Borromini

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Borromini

(Italian borroˈmiːni)
n
(Biography) Francesco, original name Francesco Castelli. 1599–1667, Italian baroque architect, working in Rome: his buildings include the churches of San Carlo (1641) and Sant' Ivo (1660)
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Ontani inserted polychromatic ceramic sculptures from the series "Canopi," 1997-; "BellimBusTi," 1996-; and "ErmEstEtiche," 1995-in the niches of the spectacular spiral staircase designed by Francesco Borromini for the Palazzo Carpegna, now home to the Accademia Nazionale di San Luca.
Among them: Portugal's Pedro Costa, back with "Cavalo Dinheiro"; Filipino auteur Lav Diaz, with "From What Is Before"; Gaul's prolific Paul Vecchiali with "Nuits blanches sur la jetee"; and Paris-based but U.S.-bred Eugene Green, who is bringing his Italy-shot "La Sapienza," inspired by the life and work of daring 17th-century architect Francesco Borromini. These are all in the main competition where "no two films are alike in any way," Chatrian vows.
The famous rivalry between Bernini and Francesco Borromini is--noticeably all but unmentioned, yet the two Italians' shared understanding of geometry as a tool for design might have provided opportunity for discussion of how, through geometry, light was to become a quantifiable presence in their works.
Significativamente, su figura empezo a emerger en la historiografia gracias a su papel como mecenas del genial arquitecto Francesco Borromini y agente de la decoracion del palacio del Buen Retiro (8).
This use was inspired by an antiquarian passion among erudite circles, frequented by (among others) Francesco Borromini, the Oratorian Virgilio Spada, and Cardinal Virginio Orsini, who was linked to Montevirginio.
The exhibition focuses on the works of Mario Botta, one of the most famous contemporary Swiss architects and Francesco Borromini, one of the most famous architects of the Italian baroque style.
The origins of the Baroque can be traced back to papal Rome in the early part of the 17th century and to the great triumvirate of the style's pioneers: Gianlorenzo Bernini, Francesco Borromini and Pietro da Cortona, whose works in architecture, painting and sculpture established the principal characteristics of the style.
Building of Palazzo Barberini began late in 1628 to designs by Carlo Maderno, but his death two months later left the execution in the hands of Bernini and his assistant, Francesco Borromini. The weighty palazzo was the critically important external sign of power, the more necessary after the marriage in October 1627 of Taddeo Barberini to no one less than Anna Colonna.
If instructors choose to use this text in an undergraduate course, they might consider providing the following images for additional support: 1) a map illustrating the locations of the tribes/peoples who Iived in Italy before the Roman expansion (the so-called substrata languages) to accompany the discussion on page 5; 2) an image of the inscription of the Basilica di San Clemente, which can be found in Marazzini's La lingua italiana: Profilo storico (Bologna: Il Mulino, 2002: 178), to accompany the discussion on page 23; 3) images of the artistic manifestations of the Baroque style that are mentioned in chapter 7: the churches and palaces of Lorenzo Bernini and Francesco Borromini and the frescos of Pietro da Cortona.