Genius in the Design

By Ed Buch, CSI, CCS, AIA

The Genius In The Design, Bernini, Borromini, and the Rivalry that Transformed Rome, by Jake Morrissey. (Published by Harper Perennial, 2006, 320 pages with a few illustrations and extensive footnotes.) Frank Gehry is quoted in the book describing the church of San Carlo alle Quattro Fontane, one of Francesco Borromini’s most notable churches, “It’s got all the moves in it that I’ve made, I’ve done nothing new since then.” This is not faint praise and accurately characterizes the work of Borromini, one of the seventeenth century’s leading architects. His rival was the brilliant sculptor and architect Gianlorenzo Bernini. The two men couldn’t have been more different.

This slim book compares and contrasts the careers of both men using extensive quotations from primary source materials. In doing so, it sheds light on the life of architects and builders in seventeenth century Rome. It describes how defects in the construction of the bell towers on St. Peter’s Basilica in Rome were resolved, how work begun by one architect could be given to another, how kickbacks were made in return for the award of contracts, and how the fortunes of both men were tied to Vatican politics and papal patronage. Most importantly, how their very different personalities affected their work and their lives.

Borromini was an idiosyncratic design genius. He was moody, withdrawn from society, and had a difficult time with his clients. But he was also the first important architect of the Baroque era and, had he and Bernini not lived at the same time, he most likely would have been considered the greatest architect of the era. Bernini, on the other hand was everything that Borromini wasn’t. He was gracious and diplomatic and moved well in the society of Rome and the Vatican.

Bernini was the son of a stone cutter and by the time he was in his twenties, he was already recognized in Rome for his extraordinary ability as a stone sculptor. His sculptures, “David” and “Apollo & Daphne”, were revolutionary for their technique and their expressiveness. Borromini also showed brilliance at a young age as a draftsman and architect. Both men were appointed by Pope Urban in 1623 to work on the completion of St. Peter’s Basilica. For nearly 10 years the men work together on the great bronze Baldacchino. But, in the end, Borromini left when he felt his contributions weren’t properly recognized. The two never reconciled and while they may have acknowledged the brilliance of each other’s work, it was only done so grudgingly.

Borromini’s designs for the churches of San Carlo and Saint Ivo were revolutionary and should have brought more work his way. But, due to his reputation, his later years were a period of professional and personal decline. In contrast, Bernini’s reputation was restored after a disastrous episode with the bell towers at St. Peter’s and, as a result, he was busy until the end of his life.

The book presents a fascinating story of two great artists. Bernini, who grew and thrived because he embraced his world, and Borromini, who withdrew from the world and was diminished as a result.

Ed Buch is an architect in the Los Angeles office of Leo A Daly. A Nebraska native, he has worked in Los Angeles since 1988. Prior to that, he worked in Omaha and Lincoln, Nebraska, and 5 years in Riyadh, Saudi Arabia.