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In 1634, Borromini was commissioned by the Trinitarians, a Spanish order whose role was to pay the ransom of Christian hostages to the Arabs, to design a church and convent at the Quattro Fontane crossroads. The church, so small it would fit inside one of the piers of St. Peter’s is also known as “San Carlino.” It is an iconic masterpiece of Baroque architecture. Although dedicated to Carlo Borromeo, the 16th century Milanese cardinal canonized in 1620, San Carlo is as much a monument to Borromini. Both the façade and interior employ bold curves that give light and life to a small, cramped site. The oval dome and tiny lantern are particularly ingenious. The undulating lines of the façade are decorated with angels and a statue of San Carlo. Finished in 1667, the façade is one of Borromini’s very last works. In a small room off the sacristy hangs a portrait of Borromini himself wearing the Trinitarian cross. Borromini committed suicide in 1667, and in the crypt (which is now open to the public) a small curved chapel reserved for him remains empty. I really like this church because although it is so small it has great detail and complexity. It is very different from any all the other churches as it is not adorned with gold and colorful frescoes. Instead, Borromini uses concave/convex arches to create symmetry and add his own characteristic style to the church. I especially like how the design of the dome floods the small church with light. Although this is such a small church and the Romans were used to glanderous and splendid churches, I think it was still greatly admired in this time because of its beauty and details. It may have offered a more private and serene environment for meditation.
Luisa Betancur, Survey of Art and Architecture, University of Florida
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Francesco Borromini was on of the greatest Baroque architects. He renewed the optimism and the aggressiveness of the Catholic Church in the 1600s. Borromini introduced a new kind of architecture that was spacious, dramatic, and brilliantly lit. Borromini would often be frustrated because he rarely received major commissions for his work. Instead it was Bernini getting all of the attention and recognition for his great work. The main reason why Borromini wasn’t as popular was because of his personality and not because of his talent. He was an impossible man to deal with and would fight with people on the job. The structures that Borromini designed are among the most original in Rome. They are known for their rather small space, yet the interiors seem large because of their billowing and flowing spaces. The shapes are unexpected throughout his work. The church, S. Carlo alle Quattro Fontane, which Borromini designed and built, is located at the intersection of two busy streets. There was a fountain designed on each corner of the intersection. One of the fountains was built into the exterior wall of his church which is challenging and impressive. The church was given a nickname of “San Carlino” because of its small size. Borromini was the perfect architect for this church because he used the small space he was given and creatively put it to use, whereas a lesser architect would have produced a little square chapel. Once I stepped inside the church my reaction was wow! this is a beautiful church unlike any of the others from the Baroque period. The walls were absolutely beautifully designed with curves and triangular peeks which was a magnificent sight. Another quality that made it different from all the other churches were that it wasn’t built coated with gold but was a simple white. I liked this church because it was unique in its own ways. For instance, the dome was of an oval shape which was the first time I saw so that was unique. Also I like that the dome lit up the entire church with sunlight. Borromini’s architecture in this church amazed me and was one of the best Baroque churches because of its uniqueness.
Alexis Simmons, Survey of Art and Architecture, St. John’s University
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The architect behind the miraculously different San Carlo alle Quattro Fontane is Francesco Borromini. The church was commissioned to be built in 1634 when Trinitarian monks acquired and awkward piece of land. The period that this church was built was Baroque. The materials are white concrete, which can be seen cracking as one walks down the hallways. The church is located on oddly shaped property which posed as a challenge for Borromini. The church is situated at the intersection of Via Venti Settembre and Via delle Quattro Fontane. The interior structure of the church has a diamond shape. All the surfaces are white and simple with convex and concave walls making it easy on the eyes to view the entire church. There is an oculus at the top of the ceiling with a honey combed dome, with a white dove with gold around it in the center. Below the church through exploration one can find a crypt of the Trinitarian monks. The church was commissioned by Trinitarian monks when they received a small, odd plot of land to build a church. The church is now nicknamed Charlie because it is so small in size. It is quite comical that a church can have such a cute name. The Trinitarian monks of the day used the church as a place of worship. Furthermore, judging from the fully intact crypt they also used it as a place to bury their dead. I chose the S. Carlo alle Quattro Fontane because it is my favorite church in Rome. When one first walks in the wall to wall white takes one by surprise. I am accustomed to the overdone gaudy churches, and the simplicity was refreshing. One was capable of viewing the church in its entirety without being bombarded with paintings, relics and statues everywhere. The best part of my trip to S. Carlo alle Quattro Fontane was discovering the crypt down a winding spiral staircase. Once again people are buried below the church, how ironic.
