Francesco Borromini, Church of Can Carlo on the four fountains

LIn the church of San Carlo at the four fountains it was the first work of Francesco Borromini Independently performed after operation under the supervision of Gianlorenzo Bernini. Started in 1638 and completed in 1641, the church is famous for its complex geometric shape and the innovative use of space. The facade was in recent years after the death of Borromini, but the observation of the drawings appears to have been carried out according to the original project if the medallion is excluded at the top and the bow it crowns. The drawings reveal the reconsideration of the architect on the facade and his will to free himself from the design of walls on parallel planes.

Baroque elements that distinguish this architecture

The double s curvature of the facade is obtained from the association of two convex spans on the sides and one concave in the middle. Borromini made the most discordant rhythm by inserting a spiss span to the highest level where an elegant oval kiosk protrudes in the middle. However, this choice is, however, with the niches designed for the oratory of the Filippini where he had used such a rhythm. Each wingspan is marked by a order of powerful columns and contains a niche flanked by smaller columns. Borromini has developed the church plan on semicirkels and tangent triangles with oval.

In a three -dimensional space it is impossible for the visitor to distinguish one form of the other and the white stucco contributes to camouflage. Above the trapezoidal pennacchion crown frame, the oval dome retains and of course light revives the clearer volumes and shapes. The walls of the sidecar are not built on parallel surfaces, but converge to the central span in contrast to the structural principles of the Renaissance. Countless changes were requested so that they agreed to understand the niches of the highest level above that level, the facade has its own autonomy. The access span is the only convex and introduces a complex rhythm and completes the golf effect.

Francesco Borromini and a masterpiece of baroque architecture

The kiosk on the top floor is the only coherent element from which the entablature shape takes shape by creating a piano a double S. and the most curved baroque facade. Two series of columns of different sizes represent an interesting variation of the gigantic order without pillars. The lack of a more clear differentiation suggests that it was not carried out in accordance with the original Borromini project. The church of San Carlo at the Four Fountains is a masterpiece of Baroque architecture. The wavy facade and the crossed vaulted ceiling show the ability of Borromini in manipulating the structures to create movement and fluidity effects, thereby deeply influencing the development of Roman baroque and ecclesiastical architecture.

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