Bernini vs. Borromini: A Study in Baroque Architecture
Bernini and Borromini: Contrasting Styles
Bernini favored marble in his constructions, while Borromini often utilized brick, stucco, and plaster. Bernini embraced wild, open spaces with curves and counter-curves. Borromini, in contrast, created artificial spaces with small, complicated combinations of warping effects. Bernini polished facades and interiors to enhance the interplay of light and shadow. Borromini sharpened profiles, adding highlights and edges to create dramatic chiaroscuro effects.
Bernini: The Papal Architect
Bernini’s architectural career began in the Vatican, most notably with the Baldacchino of St. Peter’s: a bronze canopy set upon four spiral columns beneath the basilica’s dome. The success of this project earned him the title of papal architect, leading to commissions such as the colonnade of St. Peter’s Square and the Chair of St. Peter in the apse.
Bernini’s Sculptural Stages
- Early Stage: During his youth, Bernini created mythological and biblical works for Cardinal Scipione Borghese’s villa. These works were influenced by the serpentinata line, showcasing technical virtuosity in the treatment of skin texture and the psychological states of Greek heroes and biblical figures.
- High Baroque Era: In 1624, with the election of his friend Pope Urban VIII, Bernini entered the High Baroque era. This period emphasized the importance of garments in supporting emotional impact, with fabrics fluttering and swirling in masses of chiaroscuro.
- Creative Peak: Between 1640 and 1654, during the pontificate of Innocent X, Bernini unified all the arts, achieving the pinnacle of Baroque theatricality. A prime example is the Ecstasy of St. Teresa in Santa Maria della Vittoria in Rome, where members of the Cornaro family appear to observe the transverberation of St. Teresa from stage boxes on either side of the chapel. Other notable works include the Parietal Tomb of Urban VIII and the Fontana dei Quattro Fiumi in Piazza Navona.
- Late Style: By 1665, during the pontificate of Alexander VII, Bernini’s late style evolved, seeking expressiveness and spirituality, typical of the final stages of great Italian masters. Figures became elongated, and garments writhed and shook.
Painting in Italy: Carracci and Caravaggio
The Carracci and Caravaggio reacted to Mannerism from different perspectives, each with distinct models that animated their paintings and lighting.
The Carracci: Academic Classicism
The Carracci drew inspiration from Greco-Roman sculpture, copying the gods of pagan antiquity. They revived the ideal proportions of the human body, giving rise to academic classicism.
Caravaggio: Naturalism and Chiaroscuro
Caravaggio, however, portrayed ordinary people, embracing naturalism. His “Fortune Teller,” depicting a gypsy reading the hand of a young man while secretly stealing his ring, exemplifies Caravaggio’s approach. Technically, the Carracci painted large frescoes to decorate the ceilings and walls of palaces, illuminated with light colors. Caravaggio, in contrast, created easel paintings with dark, searching chiaroscuro effects, dramatically illuminating specific areas while leaving the rest in shadow. Both approaches contributed to the artistic revival of European painting from Rome.