Francesco Borromini
*25. 9. 1599 – Bissone, Switzerland
†3. 8. 1667 – Rome, Italy
Biography
Francesco Borromini was an Italian architect, the founder of dynamic Baroque. His temple constructions were characterized by complex floor plans, independent interior spaces, and interiors that were separate from them. After studying, he joined the construction workshop around St. Peter's Cathedral in Rome in 1619. He worked under the guidance of his uncle Carlo Maderno and studied ancient works as well as Michelangelo's creations. Under Maderno's guidance, he also built the palace for the Barberini family. After Maderno's death, the construction was led by Gian Lorenzo Bernini, and Borromini worked as his assistant. Later, due to disagreements, he parted ways with him, and they became bitter rivals.
The favor of patrons and thus the number of commissioned buildings varied. While Pope Urban VIII (real name Maffeo Barberini) appointed Bernini as the chief architect, his successor Innocent X (1644-1655) rejected everything associated with the Barberini family and appointed Borromini as his confidant and chief architect. The situation changed again with the ascent of Alexander VII (1655-1667), and Gian Lorenzo Bernini's star rose once more.
Borromini received very few commissions, likely suffered from depression, and at the age of 68, in a fit of rage, stabbed himself with a rapier and died two days later. For two whole days, he wrote a detailed diary in which he captured his feelings about dying and death.
Thanks to the rise of power and wealth of the Papal State, Rome became the cradle of a new style that replaced Renaissance rationality - Baroque. It was Francesco Borromini, along with his contemporary and rival Bernini, who formulated the basic principles and created somewhat unattainable models of Baroque architecture and sculpture. Unlike Bernini's architecture, Borromini attempted to change the classical canon, playing not only with concavely curved façades but, most importantly, with three-dimensionally shaped interior spaces, which often do not correspond in shape to the external outline of the building and evoke the impression that the pilgrim is entering another world.
Francesco Borromini was an Italian architect, the founder of dynamic Baroque. His temple constructions were characterized by complex floor plans, independent interior spaces, and interiors that were separate from them. After studying, he joined the construction workshop around St. Peter's Cathedral in Rome in 1619. He worked under the guidance of his uncle Carlo Maderno and studied ancient works as well as Michelangelo's creations. Under Maderno's guidance, he also built the palace for the Barberini family. After Maderno's death, the construction was led by Gian Lorenzo Bernini, and Borromini worked as his assistant. Later, due to disagreements, he parted ways with him, and they became bitter rivals.
The favor of patrons and thus the number of commissioned buildings varied. While Pope Urban VIII (real name Maffeo Barberini) appointed Bernini as the chief architect, his successor Innocent X (1644-1655) rejected everything associated with the Barberini family and appointed Borromini as his confidant and chief architect. The situation changed again with the ascent of Alexander VII (1655-1667), and Gian Lorenzo Bernini's star rose once more.
Borromini received very few commissions, likely suffered from depression, and at the age of 68, in a fit of rage, stabbed himself with a rapier and died two days later. For two whole days, he wrote a detailed diary in which he captured his feelings about dying and death.
Thanks to the rise of power and wealth of the Papal State, Rome became the cradle of a new style that replaced Renaissance rationality - Baroque. It was Francesco Borromini, along with his contemporary and rival Bernini, who formulated the basic principles and created somewhat unattainable models of Baroque architecture and sculpture. Unlike Bernini's architecture, Borromini attempted to change the classical canon, playing not only with concavely curved façades but, most importantly, with three-dimensionally shaped interior spaces, which often do not correspond in shape to the external outline of the building and evoke the impression that the pilgrim is entering another world.
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