Francesco Borromini
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What you need to know about Francesco Borromini
Francesco Borromini was born on September 25, 1599, in Bissone, a village on Lake Lugano in what is now Canton Ticino, Switzerland. He died in Rome on August 3, 1667.
Francesco Borromini was one of the most influential architects of the Roman Baroque, known for his innovative forms and use of complex geometries. Born in Bissone, a village on Lake Lugano, he moved to Rome at a young age and initially worked as a stonemason. His original name was Francesco Castelli, but he adopted the name Borromini during his career in Rome.
Life: Borromini was known for his difficult character and a heated rivalry with Gian Lorenzo Bernini, his contemporary and artistic antagonist. The competition between the two led to intense creativity, but also to many personal and professional difficulties for Borromini. His life ended tragically: he took his own life in Rome in 1667, after a period of deep depression.
Style: Borromini’s style is distinguished by his use of complex geometric forms, in contrast to Bernini’s classicism. He preferred dynamic curves and innovative spatial solutions, which gave his works an almost sculptural fluidity. Francesco Borromini is considered one of the most revolutionary architects of the Baroque, partly because of his daring use of unconventional geometric forms and structures, and partly because of his exploration of the interaction between light and space. Unlike his rival Bernini, who favored classicism and decorative drama, Borromini focused more on an architectural spirituality that emerged through pure forms and complex spaces.
Collaborations and early works: Borromini began his career in Rome as an assistant to Carlo Maderno, architect of St. Peter’s Basilica. There he learned about monumental architecture, working on the facades and interior decorations of the basilica. He also collaborated with Gian Lorenzo Bernini on various papal projects, including the Baldacchino di San Pietro, but stylistic and personal differences soon emerged.
Innovative approach to geometry: One of the distinctive aspects of Borromini’s style was the use of geometry as a creative and symbolic element. In contrast to the classical rectilinear forms of the Renaissance, Borromini used concave, convex and ovoid shapes to suggest movement and dynamism. His choice of elliptical plans, as in San Carlo alle Quattro Fontane, represents a radical development that emphasizes a fluid perception of space. He also loved to experiment with natural light to create dramatic and spiritual atmospheres in his works.
Difficulties with patrons: Borromini’s rather inflexible and sometimes intractable personality caused him numerous problems with clients. His passion for innovation often led him into clashes with those who preferred more traditional and less daring architectural solutions. At **Sant’Agnese in Agone**, for example, he had such tensions with the Pamphilj family that he was forced to abandon the project, with the work later completed by other architects.
Influence and legacy: Borromini’s influence was not immediate; his originality and complexity made him difficult for many of his contemporaries to understand. However, his designs were rediscovered and reevaluated in later centuries, especially by modernists, who appreciated his structural boldness and geometric vision. His works inspired architects such as Le Corbusier and Frank Lloyd Wright, both of whom were attracted to his spatial innovation and his ability to manipulate movement within architecture.
Today, Borromini is remembered as a genius who gave birth to a new architectural perspective. His troubled life and unique artistic vision made him a fascinating and pivotal figure in the history of architecture.
Works
Here is a more detailed list of Francesco Borromini’s major works, with a focus on the innovative elements and stylistic features of each:
St. Charles at the Four Fountains (1634-1641) – One of the absolute masterpieces of the Baroque, affectionately called “St. Charles” because of its small size. Innovative features: The elliptical plan and bold use of concave and convex forms on the facade make this church unique. Borromini experiments here with complex geometries that give a sense of movement and dynamism to the structure.Details:The dome has a honeycomb structure with a series of decorations that create an effect of depth. This play of light and shadow emphasizes the verticality and spirituality of the space.
Sant’Ivo alla Sapienza (1642-1660) – Located within the La Sapienza University complex, this is one of Borromini’s most recognizable works due to its spiral dome. Innovative features: Borromini uses a hexagonal plan, inspired by alchemical symbols and sacred geometry. The shape of the dome, which rises in an upward spiral, symbolizes spiritual ascent. Details: The use of light is designed to create a mystical atmosphere, and the shape of the dome differs from all other Baroque churches in Rome, becoming a symbol of originality.
Philippine Oratory (1637-1650) – A building constructed to house the activities of the Oratory Congregation, next to the New Church. Innovative features: The facade is concave and integrates the building harmoniously into the surrounding urban context, creating an effect of dialogue with neighboring buildings. Here, too, Borromini uses curved forms to suggest movement. Details: The interior houses a library and conference spaces, designed in a functional yet dramatic way. The façade, made of brick and with travertine decoration, is notable for its innovative use of brick as a decorative element.
