English Baroque is a term sometimes used to refer to the developments in English architecture that were parallel to the evolution of Baroque architecture in continental Europe between the Great Fire of London (1666) and the Treaty of Utrecht (1713).

Baroque aesthetics, whose influence was so potent in mid-17th century France, made little impact in England during the Protectorate and the first Restoration years.

Sir Christopher Wren presided over the genesis of the English Baroque manner, which differed from the continental models by clarity of design and subtle taste for classicism. Following the Great Fire of London, Wren rebuilt fifty three churches, where Baroque aesthetics are apparent primarily in dynamic structure and multiple changing views. His most ambitious work was St Paul's Cathedral (1675–1711), which bears comparison with the most effulgent domed churches of Italy and France. In this majestically proportioned edifice, the Palladian tradition of Inigo Jones is fused with contemporary continental sensibilities in masterly equilibrium. Less influential were straightforward attempts to engraft the Berniniesque vision onto British church architecture (e.g., by Thomas Archer in St. John's, Smith Square, 1728) and the contemporary mood soon shifted toward the stripped down orthodoxy of British Palladianism popularised by Colen Campbell's influential Vitruvius Britannicus.