BORROMINI, Francesco

The small church of Sant’Ivo alla Sapienza, built by Borromini at the end of the courtyard of the Palazzo della Sapienza, is one of the great Baroque buildings in Rome. The church rises at the end of the alley of buildings so that the fa�ade can be seen throughout the alleyway.

The university church of Sant’Ivo alla Sapienza is hardly the product of a single architect. Work on this structure took almost two decades and involved the decisions and revisions of three successive popes. By 1632 Bernini had proposed Borromini, his assistant at the time, as the architect for the university. In 1642 Borromini received the commission for the related church.

View the ground plan of Sant’Ivo alla Sapienza, Rome.

The commission to build the church of Sant’Agnese in Agone on Piazza Navona was first given by Pope Innocent X to Girolamo Rainaldi and his son Carlo in 1652. Due to the vigorous criticism of their plan, in 1653 Innocent replaced the Rainaldis with Borromini whose main achievement was the interior but he also made decisive changes to the whole structure. The commission was withdrawn before completion after disagreements with the pope. Subsequently Carlo Rainaldi made only minimal alterations to the exterior.

View the ground plan and section of Sant’Agnese in Agone, Rome.

The commission to build the church of Sant’Agnese in Agone on Piazza Navona was first given by Pope Innocent X to Girolamo Rainaldi and his son Carlo in 1652. Due to the vigorous criticism of their plan, in 1653 Innocent replaced the Rainaldis with Borromini whose main achievement was the interior but he also made decisive changes to the whole structure. The commission was withdrawn before completion after disagreements with the pope. Subsequently Carlo Rainaldi made only minimal alterations to the exterior.

View the ground plan and section of Sant’Agnese in Agone, Rome.

Between 1646 and 1649 Borromini extended a mid-sixteenth-century front from seven to eleven bays. He framed the fa�ade with huge herms ending in falcons’ heads, an emblematic conceit which had no precedent. He added new wings on the rear facing the river and provided decoration for porch and vestibule. But his most signal contribution is the twelve ceilings with their elaborate ornament, and, overlooking the courtyard, the Palladian loggia. The U-shaped river front, dominated by the loggia, gives proof of the versatility of Borromini.

The photo shows the river front of the palace, with the loggia on the upper floor.

Between 1646 and 1649 Borromini extended a mid-sixteenth-century front from seven to eleven bays. He framed the fa�ade with huge herms ending in falcons’ heads, an emblematic conceit which had no precedent. He added new wings on the rear facing the river and provided decoration for porch and vestibule. But his most signal contribution is the twelve ceilings with their elaborate ornament, and, overlooking the courtyard, the Palladian loggia. The U-shaped river front, dominated by the loggia, gives proof of the versatility of Borromini.

The photo shows the front facing Via Giulia.

Between 1646 and 1649 Borromini extended a mid-sixteenth-century front from seven to eleven bays. He framed the fa�ade with huge herms ending in falcons’ heads, an emblematic conceit which had no precedent.He added new wings on the rear facing the river and provided decoration for porch and vestibule. But his most signal contribution is the twelve ceilings with their elaborate ornament, and, overlooking the courtyard, the Palladian loggia.

The photo shows one of the ceilings.

The brethren of the Congregation of St Philip Neri had for a considerable time planned to build an oratory next to their church of Santa Maria in Vallicella. In conjunction with this idea, plans ripened to include in the building programme a refectory, a sacristy, living quarters for the members of the Congregation, and a large library. This considerable programme was, in fact, not very different from that of a large monastery.

Borromini won the competition in 1637, and the building activity was rapid: in 1640 the oratory was in use, in 1641 the refectory was finished, between 1642 and 1643 the library above the oratory was built and between 1644 and 1650 the north-west front with the clock-tower overlooking the Piazza dell’Orologio was constructed.

The photo shows the main fa�ade on Via del Pellegrino. Although the fa�ade is reminiscent of that of a church, its rows of domestic windows seem to contradict this impression. The main portion of the fa�ade consists of five bays, closely set with pilasters, arranged over a concave plan. But the central bay of the lower tier is curved outward, while that of the upper tier opens into a niche of considerable depth. Crowning the fa�ade rises the mighty pediment which, for the first time, combines curvilinear and angular movement.

View the ground plan of the whole complex built for the Congregation of St Philip Neri in Rome.

