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Sant'Ivo alla Sapienza, Rome
(4.6/5 based on 75+ reviews on the web)
Sant'Ivo alla Sapienza is a Roman Catholic church in Rome. Built in 1642-1660 by the architect Francesco Borromini, the church is a masterpiece of Roman Baroque architecture.The church is at the rear of a courtyard at 40, Corso del Rinascimento; the complex is now used by the Archives of the City of Rome.HistoryIn the 14th century, there was a chapel here for the palace of the University of Rome. The University is called La Sapienza, and the church was dedicated to Saint Yves (patron saint of jurists). When a design was commissioned from Borromini in the 17th century, he adapted to the already existing palazzo. He choose a plan resembling a star of David - which would have been recognized at the time as a Star of Solomon, symbolizing wisdom - and merged a curved facade of the church with the courtyard of the palace. The corkscrew lantern of the dome was novel. The complex rhythms of the interior have a dazzling geometry to them.The main artwork of the interior is the altarpiece by Pietro da Cortona, portraying St. Yves.ExteriorThe church rises at the end of the alley of buildings so that the façade can be seen throughout the alleyway; this suggests a decentralized planning on Borromini’s part. Baroque architecture differed from renaissance in moving from centralization to different orientations, shifting the buildings; such as churches, from the main stage to the background while maintaining similar importance in society. This is specially true for Sant'Ivo, hidden within the confines of its encapsulating alley. A courtyard, known as the courtyard of Giacomo della Porta leads to the entrance of Sant'Ivo. Arguably, the courtyard and surrounding edifice framing San'Ivo serve to create a separate dimension inside the alley where the towering dome above the façade of the church is the dominating focus point granting the building a form of captivating power via the focus the alley provides.
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  • I just want to alert visitors that we tried to see Sant'Ivo on Wednesday 2 November this week but it was closed due to earthquake damage (according to an elderly gentleman in the courtyard). The facad...  more »
  • A few steps from the Senate (Senate), Piazza Navona and the Pantheon is located inside the courtyard of the Palazzo della Sapienza, one of the most beautiful masterpieces of Roman Baroque, Sant'Ivo alla Sapienza. Designed by the architect Borromini between 1642 and 1660, for its artistic value, technical and symbolic the building is widely regarded as one of the masterpieces of the famous architect who along with Bernini made history of the Baroque style and architecture in General. In 1632 Borromini became architect of wisdom and I begin to take care of the Church that was to be built inside the University complex. At that time the backyard system on which you had to face was already defined by Giacomo della Porta including the semicircular Terminal, and was also a circular church with small chapels. Borromini, instead, she designed a circular body but by the complex geometry. Work began only in 1642 although probably the design started before and went through various phases, including the making of wooden models. The work continued for over 20 years. Sant'ivo alla Sapienza was a challenge difficult for Borromini, conditioned by the existence of the Palace and the courtyard already made that left a quadrangular space very limited for giving rise to the Church. From these constraints he will derive is an occasion of great freedom. Choosing a triangular matrix that lets you create a body oriented triangle lines already built, double triangle to create a six-pointed star that it fills the entire surface available, and in this form it subtracts and circular spaces according to a rigorous logical schema adds. The need to exploit as much as possible a lot of square shape, interest in a mixtilinear housing that would allow him to continue the experience of San Carlo alle Quattro Fontane and the idea to take cues from symbolic forms capable of binding the origin and the schema of the primary meanings, are the inspiration for the project, but being too complicated was gradually replaced in the course of construction. The result is still a masterpiece where everything tends upwards, with decorations of stars that shrink and the image of the Holy Spirit on the ceiling of the lantern on the dome, suggest enormous heights and inaccessible. The effect of the light as it enters crossing both the Lantern is from Windows, is extremely effective and combined with total candor of the walls, seems to make the walls of the Church as diaphanous and transparent. Inside the beautiful altarpiece with Saint Ivo patron of lawyers by Pietro da Cortona. The symbolism that the Borromini committed mixtilinear plant, linked to the theme of religion, it is interesting to clarify certain components of Borromini's sculptures, but the inspirational element is the intuition of space as an element that reacts negatively, compared to mass movement. Continuity and arrangements which ' are grouped by understanding that you have to create a new order, so the dome is no longer supported by structural arches that create subunits confluent to create one main, but it goes to rest directly on the contour Chapel mixtilinear, turning slowly and gradually the complex form of departure into a perfect circle Rep God Church finally is a crowning achievement ... Lantern spiral that leads to the lighthouse of Alexandria as if the Church should just act as a beacon for the faithful. The Trinity symbolized by the triangle is the starting figure which, combined with another inverted triangle with convex and concave circle parts, will form the stylised figure of three bees, symbol of prudence, charity and industriousness, and at the same time heraldic element in the arms of the Barberini family, the exponent of which Urban VIII commissioned the Church. In his quest for synthesis he operates a fusion of classical and Gothic elements, using them not as an ingredient for a compromise, but as elements relived first separately then organically. The same consistency check operation takes place between outside and inside and not to mechanical reasons, indeed because from this point of view, the dome would be a false six inner lobes as structural diversity does not transpire in the exterior, and the pointed arch interior is obscured by a drum and a bleacher goes toward the Lantern: does not exist i.e. correspondence between outside and inside. The Lantern inside is completely round, outside consists of six concave parts with double columns ending in pinnacles, while the spiral that climbs upwards misses match in an internal shape where the Lantern ends much earlier. Continuity is provided by the line drum that sine is highlighted by the frame at the top. The aspiration to infinity is given by the propeller and lightness recreated finds its fulfilment in the iron cage and in the globe above the flames, as the light of a lighthouse must enlighten the faithful. The relationship between the masonry and the surrounding air becomes tighter and here the genius of Borromini proves that matter is also disembodied entities, weightless and merges with the light. Definitely one of the most interesting and beautiful churches of Rome that hidden in esoteric messages innovative Baroque shapes that you could not express loudly it burning at the stake (Giordano Bruno docet!), but they expressed in architecture as in art in general allow architects and artists to convey their revolutionary message saving my skin, without incurring the wrath of the Holy Roman Church.
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  • Dates not fit shorter opening hours was only the appearance of. 8/2016 did I do renovations and construction of fence and took the spiral-shaped dome could see. Location is just behind the Pantheon, walking is great.
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  • Generally regarded as Borromini's masterpiece - a masterpiece of space-shaping and "geometrical succinctness" At first look walls appear fluid in continuous motion. 1642-60
  • It's hard to open a shorter view time short of Borromini and geometric works remains to be seen.
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  • The Borromini turned a cramped and dark courtyard into a masterpiece of Baroque architecture and art.
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  • The architecture of Borromini. Advanced work of the canopy is not to be missed. Beautiful front yard. Good and sometimes not open so check in advance.
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  • Absolute, undisputed and indisputable masterpiece by Francesco Borromini.
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