1 10 4 https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/San_Carlo_alle_Quattro_Fontane/10.2307_community.13913548-1.jpg 2d1b6d107ef763966967eb0d55324b0c https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/San_Carlo_alle_Quattro_Fontane/10.2307_community.13911079-1.jpg 428b60c85a8b126ddb366127a8bcc9f9 https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/San_Carlo_alle_Quattro_Fontane/10.2307_community.13921827-1.jpg 07012a2e7042ce43b9b359eec295370c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Francesco Borromini Contributor An entity responsible for making contributions to the resource Michael Greenstein Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource San Carlo alle Quattro Fontane Description An account of the resource Francesco Borromini commenced his solo architectural career with the challenge of building San Carlo alle Quattro Fontane for the Trinitarian religious order. The church is better known by its colloquial name - San Carlino – which alludes to the small space that was allotted for its construction. Borromini was not discouraged by such an obstacle. He was up for the task and understood his reputation rested upon the fate of this building. The construction was commissioned in 1634 and finally began in 1638. Following eight years of development, in 1646, the architectural masterpiece was erected. Borromini’s creation was truly awe-inspiring. San Carlino stands as a unification of science-based architecture and religious worship. Borromini’s architectural ingenuity is hypothesized to stem from his fascination with mathematics and geometry. Specifically, he studied the works of Johannes Kepler who was known for his theories of divine geometry. Kepler argued that certain geometric proportions and shapes were embedded throughout the universe by God – the divine geometer. Borromini’s design draws upon this ideology as he tactfully situates a masterful geometric model within an illusion of amorphic, dynamic architecture. The façade first captures this duality. There is a rhythmic wavelike indentation that flows throughout the exterior. A sense of plasticity is created as the sturdy marble is swayed by the dynamic fluctuations. It is almost an enchanting hypnotism that invites a passerby inward. Upon entering the church, the motif of structural pliability is furthered. The interactions of the shallow curves and deep bends interacting with the ovular symmetry create a dizzying sensation. One sets foot inside the church and immediately experiences a departure from grounded reality. Yet, the disorientation that is experienced is part of a larger metaphorical undertaking only realized once one peer upwards at the central dome. Depicted above are the heavens coalescing onto a central spiritual light. At last, it becomes clear that the church exists between the reality outside and the heavens above. Borromini’s genius is found in his ability to situate his geometrically sound architectural plan within the religious experience depicted above. Indeed, early architecture plans reveal that a combination of equilateral triangles and circumscribed circles provided the foundational design for the church. Interestingly, there is literature that suggests Borromini’s design was not as planned as originally thought. It is speculated that he may have fabricated architectural plans after the church’s conception. In fact, following the church’s favorable reception, Borromini refused to sell or reveal any of his plans even though he could have profited greatly. These claims have not yet been proven but offer more to the narrative of Borromini’s triumphant emergence of his solo architecture career. Creator An entity primarily responsible for making the resource Francesco Borromini Source A related resource from which the described resource is derived Borromini, Francesco, 1599-1667. Rome: S. Carlo Alle Quattro Fontane Int: Ceiling & Dome. Images, n.d. https://jstor.org/stable/community.13921827. Borromini, Francesco, 1599-1667. Rome: S. Carlo Alle Quattro Fontane: Ext.: Facade. Images, n.d. https://jstor.org/stable/community.13913548. Borromini, Francesco, 1599-1667. Rome: S. Carlo Alle Quattro Fontane Plan. Images, n.d. https://jstor.org/stable/community.13911079. Britannica, T. Editors of Encyclopaedia. "San Carlo alle Quattro Fontane." Encyclopedia Britannica, May 2, 2013. https://www.britannica.com/topic/San-Carlo-alle-Quattro-Fontane. Connors, Joseph. “A Copy of Borromini’s S. Carlo Alle Quattro Fontane in Gubbio.” The Burlington Magazine 137, no. 1110 (1995): 588–99. http://www.jstor.org/stable/886651. Hatch, John G. “The Science behind Francesco Borromini’s Divine Geometry.” Architecture and Mathematics from Antiquity to the Future, 2014, 217–29. https://doi.org/10.1007/978-3-319-00143-2_14. Hill, Michael. “Practical and Symbolic Geometry in Borromini’s San Carlo Alle Quattro Fontane.” Journal of the Society of Architectural Historians 72, no. 4 (2013): 555–83. https://doi.org/10.1525/jsah.2013.72.4.555. Huemer, Frances. “BORROMINI AND MICHELANGELO: SOME PRELIMINARY OBSERVATIONS ON THE FACADE OF S. CARLINO.” Source: Notes