the melancholic architect

Francesco Castelli, better known as Francesco Borromini, is considered one of the architectural giants of the Baroque period. He was born in Bissone, Switzerland on September 25th, 1599 and started off his career as a stonemason following in the footsteps of his father. He went to Milan to hone his skills as a stonemason. At the age of 20, he had amassed a large debt in his father's name while he explored his interest in architecture throughout Milan, he then fled to Rome. It was then he changed his surname to Borromini, "It's believed to be in the honor of St. Charles Borromeo, the archbishop of Milan from 1564-1584 and one of the great reformers of the 16th century" (Borromini's Incredible Perspective...). With his changed surname, Borromini was now ready to give his all to architect, and he did just that, his life was by no means easy nor did it have a happy ending, but Borromini left his mark on the world, at the cost of his own life. 

Fun Fact: Borromini once found someone desecrating stonework for the Archbasilica of St. John Lateran and beat him so severely he died. He was, however, pardoned by the papal

the outside of San Carlo is a wonder all
on it's own. It's as if Borromini carved the
building out of clay rather than stone. 

Andrew Leach, an architecture professor at Griffith University, discusses the history of architecture during the Baroque period in his article, "Considering the Baroque",  while delving into architecture with Borrominist influence. To Leach the baroque was a period of great paradox, he states, "The baroque shored up both phenomenological and critical sides of the theory wall. It explained nationalist value as it undermined them. It bolstered the modern inheritance of the classical and the romantic alike" (285). Perhaps the reason Borromini soared in the baroque period was because he himself was filled with contradictory characteristics. He was reclusive and even dubbed shy by some, but had a temper and was quite outspoken when it came to architecture, he did not care for high society and their societal norms but was miserable at not being appreciated by them. 

Borromini's architectural brilliance is well-known for its unconventional arrangement that leads works that are extravagantly made but when put together create a captivating, yet graceful piece of work. A prime example being the church of San Carlo alle Quattro Fontane. The church was Borromini's first independent project, commissioned by Cardinal Francesco Barberini for the Holy Order of the Trinity. 

The ceiling of San Carlo, the minute details are many and each opulent in their own way, but as a whole, they create a geometrically serene structure. 

Matthew Brennan has created a brilliant 3D rendition of the church here. 

  

Dr. Beth Harris and Dr. Steven Zucker discuss the brilliance behind Borromini's design . 

While Borromini was an amazing architect, with a magnificent mind, he was known to be rather irascible. He did not care what others thought of him and was content in living out his life, disregarding societal norms such as class, fashion, looks, and so on; things that were considered very important then. The one thing, however, that grated his nerves was his brilliance being overlooked. Despite the work he produced, many patrons were wary of Borromini due to his easily angered nature.

During his years as an architect, Borromini developed a strong dislike of Gian Lorenzo Bernini, his biggest competitor. Bernini was a genius in his own right, with a charismatic personality that had escaped Borromini. Cunningham notes, "The almost obsessive elaboration of [Borromini's] design is in strong contrast to the clarity of many of Bernini's buildings, but its ornateness represents another baroque approach to architecture, one that was to have a continual appeal" (365). While Borromini and Bernini did work on projects together, such as Saint Peter's Basilica and Barberini Palace, Borromini and Bernini did not mesh well. 

St Peter's Baldachin is located inside the Saint
Peter Basilica, used as a canopy over the altar. 

Bernini was impressed by Borromini's ingenuity, both stood to be mutually benefitted, Bernini had a brilliant mind to help him out, whereas, Borromini had a chance to show his brilliance to the world. What Cunningham forgot to mention was that Bernini took advantage of the dislike that many had for Borromini, according to The Guardian, "Bernini used Borromini with it suited him, and very probably exploited him through a number of papal commissions, including the St Peter's baldacchino...This tore at Borromini's soul" (Borromini: the first... Glancey). Borromini's work was very reminiscent of his personality. It was serene in its genius yet decadent in its creation. He dedicated his whole life to architecture, and in the end, gave up his life for it. 

In his later years, Borromini was infuriated at the world, and more specifically Bernini. After two of his biggest supporters died, Borromini shut himself in his house and spent weeks inside. He burned all his drawings and sketches and suffered bouts of melancholy, hypochondria, and hallucinations. The medical professionals of his time decided he needed to be "denied all activity", which seems like a great way to help a person feeling forgotten and beaten by the world. Stuck in his house, one could only imagine the despair Borromini must've felt, to be an accomplished architect, only to be brought down because your rival happened to be more charming than you. One summer night, he woke, and as he was forbidden to work, he began to pace his house. Coming across a sword, he threw himself upon it. His servant found him, but the architect had mere moments left and so Francesco Borromini, an architectural master, died August 2nd, 1667.

Borromini was not only a prominent part of the Baroque period, he was also a great example of the complexities and ingenuity that runs parallel to baroque style work. Borromini blended in the new style of the Baroque, along with the classic elegancy of the Renaissance. He was a portal between the new and the old, creating architecture that not only stood the test of time regarding its aesthetic but also its durability. He was a magnificent architect, dedicated to his work to the point of ruin. He may not have been appreciated while he was alive, but his legacy lives on in every nook and cranny of his breathtaking masterpieces. 

Works Cited:

“Borromini’s Perspective Corridor at Rome’s Palazzo Spada.” Through Eternity Tours, www.througheternity.com/en/blog/art/borromini-perspective-palazzo-spada.html#:~:text=In%201620%2C%20he%20took%20a%20debt%20owed%20his. Accessed 28 Nov. 2020.

Cunningham, Lawrence, et al. Culture & Values : A Survey of the Humanities. Boston, Ma, Cengage Learning, 2018.

Dr. Beth Harris and Dr. Steven Zucker, "Francesco Borromini, San Carlo alle Quattro Fontane, Rome," in Smarthistory, November 18, 2015, accessed November 23, 2020, https://smarthistory.org/borromini-san-carlo-alle-quattro-fontane/.

“Francesco Borromini: Architecture & Works | Study.com.” Study.com, 2010, study.com/academy/lesson/francesco-borromini-architecture-works.html. Accessed 2 Jan. 2020.

“Francesco Borromini - An Independent Architect | Britannica.” Encyclopædia Britannica, 2020, www.britannica.com/biography/Francesco-Borromini/An-independent-architect. Accessed 2 Jan. 2020.

“Francesco Borromini, San Carlo Alle Quattro Fontane, Rome – Smarthistory.” Smarthistory.org, smarthistory.org/borromini-san-carlo-alle-quattro-fontane/. Accessed 28 Nov. 2020.

Glancey, Jonathan. “Borromini: The First Architect.” The Guardian, The Guardian, 5 Feb. 2011, www.theguardian.com/artanddesign/2011/feb/05/borromini-book-kerry-downes-architecture.

Glancey, Jonathan. “San Carlo Alle Quattro Fontane: Madness or Masterpiece?” ArchDaily, 6 Mar. 2017, www.archdaily.com/806683/san-carlo-alle-quattro-fontane-madness-or-masterpiece.

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