Francesco Borromini, nato Francesco Castelli (Bissone, 27 settembre 1599 – Roma, 3 agosto 1667), è stato un architetto italiano operante quasi esclusivamente a Roma, tra i principali esponenti dell'architettura barocca.
Giovinezza e formazione
Francesco Castelli nacque il 27 settembre 1599 a Bissone, villaggio del canton Ticino sulle sponde del lago di Lugano, primogenito di quattro figli. Del padre, Giovanni Domenico, non si conosce molto, ma sappiamo che era un modesto architetto o capomastro al servizio dei Visconti a Milano; la madre, Anastasia Garove, proveniva invece da un'agiata famiglia impegnata nell'edilizia e imparentata alla lontana con Domenico Fontana, considerato in quel periodo il più prestigioso architetto del mondo occidentale.
Il cognome originario di Francesco, dunque, non era Borromini, bensì Castelli; avrebbe iniziato a firmarsi abitualmente come «Borromini» dal 1628, così da distinguersi dalle diverse maestranze edili romane che si chiamavano Castelli. «Borromini», in ogni caso, era un cognome che già apparteneva alla famiglia: Giovanni Pietro Brumino era lo sposo in seconde nozze di una nonna del futuro architetto, e lo stesso padre era spesso soprannominato «Brumino», forse in ragione del suo legame con la famiglia viscontea.
Il soprannome di Borromini potrebbe avere una diversa origine nel senso che fosse « ispirato alla grande devozione che lui, lombardo, portò al più grande dei santi lombardi del suo tempo, Carlo Borromeo.» Seguendo l'iter proprio delle maestranze lapicide provenienti dalla regione del lago di Lugano, Borromini a soli nove anni venne inviato dal padre a fare apprendistato a Milano, ove giunse nel 1608. Nella città ambrosiana il giovane Francesco apprese da Andrea Biffi «l'arte di intagliatore in pietra», per usare le parole del biografo Filippo Baldinucci; fu in qualità di intagliatore di marmi, inoltre, che lavorò presso numerosi cantieri milanesi, fra cui quello monstre del duomo di Milano. Grazie al mestiere seppur umile di scalpellino Borromini ebbe modo di affinare la mano all'uso dello scalpello e maturare sicure capacità tecniche; l'esperienza alla Fabbrica del Duomo di Milano, inoltre, ebbe un'influenza duratura sulle future realizzazioni architettoniche del futuro architetto.
L'arrivo a Roma e i primi lavori
«Chi segue altri non gli va mai inanzi. Ed io al certo non mi sarei posto a questa professione col fine d'esser solo copista»
— Francesco Borromini
Borromini, sentendosi ormai oppresso tra le maestranze milanesi, ben presto decise di recarsi a Roma, dove giunse alla maniera dei pellegrini; trovando asilo nei conventi, percorse l'intero tragitto a piedi facendo tappa a Ravenna, così da ammirare la basilica di San Vitale, e nella contrada toscana di Montesiepi, dove visitò l'abbazia di San Galgano.
Arrivato nell'Urbe nel 1619, Borromini fu ospite e collaboratore di un parente prossimo per via materna, Leone Garove, residente al vicolo dell'Agnello (l'odierno vicolo Orbitelli), presso la parrocchia di San Giovanni dei Fiorentini. Garove, già attivo come capomastro scalpellino a Milano, allora godeva in città di una distinta notorietà, accresciutasi in seguito alla parentela con l'illustre architetto Carlo Maderno, acquisita sposando nel 1610 la nipote Cecilia. L'apprendistato presso il Garove, tuttavia, fu di breve durata, allorché quest'ultimo morì accidentalmente il 12 agosto 1620, precipitando dalle impalcature della basilica di San Pietro.
Di seguito è riportato il suo atto di morte, steso dalla parrocchia di San Giovanni dei Fiorentini:
La collaborazione con Maderno e Bernini
Dopo aver terminato così bruscamente il suo primo tirocinio, Borromini iniziò a collaborare con Carlo Maderno, conosciuto proprio grazie all'intercessione del Gravo. Il Maderno, uno dei maggiori architetti nella Roma di Paolo V Borghese, non poté fare a meno di ammirare l'instancabilità di questo giovane bissonese (conterraneo nonché lontano parente) e la padronanza tecnica con la quale realizzava i suoi disegni architettonici. Fu presso la residenza di Maderno, infatti, che Borromini istituì insieme ad altri due capomastri scalpellini provenienti dalla diocesi di Como una società di arte del marmo, rilevando per 155 franchi i beni dello zio appena defunto. Non rimane alcuna documentazione di una qualsivoglia attività di questa società, ma sappiamo che fu di vitale importanza per il Borromini, che da «maestro» divenne in questo modo «capomastro».
Tra i diversi episodi della fase maderniana, in ogni caso, si ricordano il cantiere di Sant'Andrea della Valle, l'erezione della cappella del Sacramento in San Paolo e la fabbrica di palazzo Barberini, dove lavorò anche al fianco di Gian Lorenzo Bernini, artista di un solo anno più anziano ma già celebre; qui Borromini realizzò lo scalone elicoidale, le porte del salone e alcune finestre.
