San Carlo alle Quattro Fontane: Borromini’s Masterpiece
San Carlo alle Quattro Fontane: A Baroque Masterpiece
Architectural Design
Form: The longitudinal and transverse axes of the plant are exempt, so that the load-bearing function is performed by monolithic columns around the perimeter of the church. The church building was elevated so that all participate in a single pulse with an upward trend. This elevation of the plant gives rise to an entablature cornice shaped in a curve, rising above an intermediate body comprised of a half dome and arches supporting the dome’s scallops in a helical pattern.
The facade is divided into two distinct levels, but they maintain a close correspondence. A gigantic column order coexists with a lower column order (repeated on both floors), complete with a sort of horizontal entablature with niche-shaped openings. On the first level, there is a gateway, and above it, a statue of St. Charles Borromeo crowned by the wings of a cherub (in a dulcimer style). This statue, on the top floor, corresponds to a medallion supported by angels. The cornice of the ground floor is also repeated at the top, but with a climax that mimics a pediment.
The exceptional height of the columns and the marked closeness between them create a feeling of upward movement. This undulating movement is enhanced by every element that is part of the facade and by its very structure. Exuberant fantasy is also present; the capitals, based on the Corinthian order, draw the spirals outward instead of inward.
Inside, the floor is oval, with dramatic features. Sixteen columns support the entablature order, made in the form of a cornice outlining the church. These columns model the wall and give it a proper pace. The oval dome is formed by intricate geometric moldings and crowned with a lantern.
The decrease in lacunar size follows the laws of perspective and seems to give more height to the dome. The light sources are the windows situated just above the backbone, almost hidden by the decoration.
Function and Patronage
The church of San Carlo alle Quattro Fontane belongs to the Order of the Trinitarians, and its painting and sculpture decoration is dedicated to its founder, St. Charles Borromeo. Borromini was favored when commissioning places of worship and managed to fulfill his duties as requested.
Francesco Borromini
Francesco Borromini (1599 – 1667) was one of three great Italian Baroque architects. With much imagination, he was a collaborator and competitor, especially of Bernini, even an adversary. His work is juxtaposed with that of Bernini, based on fantasy and movement. His technique is anxious and tormented, characterized by complex and small buildings. He exploited the capabilities of perspective and made decorative elements functional. Some of his most important buildings are San Carlo and the facade of Sant’Agnese in Agone. His emotional instability led him to suicide, believed to be caused by the delivery of an assignment he wanted to his rival, Bernini.
Conclusion
Borromini is one of the three main figures in Baroque art, along with Bernini and Cortona, but he is part of the most ornate Baroque. His style captures motion for maximum strain of forms and integration between architecture and sculpture, aiming to express his deep religiosity. So much so that the artist committed suicide when he felt that the facade of San Carlo alle Quattro Fontane did not represent the values he wanted to convey.