In 1637 Borromini began the plans and building for the Oratory of St. Filippo Neri, one of the major Catholic congregations after the Jesuits. The community had a mother house on the Via Papalis and works continued further south towards Via del Pellegrino.

The photo shows the main fa�ade on Via del Pellegrino. Although the fa�ade is reminiscent of that of a church, its rows of domestic windows seem to contradict this impression. The main portion of the fa�ade consists of five bays, closely set with pilasters, arranged over a concave plan. But the central bay of the lower tier is curved outward, while that of the upper tier opens into a niche of considerable depth. Crowning the fa�ade rises the mighty pediment which, for the first time, combines curvilinear and angular movement.

In 1637 Borromini began the plans and building for the Oratory of St. Filippo Neri, one of the major Catholic congregations after the Jesuits. The community had a mother house on the Via Papalis and works continued further south towards Via del Pellegrino.

The picture shows the lateral frontage on the Via Papalis.

Work on the Collegio di Propaganda Fide, a group of buildings which formed the headquarters of the missionary congregation went on for an extended period.Borromini was commissioned to produce new structures for and alterations to the College.

For the main entrance fa�ade Borromini used a completely unorthodox design borrowed from the architecture of palaces. In the narrow streets, this fa�ade can only viewed in a severely foreshortened guise and at an angle.

The picture shows the entrance fa�ade of the building.

The church was Borromini’s first independent commission. It was built as part of a complex of monastic buildings on the Quirinal Hill for the Spanish Trinitarians, an order dedicated to the freeing of Christian slaves. He received the commission in 1634, under the patronage of Cardinal Francesco Barberini, whose palace was across the road. Although the idea for the serpentine fa�ade must have been conceived probably in the mid-1630s, it was only constructed towards the end of Borromini’s life and the upper part was not completed until after the architect’s death.

The concave-convex fa�ade of San Carlo undulates in a non-classic way. Tall Corinthian columns stand on plinths and bear the main entablatures; these define the main framework of two storeys and the tripartite bay division. Above the main entrance, cherubim herms frame the central figure of Saint Charles Borromeo by Antonio Raggi and to either side are statues of St John of Matha and St Felix of Valois, the founders of the Trinitarian Order.

The picture shows the fa�ade.

View the ground plan of San Carlo alle Quattro Fontane, Rome.

Above the main entrance, cherubim herms frame the central figure of Saint Charles Borromeo by Antonio Raggi and to either side are statues of St John of Matha and St Felix of Valois, the founders of the Trinitarian Order.

Above the main entrance, cherubim herms frame the central figure of Saint Charles Borromeo by Antonio Raggi and to either side are statues of St John of Matha and St Felix of Valois, the founders of the Trinitarian Order.

Francesco Borromini took over the construction of the church in 1653. He is responsible of the apse, the tambour of the cupola and the square campanile with four orders. After his death, the construction was continued by Mattia De Rossi. The late Renaissance-style fa�ade, with two orders divided by pilasters, was completed in 1826.

The construction of the church Sant’Andrea delle Fratte was begun in 1602, to the design of Gaspare Guerra. The project was halted eight years later. Borromini received the commission to complete the construction from the Marchese Bufalo in 1653. Borrommini is responsible of the apse, the tambour of the cupola, and the square campanile with four orders.

The picture shows a view of the dome.

The construction of the church Sant’Andrea delle Fratte was begun in 1602, to the design of Gaspare Guerra. The project was halted eight years later. Borromini received the commission to complete the construction from the Marchese Bufalo in 1653. Borrommini is responsible of the apse, the tambour of the cupola, and the square campanile with four orders.

The picture shows a view of the dome.

The picture shows a detail of the dome.

The university church of Sant’Ivo alla Sapienza is hardly the product of a single architect. Work on this structure took almost two decades and involved the decisions and revisions of three successive popes. By 1632 Bernini had proposed Borromini, his assistant at the time, as the architect for the university. In 1642 Borromini received the commission for the related church.

The picture shows the lantern. After the completion of the cupola the work came to a halt and continued only after 1652. The lantern and the spiral tower were added later.

