Magnificence and secularism of architecture: Borromini and Guarini

Two architects that has remarked the form and no certainly the principal function of build, in fact Francesco Borromini(1599-1667) and Camillo Guarino Guarini(1624-1683) are two architects that has used and abused the geometry, they have built alone to the architecture, expressed forms that were secular because every costumer was an through to expression and built of form, that has nature and method very different from Renaissance; it isn’t rational and aseptic but life and irregular, uses the geometry and it gives life to other forms, architecture is necessary to forms that can express, every object of architecture can become other. The drawings of Guarini are a clear examples of these play of geometry(Figs.1-2) Drawings of architecture civil and ecclesiastical, is a collection and it has gathered drawings and one is very adherent to particular that I have now expressed, use of geometry that can modify same form; a tympanum can become right (Fig.1) or strange(Fig.2), because a column can be very right(Fig.1) or become very irregular(Fig.2), naturally this second form is from Bernini(Figs.3-6). An use very irregular of geometry is took from Guarini by Borromini and saint Ivo to Sapienza(Figs.7-13a), where Borromini used geometry with a freedom very marked; he conceives the freedom of forms and used same geometry of renaissance with other method; same think of Guarini(Figs.14-17). Two architects that have used forms and drama of forms with same spirit and have used architecture to forms, then different forms, then Guarini said: “The symmetries of architecture can between them be different forms".

Alessandro Lusana     

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The late Mattia Pascal and fame of history: fakes and fame that become historical reality

This assay is a complaint about a use and abuse that we have usually believed and this phenomenological custom is connatural to humankind, and it had used and described, with irony from Luigi Pirandello at his The late Mattia Pascal; protagonist of this romance is Mattia Pascal a guy that is disappeared from a city and everybody think that he is died, and he said to end of this romance: “It is very beautiful bring flowers on my tomb”; this is romance is a masterwork, because it tells truly custom that alone very few follow; this is the historical fakes and common morality, this last is principal motive to follow and they followed these historical fakes. Mattia, protagonist is life and when he is exiting from cemetery somebody asks to him: “Are Mattia Pascal?” and he answered: “The late Mattia Pascal”, because I am died in conformity of common opinion, then I am life it is very low indifferent, because important is alone common judgement, then is more common opinion is valid no, certainly, other. This phenomenon, that has showed the idiocy and opportunism of very much fake historical men, has tells fakes and untrue historical truth. Everybody has believed to these fakes more to disinterest than other. After these fake historical men other has caught these fakes and have followed it, because to begin a examination of these presumed truth is very difficult and tiring, it is more best follow the fakes than search the truth. Everybody follow this criterion is unworthy to write the history or philosophy or other. Then when you must read history you must always consider that these presumed truth is alone opinion of historical man then it isn’t you must consider that it is opinion, no certainly the truth; as common opinion has said that Mattia Pascal has died. And I want end this assay through a sentence of Pirandello: “Keep in your mind that during your life you will meet very much mask and few face”, this is you will meet very much fake men and very few sincere persons.

Alessandro Lusana  

 

Tempora currunt sed modus restat: identity of one costumer

Architecture and his costumer is always very much characteristic of one architect, and style is evident to many works, we can identify Borromini, Bernini, Michael Angel and other. We should consider that it is very rare identify a costumer through style of a built; it is very anomalous to identity of art history, because one costumer we can identify to documents or literature, this is ancient guide and other; but identify a costumer without documents and alone to style is complex; but in Sermoneta it is possible because the style is same for many centuries: we must consider that first caetanea church this is Saint Joseph(Figs.1-2) with lozenges on sides and tympanum on center, we can consider that it is style of 16^th century, this is 1525, when this church was erected from Caetani family; and opinion and judgement about style is very right because this rational stile is connate to century, but to use, after centuries, same style is very anomalous; in fact other two churches of family of Caetani were erected during 1685 or restored during  of 18^th century, these are Saint Annunciata(Figs.7-10) and Saint Mary of Fossato on year 1685(Figs.3-6). We can see same style of Saint Joseph, same lozenges and same tympanum, that isn’t to Saint Mary of Fossato, but it is on high side of façade, and intern is same unique ship(Figs.2,5-6), as Saint Joseph and Saint Annunciata. This is very meaningfull because through this style we can identify costumer and repetition of these style of costumer. It isn’t determined from preference of costumer, because style has changed, Borromini and Baroque and other styles have rose and architecture used and mixed it to façade; then it is an reference to Caetani, this style is Caetani style.  

Alessandro Lusana  

    

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