Oratorio dei filippini francesco borromini biography
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Publishing History
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Baroque Architecture, Architecture, Buildings, structures, Criticism and interpretation, History, Architecture, Baroque, Exhibitions, Architects, Chiesa di S. Carlo alle Quattro Fontane (Rome, Italy), Early works to 1800, Oratorio dei Filippini (Rome, Italy), Biography, Perspective, Conservation and restoration, Intellectual life, Architectural drawing, Art patronage, Borromini, francesco, 1599-1667, Influence, ItalyPeople
Gian Lorenzo Bernini (1598-1680), Pietro da Cortona (1596-1669), Francesco Borromini (1599-1667,), Pietro da Cortona (1597-1669), Benedetto Castelli (1577 or 1578-1643), Bernardino Spada (1594-166•
Oratorio dei Filippini
Church in Rome, Italy
The Oratorio dei Filippini (Oratory of Saint Philip Neri) is a building located in Rome and erected between 1637 and 1650 under the supervision of architect Francesco Borromini - in his distinctive style. The oratory is adjacent to the Chiesa NuovaSanta Maria in Vallicella, the mother church of the congregation. In front of the two sides was a small closed square, now integrated in the Corso Vittorio Emanuele II.
History
[edit]The congregation of the Filippini already had one of the most well-decorated Baroque churches in Rome, and the order had planned to build an oratory, as well as residential quarters, adjacent to the church of Santa Maria in Vallicella (Chiesa Nuova) located in crowded central Rome. Originally, Ortario dei Filippini was also meant to be a place for the Filippini to practice their own, unique, inventive style of prayer.[1] Borromini won a competition for designing the structure against man
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Francesco Borromini
Italian architect (1599–1667)
Francesco Borromini (,[1]Italian:[franˈtʃeskoborroˈmiːni]), byname of Francesco Castelli (Italian:[kaˈstɛlli]; 25 September 1599 – 2 August 1667),[2] was an Italian architect born in the modern Swiss canton of Ticino[3] who, with his contemporaries Gian Lorenzo efternamn and Pietro da Cortona, was a leading figure in the emergence of Roman Baroque architecture.[4][5]
A keen student of the architecture of Michelangelo and the ruins of Antiquity, Borromini developed an inventive and distinctive, if somewhat idiosyncratic, architecture employing manipulations of Classical architectural forms, geometrical rationales in his plans and symbolic meanings in his buildings. He seems to have had a sound understanding of structures, which perhaps Bernini and Cortona, who were principally trained in other areas of the visual arts, lacked. His soft lead drawings are particula