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The Baldacchino. Borromini Vs Bernini

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- Inhalt Georg Saningcr I Einleirung und Dank 7 Sebastian Schurzc ChristofThoenes Ober die Grol?.e der Peterskirche 9 Nikolaus Sraubo1ch Der Ritus der impotilio primarii lapidis und die Grundsreinlegung von Neu-Sankt-Peter 29 Thom:1sjame. Dandclet Financing New Saint Perer's: 1506- 1700 41 Jens Niebaum Zur Planungs- und Baugeschichte der Pererskirche zwischen 1506 und 1513 49 Christoph L. Fromme! Der Chor von Sankt Peter im Spannungsfeld von Form, Funktion, Konstruktion und Bedeutung 83 I bns \V. Hubert Fanmsticare col disegno m Georg Satzingcr Sankr Peter: Zentralbau oder Longitudinalbau - Orienrierungsprobleme u7 HoM Brcdekmnp Zwei Souvcrane: Paul ITI. und Michelangelo. Das •Moru proprio« vom Okrober 1549 147 Vitnlc Zanchctcin Le verita della pietra. Michelangelo e la costruzione in travertino di San Pietro 159 Federico Bellini La cupola di San Pietro da Michdangelo a Della Porta 175 Chrisrina Ric~ Guglielmo della Porras Projckcc rur die Ausstatrung von Neu-Sanke-Peter 195 Kaspar Zollikofer •Et Larinae et Grnecae eccle. iae pracclarissima lumina l ... ] micarcnt.« Sankt Peter, Gregor XIII. und das Idealbild einer christlichen Okumene 217 Sible de Blaauw Unum et idem; Der Ilochaltar von Sankt Peter im 16.Jahrhundcrr 227 Stefan Kummer Zur Bildausstattung in Sanke Peter um 1600 243 Hannes Roser Sankt Peter in deo •Sacri rrofci romani« des Francesco Maria Torrigio 257 Irving Lavin The Baldacchino. Borromini vs Bernini; Did Borrornini forget himself? 275 Ralph-Miklas Dobler Die Vierungspfeiler von Neu-San kt-Peter und lhre Reliquien 301 RudoI f Preimesbcrgcr Ein eherncs Zeitalter in San kt Peter? 325 Louibe Rice Bernini and the Pantheon Bronce 337 Sarah f\ lcPhee The Long Arm of rhe Fabbrica: Saint Peter's and the City of Rome 353 Chrisroph Jobst Cortona und Bernini in der Cappello de/ Sa111issimo Sarrammlo von Sanlct Peter. Ntarbild und Sakramcntstabernakcl im KonAikt? 375 Giovanni MoreUo Alessandro VII e Bernini a San Pietro 393 Sebasrian Schutze •Werke als Kalldile ihres Wirkungsanspruchs•. Die Cathedra Petri und ihr Bedeurungi.wandel im konfc... ionellen Zciralter 405 Tod A. ~larder A Fmgcr Bath in Rosewater: Cracks in Bernini's Reputation 427 Elisabeth Kievcn Die Papstgrabmiler des 18.Jahrhundcrts in Sankt Peter 435 Joh11nncb Myss<>k Anconio Canova: Oas Grabmal Clcmcns'XIll. 455 Werner Oechslin •Ecco la rcverenda fabbrica la piu grandee la piu ricca dell'universo•. Bewunderung, Kririk und Ekstase in Sankt Peter im 18.Jahrhundert 4B5 Abbildungsnachweis 5n Abkurzungsverzeichnis 513 The Baldacchino. Borromini vs Bernini: Did Borromini forget himself? Irving Lavin When I started my life as an art historian half a century ago, Jennifer Montagu (1971), doubts "the case for what is the there raged two major international debates about rival major theme of ["Thclen's] book, the vital, one might say the claimants in wars of attribution, Masaccio vs Masolino, and dominant role of Bonomini in the creation of Bernini's taber­ Jan vs Hubert van Eyck. Those classic, intra-disciplinary con­ nacle."2 (Also notes that the claims of Borromini's nephew flicts, now largely forgotten, have been replaced in our time by Bernardo Castelli-Borromini are biased and cannot be trusted.) the rivalry between Borromini and Bernini, which embodies George Bauer (1996), supports my (1968) "vigorous not only distinctions between artistic personalities, but also defense of the originality of Bernini's work."3 territorial and cultural wars, between North Italy and Rome, Tod A. Marder (1998): "[.. .] it is doubtful that Bonomini between architectme and sculpture. could lay claim to the formal rather than the technical inven­ My purpose today is twofold. Ftrst, I intend to end this war tions of the superstructure that give the baldacchino its char­ once and for all, at least to my satisfaction, and at least in its acter. H e certainly claimed none for himself in his notations first engagement, that is, the baldachin of Saint Peter's (Fig.x). for Martinelli's guidebook."4 And second, I want to offer some observations about the ori­ Sabine Burbaum (r999): "The finally decisive idea [ ...] gin and significance of one of the ba/dacchino's most impor­ must have arisen after the technical discussions with Borro­ tant innovations. mini about the necessary modifications of the design [ .. .]