- Francesco Borromini
- 款識：紙中央橢圓形裝飾圖案中有黑色粉筆題款及紀年 ALESSANDRO VII P.M. / SAPIENTIA PAL (?) / ANNO MDCLX and in the upper left margin: qui termina il cornicione fatto alle sei finestre sotto a detto / le altre finestre mancano dei / suoi ornamenti di travertino(?) / E mancha tutta la muratura / del ultimo ordine dove... / d to cornicione.
- 13 x 19 英寸；331 x 483 毫米
Acquired at the above sale by A. Alfred Taubman
Maurizio Fagiolo Dell'Arco, ‘La Sapienza di Borromini: un progetto per il Palazzo dell’Università,’ Storia dell’Arte, 1980, pp. 343-351
Paolo Portoghesi, Francesco Borromini, Milan, 1984, p. 158, pl. CLIII
Drawings by Borromini are extremely rare. Most of those that are known are preparatory drawings made to explore ideas and solve problems connected with specific architectural projects, including the restoration and embellishment of existing buildings. The present sheet appears to be a handsome presentation drawing, executed with Borromini's characteristic and minute handling of his preferred drawing medium, soft black lead, made for submission to his powerful patron, Pope Alexander VII, Chigi.
Francesco Borromini, whose real surname was Castelli, was, with Bernini, the leading figure of Baroque architecture in Italy. A keen student of classical buildings and the ruins of Antiquity, Borromini developed an inventive and distinctive, if somewhat idiosyncratic architectural style. He employed a number of different materials, especially bricks, whilst creating new and inventive architectural forms, which make his architecture very recognizable. He seems to have had a sound understanding of structures, perhaps more so than Bernini, who was principally trained in other areas of the visual arts. Unlike Bernini, who easily won important patrons and commissions, Borromini was both melancholic and quick in temper, which resulted in his withdrawal from certain projects, with lasting adverse consequences for his career.