in the History of Art 18, no. 4 (1999): 19–29. http://www.jstor.org/stable/23206810. Publisher An entity responsible for making the resource available Trinitarians Date A point or period of time associated with an event in the lifecycle of the resource 1646 Contributor An entity responsible for making contributions to the resource Michael Greenstein Type The nature or genre of the resource Church Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy Rights Information about rights held in and over the resource ITHAKA encourages Authorized Users to engage in research activities, including downloading or printing Content in reasonable amounts for non-commercial, scholarly purposes, as well as use the Content on its platform in the following ways (as long as you abide by the prohibited uses in Section 4 below) (collectively the “Permitted Uses”): In student assignments, educational presentations, and student or faculty curatorial portfolios (so long as such use conforms to the customary and usual practice in the field), or in research papers or dissertations, including reproductions of the dissertations (provided such reproductions do not include Books, and are only for personal use, library deposit, and/or use solely within your Institutional Licensee); Format The file format, physical medium, or dimensions of the resource 20 m x 12 m https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/Sant_Ivo_alla_Sapienza/1.jpg a762f7ef9579a8f38f6d519e16c775f2 https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/Sant_Ivo_alla_Sapienza/2.jpg a102f41ea6ffbc3fe440402ccd6960ce https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/Sant_Ivo_alla_Sapienza/3.jpg fbb39b4ec4611695309563ca081e2f40 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Francesco Borromini Contributor An entity responsible for making contributions to the resource Michael Greenstein Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sant'Ivo alla Sapienza Description An account of the resource This church, consecrated in 1660, represents another architectural feat and masterpiece of Borromini. Like in San Carlino, Borromini utilizes a novel geometric plan to erect the church unobtrusively in the context of its surroundings. In fact, the architect makes use of the surrounding courtyard of Della Porta to develop a façade that seamlessly transitions between the exterior and interior. Borromini continues to play with ideas of fluidity and dynamism in the solid structure. Sant’Ivo alla Sapienza was built as a Roman Catholic church sitting amidst the courtyard of the Palazzo della Sapienza – the palace of the University of Rome. Borromini draws upon these environmental influences as he incorporates both intelligence and innovation into his design. Notably, these two forces intersect at the spiraling lantern atop the church's external face. A convergence of bending metals coalesces into a large golden orb upon which an artistic cross sits. The structural meaning and resemblance of this element remain a topic of debate. Perhaps this was Borromini’s intention, to construct something that would remain in the intellectual conversation for generations to follow. Nonetheless, the dynamic interactions of the many elements of the lantern offer biblical and more practical theories of why it was contrived. Such ambiguity is furthered when entering the church. There is an anamorphic structural interior, characteristic of Borromini. Pulsing pilasters are organized throughout providing structural integrity. However, these pilasters also add to the discombobulating effects of concavity found in the bays of the church. Yet, there is a calming resolution to the unnerving experience as the dome atop draws, viewers, upwards. The heavens are depicted overhead, with the rhythmic ribbing of the dome melting into its apex. While his architectural feats are loud and boisterous, Borromini himself was extremely reserved and introverted. Indeed, there are few primary recounts of conversations and interactions Borromini had during the time of the construction of Sant'Ivo alla Sapienza. Thus, many have relied on original building plans and their evolution over time as a written record of architectural language for Borromini. However, there seem to be competing plan records that rely on competing geometrical patterns. Alas, the beauty of the church is furthered by many of the mysteries of its construction. Creator An entity primarily responsible for making the resource Francesco Borromini Source A related resource from which the described resource is derived Connors, Joseph. “Borromini’s S. Ivo Alla Sapienza: The Spiral.” The Burlington Magazine 138, no. 1123 (1996): 668–82. http://www.jstor.org/stable/887143. Francesco Borromini. Sant’Ivo Alla Sapienza, Exterior, Lantern. Images, n.d. https://jstor.org/stable/community.15996748. Francesco Borromini. Sant’Ivo Alla Sapienza. Images, n.d. https://jstor.org/stable/community.14680880. Francesco Borromini. Sant’Ivo Alla Sapienza. Images, n.d. https://jstor.org/stable/community.14699177. Hatch, John G. “The Science behind Francesco Borromini’s Divine Geometry.” Architecture