Alla morte del Maderno, nel 1629, Borromini proseguì la propria carriera da architetto al fianco del Bernini, che nel frattempo aveva assunto la direzione della fabbrica di San Pietro in Vaticano. L'iniziale concordia tra Bernini e Borromini mutò in un rapporto estremamente difficile e conflittuale; l'accesa rivalità tra i due, spesso sfociata nella leggenda, era dovuta da una parte alle notevoli divergenze caratteriali, e dall'altra al ruolo prioritario assunto dal Bernini, anche sotto il profilo retributivo.
Dal punto di vista artistico, tuttavia, la collaborazione con Bernini fu assai fruttuosa: da questo sodalizio nacque infatti il baldacchino di San Pietro, dove la partecipazione borrominiana è evidente nel coronamento dell'aereo ciborio con volute a dorso di delfino.
From Wikipedia, the free encyclopedia Jump to navigationJump to search Francesco Borromini (Francesco Castelli by birth) Borromini.jpg Borromini (anonymous youth portrait)
Born 25 September 1599 Bissone, Condominiums of the Twelve Cantons (Italian possession of the Old Swiss Confederacy) Died 2 August 1667 (aged 67) Rome Occupation Architect
Practice Francesco Borromini Buildings San Carlo alle Quattro Fontane, Sant'Agnese in Agone, Sant'Ivo alla Sapienza, Oratorio dei Filippini Francesco Borromini, byname of Francesco Castelli (25 September 1599 – 2 August 1667), was an Italian architect born in today's Ticino who, with his contemporaries Gian Lorenzo Bernini and Pietro da Cortona, was a leading figure in the emergence of Roman Baroque architecture.
A keen student of the architecture of Michelangelo and the ruins of Antiquity, Borromini developed an inventive and distinctive, if somewhat idiosyncratic, architecture employing manipulations of Classical architectural forms, geometrical rationales in his plans and symbolic meanings in his buildings. He seems to have had a sound understanding of structures, which perhaps Bernini and Cortona, who were principally trained in other areas of the visual arts, lacked. His soft lead drawings are particularly distinctive. He appears to have been a self-taught scholar, amassing a large library by the end of his life.
His career was constrained by his personality. Unlike Bernini who easily adopted the mantle of the charming courtier in his pursuit of important commissions, Borromini was both melancholic and quick in temper which resulted in him withdrawing from certain jobs, and his death was by suicide.
Probably because his work was idiosyncratic, his subsequent influence was not widespread but is apparent in the Piedmontese works of Camillo-Guarino Guarini and, as a fusion with the architectural modes of Bernini and Cortona, in the late Baroque architecture of Northern Europe. Later critics of the Baroque, such as Francesco Milizia and the English architect Sir John Soane, were particularly critical of Borromini's work. From the late nineteenth century onwards, interest has revived in the works of Borromini and his architecture has become appreciated for its inventiveness.
Early life and first works
Borromini was born at Bissone, near Lugano in the Ticino, which was at the time a bailiwick of the Swiss Confederacy. He was the son of a stonemason and began his career as a stonemason himself. He soon went to Milan to study and practice his craft. He moved to Rome in 1619 and started working for Carlo Maderno, his distant relative, at St. Peter's and then also at the Palazzo Barberini. When Maderno died in 1629, he and Pietro da Cortona continued to work on the palace under the direction of Bernini. Once he had become established in Rome, he changed his name from Castelli to Borromini, a name deriving from his mother's family and perhaps also out of regard for St Charles Borromeo.
San Carlo alle Quattro Fontane (San Carlino)
Main article: San Carlo alle Quattro Fontane
Façade of San Carlo alle Quattro Fontane.
In 1634, Borromini received his first major independent commission to design the church, cloister and monastic buildings of San Carlo alle Quattro Fontane (also known as San Carlino). Situated on the Quirinal Hill in Rome, the complex was designed for the Spanish Trinitarians, a religious order. The monastic buildings and the cloister were completed first after which construction of the church took place during the period 1638-1641 and in 1646 it was dedicated to San Carlo Borromeo. The church is considered by many to be an exemplary masterpiece of Roman Baroque architecture. San Carlino is remarkably small given its significance to Baroque architecture; it has been noted that the whole building would fit into one of the dome piers of Saint Peter's.
The site was not an easy one; it was a corner site and the space was limited. Borromini positioned the church on the corner of two intersecting roads. Although the idea for the serpentine facade must have been conceived fairly early on, probably in the mid-1630s, it was only constructed towards the end of Borromini's life and the upper part was not completed until after the architect's death.
Borromini devised the complex ground plan of the church from interlocking geometrical configurations, a typical Borromini device for constructing plans. The resulting effect is that the interior lower walls appear to weave in and out, partly alluding to a cross form, partly to a hexagonal form and partly to an oval form; geometrical figures that are all found explicitly in the dome above. The area of the pendentives marks the transition from the lower wall order to the oval opening of the dome. Illuminated by windows hidden from a viewer below, interlocking octagons, crosses and hexagons diminish in size as the dome rises to a lantern with the symbol of the Trinity.
