Bernini's Influence On Othello
Francesco Castello, often considered the greatest Baroque architect and a true genius, was born to a stonemason family in Bissone. He was related to the papal architects Carlo Maderno and Domenico Fontana; hence, it was in his blood to become a builder. He later changed his name to his mother’s family name, Borromini, and his true architectural career began. At the pinnacle of it all, we find the beautiful church of Sant’ivo Alla Sapienza, where his mastery in the creation of complex spaces is evident in a very confined project.
Young Borromini began his training in Milan, and when he finally arrived at Rome, he worked as a decorative sculptor. He was “immediately introduced to the workshop of the most important building project being undertaken …show more content…
Bernini, who wasn’t trained as an architect, took credit for the work he did at St. Peter’s where he had heavily relied on Borromini’s technical genius to solve structural problems. This enraged Borromini and sparked the rivalry between the two architects.
Bernini and Borromini were instrumental in the creation of the Baroque style of architecture, where the Roman Catholic Church expressed its buoyancy after the Counter Reformation. Bernini created a visual spectacle of light, sculpture, pompous materiality, and painting. Borromini’s embodied designs were crisp yet complex with flowing curves and geometries. Their expression of the Baroque style differed in the sense that “One looks at Bernini’s buildings with the eyes; [and] one feels Borromini’s with the whole …show more content…
Two equilateral triangles become the major organizational components, delineating the location of the concave and convex niches. These triangles measure one hundred and five palms and create a hexagon with each side measuring thirty-five palms. The triangle pointing towards the west creates the three convex niches with the main entrance at the westernmost tip. The triangle pointing east creates the concave surfaces, with 35 palm diameter semicircles. These geometries are then combined to form the beautiful plan of the church.
The most impressive part of the design is in its dome, where the complex corners and curves of the plan are pulled upwards like a tent. Standing at the center of the church and looking upwards, it’s beautiful shape is revealed, and the pronounced entablature makes the visitor want to flow around the space, following its shape. The dome is filled with natural light, which elevates the space into a spiritual
Young Borromini began his training in Milan, and when he finally arrived at Rome, he worked as a decorative sculptor. He was “immediately introduced to the workshop of the most important building project being undertaken …show more content…
Bernini, who wasn’t trained as an architect, took credit for the work he did at St. Peter’s where he had heavily relied on Borromini’s technical genius to solve structural problems. This enraged Borromini and sparked the rivalry between the two architects.
Bernini and Borromini were instrumental in the creation of the Baroque style of architecture, where the Roman Catholic Church expressed its buoyancy after the Counter Reformation. Bernini created a visual spectacle of light, sculpture, pompous materiality, and painting. Borromini’s embodied designs were crisp yet complex with flowing curves and geometries. Their expression of the Baroque style differed in the sense that “One looks at Bernini’s buildings with the eyes; [and] one feels Borromini’s with the whole …show more content…
Two equilateral triangles become the major organizational components, delineating the location of the concave and convex niches. These triangles measure one hundred and five palms and create a hexagon with each side measuring thirty-five palms. The triangle pointing towards the west creates the three convex niches with the main entrance at the westernmost tip. The triangle pointing east creates the concave surfaces, with 35 palm diameter semicircles. These geometries are then combined to form the beautiful plan of the church.
The most impressive part of the design is in its dome, where the complex corners and curves of the plan are pulled upwards like a tent. Standing at the center of the church and looking upwards, it’s beautiful shape is revealed, and the pronounced entablature makes the visitor want to flow around the space, following its shape. The dome is filled with natural light, which elevates the space into a spiritual