Bernini And Borromini

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The Architecture of Bernini and Borromini: S.Andrea al Quirinale and S.Carlo Alle Quattro Fontane

The Architecture of Bernini and Borromini

Barque style was democrat, attracting an extensive audience through elements of emotions and multimedia special effects. Both styles commandeered the columns, entabulature, arches, and domes of Roman antiquity (Jones 2003 36-41). Architects of the Renaissance period applied them to accentuate constancy and inaction, and the masters of Barque i.e. Bernini and Borromini used sophisticated columns into the corkscrews. They arranged classic elements in movement, breaching gables to construct lines in swoops. Bernini became the darling of the Popes, protected by the Barberini and, specifically, by Urban VIII who could develop a whole complex art program with all means at their disposal (Morrissey 2006 223-225). Young man was a successful architect, chosen by Louis XIV to design Versailles, since his style was more academic and classical.

The arrival of Pope Innocent X-immortalized Velazquez great way for the papal throne in 1644 and this was the rise of the star of Borromini and fall of his master. He could hardly enjoy his prosperity when a new pope, Alexander VI, "said a foreman Bernini and the Vatican. His revenge was terrible. Borromini topping old ended his life work, begging, alone, abandoned and depressed, with feelings of persecution and despise, he committed suicide. Francesco Borromini and Gian Lorenzo Bernini are the main protagonists and antagonists of Baroque Rome (Villari 1995 284-291). Two geniuses, two temperaments, two ways to live and work. Both have left their works through a strong and unique impression on the city of Rome. This is the canopy of the basilica of St. Peter to be the cause of their breakup, since the beginning of their career as an architect they often work together. And if Bernini died in his bed, attended by the Pope and Queen Christina of Sweden, Borromini, at age 68, depressed in crisis, will drop a sword attached to the ground and died after three days of excruciating agony. The list of works of these two masters also shows their differences. Bernini proved perhaps more daring in sculpture as in architecture where his works appear less innovative, and sometimes a decorative excess that harms their development. With a little less marble, gilt and cherubs, Sant'Andrea al Quirinale is even fairly classic. Borromini did not need the overload of gilt bronze, marble colored stucco cherubs or for decorative effect and play of light. It had been very unfortunate at the end of his life when, passing Santa Agnese in agony; he could observe the artists who had succeeded in adding to fun. He pushed the audacity much further than Bernini, exceeding the ellipse or oval with its intertwining lines, accusing free contrast effects, releasing the lines and volumes, especially, giving details of its value regardless, at least in appearance, its subordination to the whole. Bernini and Borromini were both great artists, but one cannot help but have a soft spot for ...
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