“Art Dualism” in Baroque Architecture: Borromini and Bernini
The “art dualism” is also present in Baroque architecture, where the master of architectural art, Bernini, is paired with our protagonist today — Borromini.
Borromini: The “Moon” in Baroque Architecture
- Borromini (1599-1667) is one of the most renowned Baroque architects, and his name is as famous as that of the master Bernini. Their works together reflect the distinctive features of Baroque architectural style. Borromini’s architectural works are intricate and full of change, with a strong personality, greatly contributing to the development of Baroque architecture.
- Borromini, whose full name is Francesco Borromini, was born in northern Italy and was involved in the reconstruction of St. Peter’s Basilica under his master. He was an exceptionally talented architect, representing the pinnacle of Baroque architecture along with his contemporary, Bernini.
- Borromini and Bernini formed the “art dualism” in Baroque architecture. If Bernini is the sun, Borromini is the moon. The two had completely different personalities. Bernini was outgoing, confident, charming, and supported by cardinals from a very young age, enjoying a smooth journey throughout his life. In contrast, Borromini was the opposite — melancholic, introverted, and prone to temperamental disputes with patrons over commissions, ultimately leading to his tragic suicide. The two great Baroque architects took vastly different paths in life.
- The “dual opposition” between Borromini and Bernini is also evident in their architectural styles. Their most representative works are both small churches located in Rome, not far from each other. Borromini’s church is called the Church of San Carlo alle Quattro Fontane, while Bernini’s is the Church of Sant’Andrea al Quirinale. These two churches are among the most stylistically dense buildings in Rome. Though small in scale, they encapsulate the essence of Baroque architectural art.
- From these two churches, one can see the contrasting styles of Borromini and Bernini. Bernini’s overall style is orthodox and lavish, while Borromini’s architecture feels offbeat and somewhat awkward, with more feminine tones. If we were to use music as a metaphor, Bernini’s architecture would be grand, brilliant major-key music, while Borromini’s would be complex and melancholic minor-key music.
- Borromini had a deep understanding of geometry, which he integrated into his design of the ceiling of the Church of San Carlo. Using a highly ingenious method, he harmoniously combined octagonal, hexagonal, and cross shapes, covering the entire ceiling with a dazzling pattern. From both a symbolic and visual standpoint, the ceiling of the Church of San Carlo is a pinnacle of Baroque architecture.
- Another famous architectural work by Borromini is the Church of Sant’Ivo alla Sapienza. This church completely overturns the traditional cross-shaped structure of churches, opting instead for a equilateral triangular shape. The entire church seems to spiral upwards from the apex of its triangular roof, and this triangular form metaphorically represents the Christian doctrine of the “Trinity.”
- Borromini enjoyed incorporating unconventional and novel shapes into his designs, giving buildings more variation. In his buildings, the columns of balcony railings are special — they are not uniform cylindrical columns, but protruding column shapes. Sometimes, adjacent columns are even installed upside down to create an alternating, interlacing effect. Additionally, Borromini liked to adorn his buildings with “illusionary mirrors,” an oval-shaped sculptural form placed at the entrance, which became a characteristic feature of his architecture.
- The intricate and complex designs in Borromini’s architecture were not intended to attract attention, but rather because he viewed buildings as sculptures. For him, walls, columns, and other elements had not only functional purposes, but also decorative and aesthetic significance. Borromini’s philosophy was that a building is an organic whole, where different parts are combined to form a unified artistic work, much like a sculpture.
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The Church of San Carlo, designed and built by Borromini, encapsulates the essence of Baroque architecture. The “illusionary mirror” atop the building is one of Borromini’s signature features.
The ceiling of the Church of San Carlo, where Borromini harmoniously combines octagonal, hexagonal, and cross shapes, fills the entire ceiling.
The Church of Sant’Andrea, designed and built by Bernini.
The Church of Sant’Ivo, designed and built by Borromini, completely overturns the traditional cross-shaped structure of churches and is an equilateral triangular church.
The spire of the Church of Sant’Ivo, where the entire church seems to spiral upwards from the apex of its triangular roof.
Interior of the spire of the Church of Sant’Ivo.
A diagram of the triangular structure of the Church of Sant’Ivo, symbolizing the Christian core belief in the “Trinity.”
The columns in Borromini’s architecture have a protruding column shape, and adjacent columns are often installed upside down, creating an interlacing effect.
Spanish architect Gaudí’s “biomorphic” architectural shapes.
The interior of the Sagrada Família, designed and built by Spanish architect Gaudí.
Tip:
Remember to bring coins when visiting the Church of San Carlo.
If you have the chance to visit the Church of San Carlo or the Church of Sant’Andrea, make sure to bring some coins with you. Hidden on the second floor of these buildings, there are spotlights installed that illuminate the roof when activated. At dusk, there are devices at the entrance where you can insert coins to light up the roof, creating a dazzling, magnificent display.