The commission to build the church of Sant’Agnese in Agone on Piazza Navona was first given by Pope Innocent X to Girolamo Rainaldi and his son Carlo in 1652. Due to the vigorous criticism of their plan, in 1653 Innocent replaced the Rainaldis with Borromini whose main achievement was the interior but he also made decisive changes to the whole structure. The commission was withdrawn before completion after disagreements with the pope. Subsequently Carlo Rainaldi made only minimal alterations to the exterior.

In 1653, Borromini had to continue building in accordance with the Rainaldi plan, for the pillars of the crossing were standing to the height of the niches. Yet by seemingly minor alterations he changed the character of the design. Thus a characteristically Borrominesque structure was erected over Rainaldi’s traditional plan.

The picture shows a view towards the main altar.

View the ground plan and section of Sant’Agnese in Agone, Rome.

The commission to build the church of Sant’Agnese in Agone on Piazza Navona was first given by Pope Innocent X to Girolamo Rainaldi and his son Carlo in 1652. Due to the vigorous criticism of their plan, in 1653 Innocent replaced the Rainaldis with Borromini whose main achievement was the interior but he also made decisive changes to the whole structure. The commission was withdrawn before completion after disagreements with the pope. Subsequently Carlo Rainaldi made only minimal alterations to the exterior.

View the ground plan and section of Sant’Agnese in Agone, Rome.

The commission to build the church of Sant’Agnese in Agone on Piazza Navona was first given by Pope Innocent X to Girolamo Rainaldi and his son Carlo in 1652. Due to the vigorous criticism of their plan, in 1653 Innocent replaced the Rainaldis with Borromini whose main achievement was the interior but he also made decisive changes to the whole structure. The commission was withdrawn before completion after disagreements with the pope. Subsequently Carlo Rainaldi made only minimal alterations to the exterior.

In 1653, Borromini had to continue building in accordance with the Rainaldi plan, for the pillars of the crossing were standing to the height of the niches. Yet by seemingly minor alterations he changed the character of the design. Thus a characteristically Borrominesque structure was erected over Rainaldi’s traditional plan.

View the ground plan and section of Sant’Agnese in Agone, Rome.

In 1625 Cardinal Francesco Barberini bought the palace at ‘Quattro Fontane’ in Rome. A year later Cardinal Francesco presented the palace to his brother Taddeo. Pope Urban VIII (original name Maffeo Barberini) commissioned Carlo Maderno to redesign the existing palace and to enlarge it. Maderno died in 1629, and the Pope appointed Bernini his successor. To all intents and purposes the palace was completed in 1633, but minor work dragged on until 1638. It is clear from the data that Bernini (who was assisted by Borromini) was responsible for almost the entire work of execution.

The palazzo is disposed around a forecourt centred on Bernini’s grand two-storey hall backed by an oval salone, with an extended wing dominating the piazza, which lies on a lower level. Flanking the hall, two sets of stairs lead to the piano nobile, a large squared staircase by Bernini to the left and a smaller oval staircase by Borromini to the right.

The photo shows the oval staircase by Borromini.

The renovation of the Archbasilica of St. John Lateran was initiated in 1646 by Pope Innocent X due to the approaching jubilee celebrations. It was completed in the record time of only four years under the direction of Francesco Borromini. The twelve niches created by his architectural scheme were eventually filled in 1718 with statues of the Apostles, sculpted by the most prominent Roman Rococo sculptors.

Work on the Collegio di Propaganda Fide, a group of buildings which formed the headquarters of the missionary congregation went on for an extended period.Borromini was commissioned to produce new structures for and alterations to the College.

Bernini built a small chapel in the palace for Pope Urban VIII; after the Pope’s death Bernini fell into disgrace and Borromini was asked to replace it with a larger chapel which was completed in 1664. Similar to what he had done for Oratorio dei Filippini, Borromini included the chapel in the overall design of the palace, so that its existence is not evident from the outside; the chapel has an unusual rectangular shape with a fine stucco ceiling. The dedication to the Magi was decided by Cardinal Barberini on the assumption that the three kings could be regarded as the first pagans who embraced the Christian faith; their conversion could therefore be considered as a symbol of those promoted by the congregation.

The photo shows the interior of the Re Magi Chapel.

Work on the Collegio di Propaganda Fide, a group of buildings which formed the headquarters of the missionary congregation went on for an extended period.Borromini was commissioned to produce new structures for and alterations to the College.

