionistic ceiling painting that was to become an important element of Italian Baroque art . Correggio at Parma took the illusionistic ceiling a step farther in his frescoes of Christ and the Apostles for the cupola at

2842-458: The trussed ceiling and the altarpieces. Baroque architecture Baroque architecture is a highly decorative and theatrical style which appeared in Italy in the late 16th century and gradually spread across Europe. It was originally introduced by the Catholic Church , particularly by the Jesuits , as a means to combat the Reformation and the Protestant church with a new architecture that inspired surprise and awe. It reached its peak in

2900-452: The upper and lower Belvedere Palace in Vienna (1714–1722). In The Abbey of Melk , Jakob Prandtauer used an abundance of polychrome marble and stucco, statuary and ceiling paintings to achieve harmonious and highly theatrical effects. Another important figure of German Baroque was Balthasar Neumann (1687–1753), whose works included the Würzburg Residence for the Prince-Bishops of Würzburg , with its famous staircase. In Bohemia ,

2958-411: The work of Roman architects, notably the Church of the Gesù by Giacomo della Porta (consecrated 1584) façade and colonnade of St. Peter's Basilica by Carlo Maderno (completed 1612) and the lavish Barberini Palace interiors by Pietro da Cortona (1633–1639), and Santa Susanna (1603), by Carlo Maderno. In France, the Luxembourg Palace (1615–45) built by Salomon de Brosse for Marie de' Medici

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3016-456: Was an early example of the style. The High Baroque (1625–1675) produced major works in Rome by Pietro da Cortona, including the (Church of Santi Luca e Martina ) (1635–50); by Francesco Borromini ( San Carlo alle Quattro Fontane (1634–1646)); and by Gian Lorenzo Bernini (The colonnade of St. Peter's Square ) (1656–57). In Venice , High Baroque works included Santa Maria della Salute by Baldassare Longhena . Examples in France included

3074-434: Was created by Andrea Mantegna , a master of perspective who went to Mantua as court painter to the Gonzaga . His masterpiece was a series of frescoes that culminated in 1474 in the Camera degli Sposi of the Ducal Palace . In these works, he carried the art of illusionistic perspective to new limits. He frescoed the walls with illusionistic scenes of court life, while the ceiling appeared as if it were an oculus open to

3132-719: Was modeled after the architecture of Lisbon , different from the Spanish style. The most notable architect in Brazil was Aleijadinho , who was native of Brazil, half-Portuguese, and self-taught. His most famous work is the Church of Saint Francis of Assisi (Ouro Preto) . Baroque architecture often used visual and theatrical effects, designed to surprise and awe the viewer: Quadratura Di sotto in sù (or sotto in su ), which means "seen from below" or "from below, upward" in Italian, developed in late quattrocento Italian Renaissance painting , notably in Andrea Mantegna's Camera degli Sposi in Mantua and in frescoes by Melozzo da Forlì . Italian terminology for this technique reflects

3190-433: Was more ordered and classical; examples included the Hall of Mirrors of the Palace of Versailles and the dome of Les Invalides . An especially ornate variant, appeared in the early 18th century; it was first called Rocaille in France; then Rococo in Spain and Central Europe. The sculpted and painted decoration covered every space on the walls and ceiling. Its most celebrated architect was Balthasar Neumann , noted for

3248-415: Was relatively restrained, but the interiors, and especially the immense fresco on the ceiling of the salon, the Allegory of Divine Providence and Barberini Power painted by Pietro da Cortona , are considered masterpieces of Baroque art and decoration. Curving façades and the illusion of movement were a speciality of Francesco Borromini, most notably in San Carlo alle Quattro Fontane (1634–1646), one of

3306-424: Was soon added for the Collège des Quatre-Nations (now the Institut de France ). In 1661, following the death of Cardinal Mazarin , the young Louis XIV took direct charge of the government. The arts were put under the direction of his Controller-General of Finances , Jean-Baptiste Colbert . Charles Le Brun , director of the Royal Academy of Painting and Sculpture , was named Superintendent of Buildings of

3364-446: Was the Corpus Christi Church, Nesvizh in the Polish–Lithuanian Commonwealth , built by the Jesuits on the Roman model between 1586 and 1593 in Nieśwież (after 1945 Niasvizh in Belarus). The church also holds a distinction of being the first domed basilica with a Baroque façade in the Commonwealth and Eastern Europe. Another early example in Poland is the Church of Saints Peter and Paul Church, Kraków , built between 1597 and 1619 by

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