In What Ways Are San Andrea Al Quattro Fontane

In what ways are San Andrea al Quirinale by Bernini, and San Carlo alle Quattro Fontane by Borromini similar, and in what ways do they differ significantly from each other?

Baroque architecture was a development of Romanesque motifs used in renaissance architecture, often expressed in dynamic and theatrical ways to express the triumph of the Catholic Church. It was developed during the seventeenth and eighteenth century as a response to a need; this being because even though the Catholic Church had great temporal power, its moral foundation and support had deteriorated resulting in a period of protestant breakaways and movements. The church responded by employing the arts to emotionally involve people in religion, through paintings, sculptures
To create the oval shapes featured in his plans, he placed two equilateral triangles adjacent to each other with circles inscribed in them, creating the outer curves of the ellipse. Borromini divided the space of the San Carlo into three horizontal zones, the wall surface of the ground floor, the entablature which continues above the walls and the dome which floats on the top. At first glance, it may seem as there is little connection between these sections, however this was purposely fashioned to create a journey from complex to simple geometry on a vertical axis. At times the complex nature of Borromini’s plans can be viewed as confusing, however reiterating the geometry at the top of the dome but in more simplistic forms allows the user to look up to the light, to understand the geometry. This is symbolic of the light of the heavens which is empathized by placing of the symbol of the Holy Spirit, a dove, at the point of the church which is closest to heaven. Compared to the rational and complicated nature of Borromini plans Bernini relates back to a simpler concept, drawing precedent from one of Rome’s most celebrated places of worship- the pantheon . This is shown through the use of illuminating the space through light from above through the use of a sky
Pink coloured marble is used extensively to create this sense of grandeur, which Bernini felt was important giving the function and purpose of this building. He also used high pilasters to guide and draw the eye towards the high altar, which is the focus point of the church. It’s here, in the altar, where Bernini takes full advantage of the skills and resources he has at his disposal to create this vision of theatricality in his design. He uses paintings, sculptures and clever architectural qualities to create this drama. Saint Andrew is envisioned in the painting at the altar showing him looking up, guiding the user’s eye towards Bernini’s incredible sculptures of the cloud born spirit, St. Andrew, which sits above the painting. A hidden window illuminates these highly ornate sculptures creating a sort of optical illusion, as it allows the statue to be light up, as if light is extruding from the stone clouds. These incredible almost breath-taking displays of aesthetic architectural qualities bring to life Bernini vision of architecture, staging a religious experience. Borromini greatly opposes Bernini in this regard, as he employs geometry and rational to portray grandeur and religious qualities. He does this on the interior by using various sequences of geometric shapes that decrease in size as they progress