Sant’Agnese in Agone (1653-1657) – Located in Piazza Navona, this church was destined to become one of the major public works of the Roman Baroque. Innovative features: Borromini designed a concave facade to accentuate the sense of movement, but abandoned the project after disagreements with the patrons. The use of curved lines was intended to contrast with Bernini’s Fountain of the Four Rivers, which stands directly in front of the church. Details: Although not completed by Borromini, the work retains many of his stylistic traits and is an example of his ability to create dynamic spaces.
Palazzo Spada (Courtyard Perspective) (1632) – Borromini collaborated to create a perspective illusion in the courtyard of the Palazzo Spada. Innovative Features: Using diminishing columns and a sloping floor, Borromini created the illusion of a long, deep corridor, even though it actually measures only a few meters. Details: This masterpiece of optical illusion has become an example of forced perspective in architecture and continues to fascinate visitors with its ingenuity.
St. John Lateran (Restoration and Renovation, 1646-1649) – Borromini was commissioned to restore the Basilica of St. John Lateran, one of the four papal basilicas. Innovative Features: He renovated the interior structure while maintaining the original style, but added decorative elements such as arches and pilasters, succeeding in integrating the new with the old. Details: Borromini’s interventions sought to make the basilica more majestic without affecting its ancient spirituality, using a sober and harmonious language.
Most Holy Apostles Peter and Marcellinus (1646-1653, project never completed) – A church designed by Borromini, but construction was never completed. Innovative features: The idea was to build a central plan with plays of curves and counter-curves, to emphasize the depth and dynamism of the interior space. The design remained only partially realized, but it reveals Borromini’s audacity and ambition to create a space of strong emotional impact.
Santa Maria dei Sette Dolori (1643-1667, unfinished project) – Designed for a convent of Augustinian nuns, the building remained unfinished. Innovative features:Here Borromini designed a restrained facade, playing with the contrast of decorative elements and brick arches. This design reflects a more restrained style, but maintains a focus on articulated geometries: Although unfinished, this church shows Borromini’s evolution toward a more minimalist approach, where each decorative element has a precise structural function.
Curiosities
The stage name “Borromini” – Francesco Borromini’s real name was Francesco Castelli. He adopted the surname “Borromini” when he moved to Rome, probably in honor of St. Charles Borromeo, a charismatic figure and inspirer of the Counter-Reformation. This gesture may also reflect a desire to move away from his humble origins and build a new identity for himself as an architect.
A difficult temperament – Borromini was known for his difficult character and perfectionism. This often led him into clashes with clients and collaborators. It is once reported that he refused to sign a contract for the restoration of the Basilica of St. John Lateran until he was given complete creative freedom.
Hidden symbolism in works – Borromini loved to hide religious, alchemical and even astrological symbols in his works. For example, the plan of the church of Sant’Ivo alla Sapienza is based on the shape of a six-pointed star, a symbol of knowledge and wisdom, which also reflects the theme of the university to which the church belongs.
The optical illusions of Palazzo Spada – In the courtyard of Palazzo Spada, Borromini created an incredible optical illusion in collaboration with the artist Giovanni Maria da Bitonto. The corridor appears to be very long, but it actually measures only 9 meters. This technique of forced perspective is still one of the most studied and admired architectural illusions today.
The controversial relationship with light – Unlike other Baroque architects who used light to glorify and decorate, Borromini preferred to create environments where light was filtered, almost mystical. This approach is particularly visible in San Carlo alle Quattro Fontane, where the windows of the dome allow light to enter in a controlled way, creating a spiritual and intimate atmosphere.
The tragic and mysterious end – Borromini’s death is surrounded by mystery. It is said that, in a moment of deep depression and loneliness, he took his own life by stabbing himself with his own sword in 1667. However, Borromini’s suicide is described in an almost theatrical way: it is said that, after inflicting the wound on himself, he allegedly repented and tried to make amends, but his wounds were too severe and he died soon after. Before he died, he dictated his last wishes, asking for a simple funeral with no commemorations.
Influence on modernism – Although his originality was not immediately understood and appreciated, Borromini became a figure of inspiration for modernist architects such as Le Corbusier and Frank Lloyd Wright. His ability to defy convention and create dynamic spaces with complex geometric forms has been admired and studied in subsequent centuries.
The never-completed work of Santa Maria dei Sette Dolori – Santa Maria dei Sette Dolori is another unfinished project by Borromini, testifying to both his ambitions and his difficulties with his patrons. The church was begun for Augustinian nuns, but Borromini abandoned the project due to lack of funds and constant disagreements. Although it remained unfinished, the structure is considered an interesting example of his minimalist and contemplative approach in his later years.