Oratory of Saint Phillip Neri (Oratorio dei Filippini)
Main article: Oratorio dei Filippini
Oratory of Saint Phillip Neri
In the late sixteenth century, the Congregation of the Filippini (also known as the Oratorians) rebuilt the church of Santa Maria in Vallicella (known as the Chiesa Nuova -new church) in central Rome. In the 1620s, on a site adjacent to the church, the Fathers commissioned designs for their own residence and for an oratory (or oratorio in Italian) in which to hold their spiritual exercises. These exercises combined preaching and music in a form which became immensely popular and highly influential on the development of the musical oratorio.
The architect Paolo Maruscelli drew up plans for the site (which survive) and the sacristy was begun in 1629 and was in use by 1635. After a substantial benefaction in January 1637, however, Borromini was appointed as architect. By 1640, the oratory was in use, a taller and richer clock tower was accepted, and by 1643, the relocated library was complete. The striking brick curved facade adjacent to the church entrance has an unusual pediment and does not entirely correspond to the oratory room behind it. The white oratory interior has a ribbed vault and a complex wall arrangement of engaged pilasters along with freestanding columns supporting first level balconies. The altar wall was substantially reworked at a later date.
Borromini’s relations with the Oratorians were often fraught; there were heated arguments over the design and the selection of building materials. By 1650, the situation came to a head and in 1652 the Oratorians appointed another architect.
However, with the help of his Oratorian friend and provost Virgilio Spada, Borromini documented his own account of the building of the oratory and the residence and an illustrated version was published in Italian in 1725 
Wikimedia Commons has media related to Francesco Borromini.
Sant'Ivo alla Sapienza, courtyard and façade.
Sant'Ivo alla Sapienza
From 1640-1650, he worked on the design of the church of Sant'Ivo alla Sapienza and its courtyard, near University of Rome La Sapienza palace. It was initially the church of the Roman Archiginnasio. He had been initially recommended for the commission in 1632, by his then supervisor for the work at the Palazzo Barberini, Gian Lorenzo Bernini. The site, like many in cramped Rome, is challenged for external perspectives. It was built at the end of Giacomo della Porta's long courtyard. The dome and cochlear steeple are peculiar, and reflect the idiosyncratic architectural motifs that distinguish Borromini from contemporaries. Inside, the nave has an unusual centralized plan circled by alternating concave and convex-ending cornices, leading to a dome decorated with linear arrays of stars and putti. The geometry of the structure is a symmetric six-pointed star; from the center of the floor, the cornice looks like a two equilateral triangles forming a hexagon, but three of the points are clover-like, while the other three are concavely clipped. The innermost columns are points on a circle. The fusion of feverish and dynamic baroque excesses with a rationalistic geometry is an excellent match for a church in a papal institution of higher learning.
Sant'Agnese in Agone
Main article: Sant'Agnese in Agone
Borromini was one of several architects involved in the building of the church of Sant’Agnese in Agone in Rome. Not only were some of his design intentions changed by succeeding architects but the net result is a building which reflects, rather unhappily, a mix of different approaches.
The decision to rebuild of the church was taken in 1652 as part of Pope Innocent X’s project to enhance the Piazza Navona, the urban space onto which his family palace, the Palazzo Pamphili, faced. The first plans for a Greek Cross church were drawn up by Girolamo Rainaldi and his son Carlo Rainaldi, who relocated the main entrance from the Via di Santa Maria dell'Anima to the Piazza Navona. The foundations were laid and much of the lower level walls had been constructed when the Rainaldis were dismissed due to criticisms of the design and Borromini was appointed in their stead.
Borromini began a much more innovative approach to the facade which was expanded to include parts of the adjacent Palazzo Pamphili and gain space for his two bell towers. Construction of the façade proceeded up to the cornice level and the dome completed as far as the lantern. On the interior, he placed columns against the piers of the lower order which was mainly completed.
In 1656, Innocent X died and the project lost momentum. In 1657, Borromini resigned and Carlo Rainaldi was recalled who made a number of significant changes to Borromini's design. Further alterations were made by Bernini including the façade pediment. In 1668, Carlo Rainaldi returned as architect and Ciro Ferri received the commission to fresco the dome interior which it is highly unlikely that Borromini intended. Further large scale statuary and coloured marbling were also added; again, these are not part of Borromini's design repertoire which was orientated to white stucco architectural and symbolic motifs.
The Re Magi Chapel of the Propaganda Fide
Main article: Congregation for the Evangelization of Peoples
The College of the Propagation of the Faith or Propaganda Fide in Rome includes the Re Magi Chapel by Borromini, generally considered by architectural historians to be one of his most spatially unified architectural interiors.
The chapel replaced a small oval chapel designs by his rival Bernini and was a late work in Borromini's career; he was appointed as architect in 1648 but it was not until 1660 that construction of the chapel began and although the main body of work was completed by 1665, some of the decoration was finished after his death.
His façade to the Via di Propaganda Fide comprises seven bays articulated by giant pilasters. The central bay is a concave curve and accommodates the main entry into the college courtyard and complex, with the entrance to the chapel to the left and to the college to the right.