. Borromini appears to have been primarily responsible for the architectural design of the baldachin, whereas Bernini con­ Some contrasting opinions centrated on the sculptural decoration. The final form of the Heinrich Thelen (1967), imagined 'artistic discussions' between crown must have arisen in the dialogue between architect and Borromini and Bernini that resulted in crucial elements of the sculptor, in the repeated discussion about the project and its baldacchino's design.1 (So far as I arn aware, Thelen was the first effect and the resulting corrections."5 ever to attribute a significant role to Borromini in the bal­ dacchino's design, universally ascribed to Bernini theretofore.) (1996), 146, n. 4; lRviNc LAVIN , Bernini and the Crossing of Saint Peter's, New York w68. 4 Ton A. MARDER, Bernini and the Art of Architecture, New York i:998, 38. "Die genial hingeworfenc Fcdcrskizze von Bernini (Abb.35 [our 5 "Die schlielWch entscheidende Idee, die zwangsliiu.flg auf die neue flg.r3]), die nach eincr solchen Einbeziehung in den Architek­ Ifohendimensionierung und die Umdcucung in Cebiilkstiicke fol­ turzusammenbang sucht [i. e. the conjunction of the baldachin gen mul?,te, ist schlief1.lich in der Federskizze Berninis aus dem canopy with the architectural cornice] und dabei zugleich - wenn Barberini-Archiv (Abb.15 [our fig.r3]) fal?,bar. Das von Thelen als auch nur voriibergehend - sogar die morivische Verbindung des fUr Bernini typisches Gespriichsnotat identifizierte Blatt mu.ll. nach Baldachinhimmcls mic den Engetftguren lost, scheint in der Tat den technischen Diskussionen mit Borromini um die norwcndigen wahrend einer kiinstlerischen Diskussion mit Borromini ent­ Modiflzierungen des Entwu.rfs entstanden sein." Cf. SAlllNE BuR­ standen zu sein." Cf. HEINRICH THELEN, Zur Entstehungsgeschichte BAUM, Die Riva/itiit zwischen Francesco Borromini und Gianlorenzo der Hochaltar-Architektur von St. Peter in Rom, Berlin 1967, 63. Bernini, Oberhausen 1999, 69. - "[... 1 ersc: heint Borromini maf1.geb­ 2 Jf:NN I FER MONTAGU, Review of"Heihrich Thelen, Zur E ntstehungs­ lich fiir die archirektonische Durchbildung des Monuments vcrant­ geschichte der Hochaltar-Archirektur von St. Peter in Rom, Berlin wortlich, wohingegen Bernini sich auf die plastischc Dekoration t96/' and "Irving Lavin, Bernini and the Crossing of Saint Peter's, konzentricrt zu haben scheint. Die endgiiltige Form der Bekronung New York, 1968", in: The Art Quarterly, 34 (1971), 490-49z1 cf. 490 f: diirfte im Dialog zwischen Architekt und Bildhauer, in der wieder­ 3 GEORGE C. BAUER, "Bernini and the Baldacchino: On Becoming holren Diskussion um <las Projckc und seine Wirkung und den an Architect in the Seventeenth Century", in: Architcctura, 26 daraus resultierenden Korrekturen entstanden sein."lbid., 71. 2 76 Lavin: The Baldacchino. Borromini vs Bernini: Did Bonominiforget himselfl l View of Baldacchinn and choir Lavin: The Baldacchino. Borromini vs Bernini: Did Borrominiforget himseij? 277 ICt1Nl'4.ll\Arll.IA' rK.'tl'l.l •UH'M'P. I ftMIOMAll'I~ , ' • VA'rtC'AHO•IX."P.M.l'IAlll Mll:':1'~f;t l+·Alriitl 1-1 11..i'""-.)TM ....,~•NT1 wt-A-·', ~•uANu·•N Pu1ir rl\.l\lrtffH-' ! IM 11\llt l'!\11.•'illi f'.' V#\• W I& M.d~U-\'·,\lt:Ya,.\-T~·!:c:.~lk~o~:~·~qVll • S>~I., Hl ~ l 'A U ··t )f• l .