Obsession with detail – Borromini was known for his almost obsessive perfectionism. In one of his works, the Oratorio dei Filippini, the story goes that he ordered part of the newly completed facade to be demolished because it did not meet his standards. This perfectionism often led him to tensions with those who worked with him, but it also helped make his works timeless masterpieces.
Rivalry with Bernini
The rivalry between Gian Lorenzo Bernini and Francesco Borromini is one of the most fascinating stories of Baroque art. Both worked in Rome in the 17th century, and the contrast between their characters and artistic approach created a competition that pushed the boundaries of architecture and sculpture at the time.
Differences in Style
Bernini: He was known for his dramatic, theatrical style geared toward the emotional involvement of the viewer. He loved grandiose sets and created works that combined sculpture, architecture, and light in a spectacular way. His inclination toward dynamism and ornamentation fully represented the Baroque aesthetic, aiming to excite and amaze the audience.
Borromini: In contrast, Borromini was much more rational and experimental, preferring an architecture made of complex geometry, narrow spaces and unusual forms. His structures were innovative and based on mathematical balance, as can be seen in the church of San Carlo alle Quattro Fontane, where he uses curved spaces and particular geometries to create an effect of movement without resorting to excessive decoration.
Characters and Personality
Bernini: He was charming and charismatic, with a great talent for making himself loved by the powerful, especially the popes. He was admired and much in demand, enjoying a prestige that guaranteed him many high-level commissions. He was able to create a network of supporters because of his ability to relate to the aristocracy and popes, such as Urban VIII Barberini.
Borromini: He was known to be introverted, perfectionist, and prone to depression. He did not seek social success and detested compromise. His difficulty in relating to power and his creative independence made it difficult for him to obtain commissions as important as Bernini’s. This loneliness, combined with his passionate nature, contributed to his isolation in the artistic world and finally to his tragic suicide in 1667.
Collaboration and Competition The rivalry between the two began as a collaboration. They both worked together on important projects for Pope Urban VIII, such as the Baldachin of St. Peter’s, where Borromini handled the architectural details, while Bernini handled the sculptural and decorative aspect. However, Bernini’s talent overshadowed Borromini’s, creating tension and jealousy between the two.
Fountain of the Rivers and St. Charles at the Four Fountains: One of the works that best represents the rivalry is Bernini’s Fountain of the Four Rivers in Piazza Navona, completed in 1651, a symbol of the grandeur and power of the Church. Borromini built at the same time the church of San Carlo alle Quattro Fontane, a structurally revolutionary work, demonstrating his ability to create innovative and complex spaces.
Legends and Anecdotes
“The statue’s gesture”: A famous anecdote concerns the alleged location of the Rio della Plata statue in the Fountain of the Four Rivers, which some say was sculpted by Bernini so that it appears to “fear” the collapse of the facade of the church of Sant’Agnese in Agone, designed by Borromini. However, this is a legend, as Bernini finished the fountain before the church.
Success and Bitterness: While Bernini continued to achieve fame and wealth, Borromini lived in his rival’s shadow. This frustration fueled his bitterness and instability, as he often saw Bernini gain recognition for works he considered technically inferior.
Works Compared: The rivalry between Bernini and Borromini is often highlighted by comparing some of their key works:
Bernini’s St. Peter’s Square vs. Borromini’s Oratorio dei Filippini: Both large-scale projects, but with different approaches. Bernini created a majestic work that welcomed the faithful with a symbolic “embrace,” while Borromini, in the Oratory, explored undulating and dynamic forms, showing an intimate and poetic architecture.
Bernini’s Royal Staircase vs. Borromini’s Helical Staircase of Palazzo Barberini: Bernini’s Royal Staircase uses a perspective effect that makes the staircase longer and grander, while Borromini’s Helical Staircase is a geometric masterpiece that takes advantage of the helical shape for a compact and ingenious space.
Legacy of Rivalry: The competition between Bernini and Borromini stimulated both to push their own limits and enriched Baroque art. Bernini is remembered as one of the greatest artists of his time, capable of capturing emotion and spectacle, while Borromini is considered an avant-garde architect, a forerunner of modern and experimental concepts. Their rivalry became legend and, in a sense, they complemented each other: Bernini with his ability to seduce and fascinate and Borromini with his rigorous geometric creativity. Both left an indelible mark on Rome and helped define the Baroque in a unique way.
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