Maggie Driscoll, Survey of Art and Architecture, St. John’s University
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Francesco Borromini is one of Rome’s greatest Baroque architects. He was fortunate enough to live in Rome at the time a series of art-conscious popes were transforming the Eternal City and creating the Baroque style in the process. Barromini’s new architectural forms were suited for this new era. His designs are among the most original in Rome. The structures are small but have unexpected shapes. Borromini built the church called S. Carlo alle Quattro Fontane, which stands at the intersection of Via Venti Septembre and Via delle Quattro Fontane. There are no right angles inside Borromini’s church. The inside surface of the dome is honeycombed with hexagons and octagons. Partially concealed windows at the top of the dome permits light to be filtered in. Concave and convex walls produce curves that allow light and shade over surfaces. A statue of St. Charles Borromeo, to whom the church is dedicated to, is above the door. Two sculptured cherubim, whose wings meet to form an arch, border the top of the statues head. Borromini was constricted with a small square area of land but that didn’t stop him from constructing a building in the shape of a star hexagon. No Renaissance architect and no one before Borromini had created anything like S.Ivo, one of his other projects. The inside of S. Ivo is pristine white with concave walls and a huge dome. Borromini obviously had very different and interesting designs. His architecture is unlike any other church I have seen. I like that his designs are much different than any of the traditional churches that all look similar. This church stands out amongst the others. It is simpler in means of paintings on the ceiling, but it is very complex in its architectural design.
Katie Whitmore, Survey of Art and Architecture, St. John’s University
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I liked this church for several reason one if that if got its name from the cross streets it sits on, no extravagant story or legend behind it. Created my Francesco Borromini in the early 1600’s at a time when many art conscious popes where transforming the Eternal City of Rome. This one of Borromini’s few larger great remaining works, as most of his others were much smaller commissioning and also much of the work of the time was going to him rival Bernini. This was not because of a lack of skill but because it is said Borromini was impossible to get along with, he was moody and had qualities of someone who is bipolar, and he would argue with anyone mo matter how high or low they’re status was. San Carlo alle Quattro Fontane is named that because it sits on the top of a hill, at the intersection of Via Venti Settembre, and Via delle Quattro Fontane, which was named for the fountains Sixtus V had ordered built at each of the piazza’s four corners. Since a corner of the Monks property was cut off by one of the fountains, Borromini had to incorporate the fountain into and exterior wall of the church. The church is a diamond shape with rounded edges, it nearly all white inside and out. The decorations are smaller and some very simple. You can see lots of wall space so everything is not so overwhelming compared to most other churches in Rome. On the interior of the dome a series of hexagons and octagons come together to produce cross shaped imprints. A mixture of concave and convex walls makes the light inside more dramatic. Above the door is a statue of St. Charles Borromeo which is who the church is dedicated too. On each side of him is a cherubim whose wings meet above his head to make an elegant arch. Sometimes San Carlo alle Quattro Fontane is called San Carlino meaning little saint Carlo in Italian. Built during the baroque period, this church is unique in appearance and design. I really liked Borromini’s use of shape and design to make simple walls look elegant and to allow there to appear to be much more space than there really is. I also like that this church had an exterior court yard that was built to resemble the interior walls of the church. I can imagine the Romans at the time it was built just being glad it was done as it seems Borromini is a very difficult person to be around or to have to deal with. I also think they may have been unimpressed and this church is not only much smaller in size but is also is very simplistic the sculptures and alter are nothing huge and dramatic compared to the other churches we have seen.
Shannon Carter Norris, Survey of Art and Architecture, St. John’s University
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