and Mathematics from Antiquity to the Future, 2014, 217–29. https://doi.org/10.1007/978-3-319-00143-2_14. Scott, John Beldon. “S. Ivo Alla Sapienza and Borromini’s Symbolic Language.” Journal of the Society of Architectural Historians 41, no. 4 (1982): 294–317. https://doi.org/10.2307/989801. Smyth-Pinney, Julia M. “Borromini’s Plans for Sant’Ivo Alla Sapienza.” Journal of the Society of Architectural Historians 59, no. 3 (2000): 312–37. https://doi.org/10.2307/991646. Publisher An entity responsible for making the resource available Pope Urban VIII Date A point or period of time associated with an event in the lifecycle of the resource 1660 Contributor An entity responsible for making contributions to the resource Michael Greenstein Rights Information about rights held in and over the resource ITHAKA encourages Authorized Users to engage in research activities, including downloading or printing Content in reasonable amounts for non-commercial, scholarly purposes, as well as use the Content on its platform in the following ways (as long as you abide by the prohibited uses in Section 4 below) (collectively the “Permitted Uses”): in student assignments, educational presentations, and student or faculty curatorial portfolios (so long as such use conforms to the customary and usual practice in the field), or in research papers or dissertations, including reproductions of the dissertations (provided such reproductions do not include Books, and are only for personal use, library deposit, and/or use solely within your Institutional Licensee); Format The file format, physical medium, or dimensions of the resource 27 m x 26 m Type The nature or genre of the resource Church Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/Rendering_of_Sant_Ivo_alla_Sapienza_[Roma]_-_Dome/Sant_Ivo_alla_Sapienza_[Roma]_-_Dome_interior.jpg 75b1e61f87719ca76fdff525528c5d68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Francesco Borromini Contributor An entity responsible for making contributions to the resource Michael Greenstein Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rendering of Sant'Ivo alla Sapienza (Roma) - Dome Description An account of the resource Rendering of the image of the dome of Sant'Ivo alla Spienza to reveal the geometric configuration embedded in the design. Creator An entity primarily responsible for making the resource Francesco Borromini Source A related resource from which the described resource is derived Francesco Borromini, Sant’Ivo alla Sapienza int: dome, 1642-60. Church. Corso del Rinascimento, Rome, Italy. Publisher An entity responsible for making the resource available Architas Date A point or period of time associated with an event in the lifecycle of the resource 2018 Contributor An entity responsible for making contributions to the resource Michael Greenstein Rights Information about rights held in and over the resource Free to share, copy, or redistribute the material in any medium or format. Type The nature or genre of the resource interior dome Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/Kepler_-_Model_of_the_Universe/1.jpg c6410e2fbb9bb1aa9cbcaaf7649547a2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Francesco Borromini Contributor An entity responsible for making contributions to the resource Michael Greenstein Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kepler - Model of the Universe Description An account of the resource Kepler's model of the six known planets and their orbits around the sun through the five known platonic solids. Creator An entity primarily responsible for making the resource Johannes Kepler Source A related resource from which the described resource is derived Kepler - Model of the Universe. Photographs, n.d. https://jstor.org/stable/community.30991922. Publisher An entity responsible for making the resource available Caltech Archives Date A point or period of time associated with an event in the lifecycle of the resource 1621 Contributor An entity responsible for making contributions to the resource Michael Greenstein Rights Information about rights held in and over the resource ITHAKA encourages Authorized Users to engage in research activities, including downloading or printing Content in reasonable amounts for non-commercial, scholarly purposes, as well as use the Content on its platform in the following ways (as long as you abide by the prohibited uses in Section 4 below) (collectively the “Permitted Uses”): • in student assignments, educational presentations, and student or faculty curatorial portfolios (so long as such use conforms to the customary and usual practice in the field), or in research papers or dissertations, including reproductions of the dissertations (provided such reproductions do not include Books, and are only for personal use, library deposit, and/or use solely within your Institutional Licensee); Format The file format, physical medium, or dimensions of the resource image Type The nature or genre of the resource drawing Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rare Books Division, The New York Public Library, New York, United States