Bernini built a small chapel in the palace for Pope Urban VIII; after the Pope’s death Bernini fell into disgrace and Borromini was asked to replace it with a larger chapel which was completed in 1664. Similar to what he had done for Oratorio dei Filippini, Borromini included the chapel in the overall design of the palace, so that its existence is not evident from the outside; the chapel has an unusual rectangular shape with a fine stucco ceiling. The dedication to the Magi was decided by Cardinal Barberini on the assumption that the three kings could be regarded as the first pagans who embraced the Christian faith; their conversion could therefore be considered as a symbol of those promoted by the congregation.

The photo shows the interior of the Re Magi Chapel.

Work on the Collegio di Propaganda Fide, a group of buildings which formed the headquarters of the missionary congregation went on for an extended period.Borromini was commissioned to produce new structures for and alterations to the College.

Bernini built a small chapel in the palace for Pope Urban VIII; after the Pope’s death Bernini fell into disgrace and Borromini was asked to replace it with a larger chapel which was completed in 1664. Similar to what he had done for Oratorio dei Filippini, Borromini included the chapel in the overall design of the palace, so that its existence is not evident from the outside; the chapel has an unusual rectangular shape with a fine stucco ceiling. The dedication to the Magi was decided by Cardinal Barberini on the assumption that the three kings could be regarded as the first pagans who embraced the Christian faith; their conversion could therefore be considered as a symbol of those promoted by the congregation.

The photo shows the ceiling.

In 1634, the Procurator General of the Spanish Discalced Trinitarians commissioned Borromini to build the monastery of San Carlo alle Quattro Fontane. Borromini first built the dormitory, the refectory (now sacristy), and the cloisters, and the layout proved him a master in the rational exploitation of the scanty potentialities of the small and irregularly cut site. In 1638 the foundation stone of the little church itself was laid. Except for the fa�ade, it was finished in May 1641 and consecrated in 1646.

In Borromini’s plan of San Carlo extraordinary importance is given to the sculptural element of the columns which are grouped in fours with larger intervals on the longitudinal and transverse axis.

The photo shows the interior of the church.

View the section of San Carlo alle Quattro Fontane, Rome.

In 1634, the Procurator General of the Spanish Discalced Trinitarians commissioned Borromini to build the monastery of San Carlo alle Quattro Fontane. Borromini first built the dormitory, the refectory (now sacristy), and the cloisters, and the layout proved him a master in the rational exploitation of the scanty potentialities of the small and irregularly cut site. In 1638 the foundation stone of the little church itself was laid. Except for the fa�ade, it was finished in May 1641 and consecrated in 1646.

In Borromini’s plan of San Carlo extraordinary importance is given to the sculptural element of the columns which are grouped in fours with larger intervals on the longitudinal and transverse axis.

The photo shows the interior of the church.

View the section of San Carlo alle Quattro Fontane, Rome.

In 1634, the Procurator General of the Spanish Discalced Trinitarians commissioned Borromini to build the monastery of San Carlo alle Quattro Fontane. Borromini first built the dormitory, the refectory (now sacristy), and the cloisters, and the layout proved him a master in the rational exploitation of the scanty potentialities of the small and irregularly cut site. In 1638 the foundation stone of the little church itself was laid. Except for the fa�ade, it was finished in May 1641 and consecrated in 1646.

In Borromini’s plan of San Carlo extraordinary importance is given to the sculptural element of the columns which are grouped in fours with larger intervals on the longitudinal and transverse axis.

The photo shows a view towards the altar.

View the ground plan of San Carlo alle Quattro Fontane, Rome.

The church interior is both extraordinary and complex. The three principal parts can be identified vertically as the lower order at ground level, the transition zone of the pendentives and the oval coffered dome with its oval lantern.

The picture shows the oval dome with its intricate geometrical pattern.

Next to the church is the cloister, which is a two-story arrangement. The space is longer along the entrance axis than it is wide, but the rectangular ordering is interrupted by cutting the corners so it could also be understood as an elongated octagon. Further complexity is introduced by the variation in the spacing of the twelve columns carrying alternating round and flat headed openings, the curvature of the corners, and the inventive balustrade. Geometrical themes are reinforced by the central octagonal wellhead on an oval base and the octagonal capitals of the upper columns.

The photo shows the interior of the cloister.

