Francesco Borromini was the greatest architect of the Baroque. His work pushed boundaries, turning classical forms into something fluid, dramatic, and full of life.
Baroque architecture was all about movement—curves, domes, and broken pediments that played with light and shadow like a theatrical performance. At its peak, it was an architectural opera, bold and emotional.
Borromini’s buildings are some of the best in Rome, and simply feel alive. He manipulated space with concave and convex forms.
Borromini was the arch rival and exact contemporary of the other great Baroque artist Gian Lorenzo Bernini. Borromini is not nearly as much of a household name.
Perhaps because Borromini was purely an architect and not a polymath like Bernini. In fact, he’s really an “architect’s architect.”
His collection of buildings is so original and so beautiful that he easily surpasses the conventional architecture of Bernini.
In this guide, I give you a mini biography of Borromini, his artistic style, and identify the must see Borromini buildings in Rome.
Mini Biography Of Borromini
Borromini was born in Switzerland in 1599. He did an internship at Milan Cathedral. In 1619, he arrived in Rome at the age of 20.
By this point in time, Bernini had already begun a successful career. He was about to begin the series of famous sculptures in the Borghese Gallery.
One of the first jobs Borromini received was work on the facade of St. Peter’s Basilica. Carlo Maderno, Borromini’s uncle, was the chief architect at that time.
Borromini was also employed as a decorative sculptor. In fact, he collaborated with Bernini on the church’s baldachin.
Some art historians even believe that Bernini took credit for Borromini’s ideas. The baldachins quite different than the life size sculptures Bernini was used to. This was a massive, towering piece that required architectural prowess, which was likely supplied by Borromini.
Borromini’s personality was just as intense as his designs. He had a reputation for being a bit mad, always thinking outside the box.
Borromini was a deeply eccentric man, neurotic and depressed. He was shy yet hot-tempered, a loner with a sharp tongue.
Later in life, his mood darkened, and some believed he was slipping into madness. At 67, in a fit of despair, he took his own life by falling on his own sword.
During his lifetime, Borromini’s work was misunderstood and under-appreciated. He was thought of as a radical, anarchist of architecture. But in the 20th century, critics finally recognized him as a genius.
Today, his buildings stand as some of the most extraordinary creations in Rome, proof that his vision was far ahead of his time.
Borromini’s Artistic Identity
For Borromini, the aesthetic was supreme. He firmly rejected the ruling conventions. He refused to compromise his vision, even turning down money if a project didn’t suit what he wanted to do.
Unlike Bernini, Borromini avoided excessive decoration, rich materials, and even non-white paint. Instead, embracing austerity, he let form and structure speak for themselves.
He was influenced by classical architecture, including that of Michelangelo.
Borromini’s details were often sharp, geometric, and based on intricate mathematical principles. His buildings look almost modern.
Instead of static, rigid structures, Borromini used concave and convex facades that seemed to breathe. His buildings flow in a way that was revolutionary for the time.
The originality of his vision can also be identified in his preference for ovals rather than circles, and for his love of undulating architectural columns.
He played with light, shadow, and spatial depth, often making small spaces feel vast through clever geometric design. His use of elongated ovals, star-shaped domes, and forced perspective created illusions of grandeur.
His mastery of natural light also set his work apart. He designed interiors with hidden windows, skylights, and layered walls to create shifting patterns of illumination, giving his churches an ethereal quality.
Finally, Borromini was a technical genius, with fetishistic attention to detail. He experimented with new construction methods.
He designed thin-walled domes, complex vaults, and interlocking spaces that pushed the boundaries of traditional engineering.
Famous Borromini Architectural Masterpieces
Here are some of Borromini’s most famous works in Rome:
1. San Carlo alle Quattro Fontane (1638-1641)
This beautiful church was Borromini’s first independent commission and a Baroque masterpiece.
This small church, also called San Carlino by the Romans, has an undulating facade, an oval dome, and intricate geometric patterns. The interior is a stunning blend of light, movement, and complexity.
Borromini broke with tradition by stacking three distinct levels that shouldn’t work together. But somehow they do.
The lower facade ripples with convex and concave curves, where tall Corinthian columns frame niches, windows, and sculptures. Behind them, smaller columns add depth.
Above, the second level hints at a Greek cross plan. The oval honeycomb dome—a bold innovation at the time—seems to float. This is thanks to hidden light sources that create an almost dreamlike effect.
2. Sant’Ivo alla Sapienza (1642-1660)
One of Borromini’s greatest works, this church sits within the Renaissance complex of the Palazzo della Sapienza. It rises at one end of a vast arcaded courtyard not far from Piazza Navona. It’s one of my very favorite buildings in Rome.
The courtyard itself is utterly lacking in excitement. But Borromini changes all that. For the first two floors, he continues the arcading along a concave curve, giving the courtyard an oval end.
But to that he adds a spiral lantern unlike anything else ever seen in Baroque architecture. It’s a scalloped shape topped with a series of superposed crowns, rocketing skyward.