\lp ~· "1 0 1 IA X> bl~ I X, / 2 Etienne Duperac after Michelangelo, Plan of New St. Peter's The work on Saint Peter's, especially during the reign of Urban VIII, is one of the best documented projects in the entire history of art. The minute financial records kept by the papal paymasters and accountants are preserved virtt1ally in 3 Carlo Fontana, Plan of Saint Peter's, engraving, detail tact, and have been meticulously researched and published posthumously by the brilliant Polish scholar Oskar Pollak (1893-1915), a childhood friend and correspondent of Franz damental ways and inaugurates a new epoch in the history of Kafka, who perished as a combatant in the Austrian army in art. The break took place early in 1624 when the newly elected World War l.6 How is it possible to have such widely diver­ Urban VIII appointed a young interloper, Bernini, aged 26 gent opinions in the face of such ample and unambiguous and with very little experience in architecture, to carry out the documentation? I shall try to respond by reviewing, super­ first, most urgent, and most important project of his reign, the summarily, what might be called the hard evidence - that is, completion of a permanent marker for the high altar. It is contemporary evidence - in its three forms: payments for essential to recognize that this drastic move signifies not only work done, drawings that testify to the contributions of both the pope's determination finally to get the job done, after artists, and references ro the subject in literary sources. In many earlier efforts had failed, but a fundamentally new con­ spite of the acrimonious debates it is interesting that the evi­ ception of how it was to be done. "The new vision was implicit dence has never been collected and focused upon in quite this in that veritable clarion call of the early Baroque issued by way. Urban at the time, when he was said to have proclaimed in The importance of the issue is obvious to all students of reference to Berninj that his reign would bring forth a new the period since the baldachin, while absolutely saturated Michelangelo.7 Clearly Urban thought of himself as inaugu­ with references to tradition, also breaks with tradition in fun- rating a new era, with a new concept and a new design at the 7 "E come quegli che fin dal tempo che dalla santita di Paolo V 6 OsKAR POLLAK, Die Kunsttiitigkeit unter Urban VIII., vol.2, Die eragli questo nobilc ingegno stato dato in custodia, aveva incom­ Peterskirche i11 Rom, Vienna 1931; MAX BROD, Franz Kafka.
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  • The Science Behind Francesco Borromini's Divine Geometry

    The Science Behind Francesco Borromini's Divine Geometry

    Western University Scholarship@Western Visual Arts Publications Visual Arts Department 2002 The cS ience behind Francesco Borromini's Divine Geometry John G. Hatch The University of Western Ontario, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/visartspub Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Visual Studies Commons Citation of this paper: Hatch, John G., "The cS ience behind Francesco Borromini's Divine Geometry" (2002). Visual Arts Publications. 4. https://ir.lib.uwo.ca/visartspub/4 The Scietrc. B"LirrJ Fro.."esco Borrornini's Divine Geornetrl, JoHx C. Harcu- Introduction The popular notion of religion and science being at opposite poles within the intellectual currents of the seventeenth cenrury is challenged by the designs and architectural iconography underlying the churches of Francesco Borromini (159t-1667). Described as something of a licentious eccentric by Gian Lorenzo Bernini and his contemporaries,' Borromini nonetheless relied upon a complex geometric system in his architectural designs, which ruled both the layout and elevation of his buildings. In turn, this us-e of geometry also seems to have had an important theological justification, namely that of stressing the underlying divine order of the universe whose exisrence or revelation can only be perceived by the faithful. In essence, this is simply a resrarement of the Medieval idea of "God as Divine Geometer" excepr rhar. for Boriomini, God is no longer depicted in the garb of scholastic rationalism, but rather, as I will show, of ..,r.r-r,..r-rih- centuty scientific rationalism: a rationalism that embraces the notion of divine revelation.