The university church of Sant’Ivo alla Sapienza is hardly the product of a single architect. Work on this structure took almost two decades and involved the decisions and revisions of three successive popes. By 1632 Bernini had proposed Borromini, his assistant at the time, as the architect for the university. In 1642 Borromini received the commission for the related church.

View the ground plan of Sant’Ivo alla Sapienza, Rome.

The university church of Sant’Ivo alla Sapienza is hardly the product of a single architect. Work on this structure took almost two decades and involved the decisions and revisions of three successive popes. By 1632 Bernini had proposed Borromini, his assistant at the time, as the architect for the university. In 1642 Borromini received the commission for the related church.

The church was to be erected at the east end of Giacomo della Porta’s long, arcaded cortile. For its plan Borromini returned to the basic geometry of the equilateral triangle. But this time the triangles interpenetrate in such a way that they form a regular star-hexagon. Before Borromini’s Sant’Ivo, the star-hexagon was almost entirely excluded from Renaissance and post-Renaissance planning. Even the simple hexagon was hardly used. However, the complexities inherent in hexagonal planning were skillfully avoided by Borromini. Instead of creating, in accordance with tradition, a hexagonal main space with lower satellite spaces placed in the angles of the triangles, he encompassed the perimeter with an uninterrupted sequence of giant pilasters impelling the spectator to register the unity and homogeneity of the entire area of the church. This sensation is powerfully supported by the sharply defined crowning entablature which reveals the star form of the ground-plan in all its clarity.

View the ground plan of Sant’Ivo alla Sapienza, Rome.

The university church of Sant’Ivo alla Sapienza is hardly the product of a single architect. Work on this structure took almost two decades and involved the decisions and revisions of three successive popes. By 1632 Bernini had proposed Borromini, his assistant at the time, as the architect for the university. In 1642 Borromini received the commission for the related church.

The church was to be erected at the east end of Giacomo della Porta’s long, arcaded cortile. For its plan Borromini returned to the basic geometry of the equilateral triangle. But this time the triangles interpenetrate in such a way that they form a regular star-hexagon. Before Borromini’s Sant’Ivo, the star-hexagon was almost entirely excluded from Renaissance and post-Renaissance planning. Even the simple hexagon was hardly used. However, the complexities inherent in hexagonal planning were skillfully avoided by Borromini. Instead of creating, in accordance with tradition, a hexagonal main space with lower satellite spaces placed in the angles of the triangles, he encompassed the perimeter with an uninterrupted sequence of giant pilasters impelling the spectator to register the unity and homogeneity of the entire area of the church. This sensation is powerfully supported by the sharply defined crowning entablature which reveals the star form of the ground-plan in all its clarity.

View the ground plan of Sant’Ivo alla Sapienza, Rome.

The photo shows three windows in the dome.

The university church of Sant’Ivo alla Sapienza is hardly the product of a single architect. Work on this structure took almost two decades and involved the decisions and revisions of three successive popes. By 1632 Bernini had proposed Borromini, his assistant at the time, as the architect for the university. In 1642 Borromini received the commission for the related church.

The photo shows the interior of the dome. View its plan.

The photo shows the interior of the dome. View its plan.

The church of Santa Maria dei Sette Dolori is one of Borromini’s lesser ecclesiastical works. The church lies at right angles to the fa�ade, and it is erected over simple rectangular plans with bevelled corners. It was begun in 1642 and left unfinished in 1646. The interior is articulated by an imposing sequence of columns arranged in triads between the larger intervals of the two main axes, which are bridged by arches rising from the uninterrupted cornice.

The Palazzo Spada was originally built in 1540 for Cardinal Girolamo Capodiferro. Bartolomeo Baronino (1511-1554), of Casale Monferrato, was the architect, while Giulio Mazzoni (c. 1525-c. 1618) and a team provided lavish stuccowork inside and out.

The palazzo was purchased by Cardinal Spada in 1632. He commissioned the Baroque architect Francesco Borromini to modify it for him, and it was Borromini who created the masterpiece of forced perspective optical illusion in the arcaded courtyard, in which diminishing rows of columns and a rising floor create the visual illusion of a gallery 37 meters long (it is 8 meters) with a life size sculpture at the end of the vista, in daylight beyond: the sculpture is 60 cm high. Borromini was aided in his perspective trick by a mathematician.

The picture shows the forced perspective gallery by Francesco Borromini. The corridor is much shorter, and the sculpture much smaller, than they appear.