The interior is a study in mathematical precision and ethereal light, with stucco stars arranged along the ribs of the dome. The dome is much closer to you than usual, with six large windows set into its base.
You can only visit on Sunday morning, when you’ll also find church services.
3. Oratory of Saint Philip Neri (1637-1650)
The Oratory of Saint Philip Neri is one of Francesco Borromini’s most refined and innovative works.
Built between 1637 and 1650, it served as the headquarters for the Congregation of the Oratory, a religious order founded by Saint Philip Neri.
The brick facade is one of Borromini’s most elegant and playful designs. Unlike the grand marble facades of many Baroque churches, this one is made of simple red brick, yet it pulses with life.
The central section gently curves outward. It’s flanked by two concave wings, creating a dynamic yet harmonious effect.
Inside, Borromini designed a spacious and acoustically perfect hall for musical performances and lectures.
4. Palazzo Spada – Perspective Gallery (1652-1653)
A brilliant illusion, this gallery in Palazzo Spada creates the impression of a long colonnade when it’s actually much shorter.
The long corridor of columns looks like a grand colonnade, stretching well into the distance. But appearances can be deceiving. It seems nearly 120 feet long.
In reality, it’s just 26 feet. Borromini used a clever mathematical trick of scale, gradually shrinking the columns and ceiling height to make the space seem much larger.
At the far end, a towering sculpture draws the eye. It appears life size, yet it stands just 23 inches tall—a final touch to complete the illusion.
5. Sant’Agnese in Agone (1653-1657)
Located in Piazza Navona, Sant’Agnese in Agone is one of Francesco Borromini’s most striking works, though he joined the project after his rival Bernini had already made contributions.
Despite the challenge of working within an existing framework, Borromini transformed the facade into a masterpiece of Baroque architecture. He focused on elegance, spatial harmony, and structural ingenuity.
Borromini’s design is stripped of excessive ornamentation, concentrating on pure form and movement. The facade’s dramatic concave curves seem to pull the viewer toward the main doorway, creating a dynamic interplay between architecture and space.
This innovative approach not only enhanced the church’s visual impact but also solved a practical issue—its narrow frontage.
The concave design ensures that the facade remains visible from all angles in Piazza Navona, making it one of the most recognizable and theatrical elements of the square.
Borromini’s work on Sant’Agnese was revolutionary for Baroque architecture. It broke from the rigid classical traditions of the Renaissance, favoring fluidity and movement over strict symmetry.
The result is a church that feels alive and interactive, an architectural feat that remains one of Rome’s most celebrated Baroque landmarks.
6. Collegio di Propaganda Fide (1646-1667)
This Jesuit complex near the Spanish Steps showcases Borromini’s innovative approach to space and structure.
Originally designed by Gian Paolo Pannini, the facade was later reworked by Borromini. Instead of a flat, classical frontage, he introduced subtle curves and undulating surfaces. It almost looks menacing to me …
The Chapel of the Magi, with its curving walls and interplay of geometric shapes, is a masterpiece of subtle yet dramatic design. Its design is a masterclass in layered spaces, movement, and depth.
The chapel has a rectangular layout, but Borromini softened its rigid structure with curving walls and fluid design elements.The ceiling features an intricate oval dome, a hallmark of his work.
7. Staircase Palazzo Barberini
Borromini designed one of the two grand staircases in Palazzo Barberini, a masterpiece of Roman Baroque architecture.
This palace, home to the magnificent Galleria Nazionale d’Arte Antica, was a collaboration between Carlo Maderno, Bernini, and Borromini.
The oval spiral staircase is one of Borromini’s most elegant and innovative designs. The staircase winds upward in a smooth, continuous motion. Columns become slimmer as they ascend, enhancing the illusion of height.
Unlike Bernini’s more conventional square staircase, Borromini’s spiral structure feels almost weightless, a perfect fusion of movement and geometry.
>>> Click here to book a Palazzo Barberini ticket
8. Sant’Andrea delle Fratte
This church was originally designed in the late 16th century by Gaspare Guerra. But Borromini was later commissioned to design its dome and bell tower in the 1660s.
The church is also famous for housing two of Bernini’s original angels They were sculpted for the Ponte Sant’Angelo but later moved inside for preservation.
The bell tower, completed in 1669, is one of Borromini’s last works and showcases his signature Baroque dynamism. It features layered volumes, concave and convex shapes, and a striking interplay of light and shadow.
The campanile is crowned with a curious form that’s decorated with the head of an ox, the symbol of the Bufalo family.
The dome, though planned by Borromini, was never completed as he died in 1667.
I hope you’ve enjoyed my guide to the life and architecture of Francesco Borromini. You may find these other Rome travel guides useful:
- 1 day in Rome itineraries
- 2 days in Rome itinerary
- 3 day itinerary for Rome
- 4 day itinerary for Rome
- 5 day itinerary for Rome
- Hidden gems in Rome
- Best museums in Rome
- Guide to Palatine Hill
- Guide to the Roman Forum
- Guide to the Colosseum
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