Oratorio dei Filippini
The Oratory of St. Philip Neri (Italian Oratorio di S. Filippo Neri, often Oratorio dei Filippini, according to a source also Oratorio dei Filippi ) is a complex of buildings in Rome. It was attributable mainly in the 17th century and is considered one of the major works of Francesco Borromini. Both the delegator him the Order and the building itself were named for the musical genre of the oratorio. It is famous for its south facade of the building. It also contains the Biblioteca Vallicelliana, the oldest public library in Rome.
Location
The building is located at Corso Vittorio Emanuele II in the VI. Roman Rione Parione, immediately adjacent to the spiritually and structurally closely related church of Santa Maria in Vallicella, known as the Chiesa Nuova.
History and Architectural History
After the founding of the Order of the Oratory by the St. Philip Neri 1561 and confirmed by Pope Gregory XIII. 1575 the founder of the order placed great emphasis on spiritual exercise by singing a simple folk tunes as well as by dramatic vocals. Therefore, a new construction of a building suitable for the purpose with appropriate spaces, was next to the new building of Santa Maria in Vallicella, necessary. After a competitive first Paolo Marucelli was commissioned by the Order. He developed plans 1620-1627 and led the work from 1629 to 1637. In May of that year it was Borromini, for unknown reasons, perhaps because of renewed competition, first made the second architect to the side. Marucelli abandoned in the same year on the further execution. From Borromini the south facade, the main hall, in part, the courtyards, the refectory, the stairs, the library and the clock tower on the north side come. Construction was completed by the little things in 1650, according to another source only in 1662. Recent work on the clock tower was completed in 1652 by Camillo Arcucci.
2010 to 2011 the facade was restored by Borromini.
Facade
The most famous part of the building is the south facade. Borromini received strict instructions from the Order for them. He was allowed, except for small items, do not use marble for the design, as this would interfere with the new next-door church facade in their effect. The use of full columns were forbidden to him for the same reason. However, to produce a uniform effect of the façade, Borromini had the yellow bricks burn specially for the facade and they put on an extremely narrow joints. This affects the facade, despite the construction of brick, uniform " as fired in one piece".
The facade is designed in five axes and two floors, with the width on both floors is the same, the lower level is a bit higher than the top, but the effect is reversed through the tall windows of the upper floor, which acts dominant on the facade. The four each demarcated from each other by pilasters outer axes, two each side of the center, are indeed concave in the bulk form, but in each individual assessment plan in the facade provided. It is noteworthy that the capitals of the lower floor half are not or hardly running. This is not an error, but deliberately planned. The capitals of the upper pilasters are decorated in a slight modification of the Corinthian order. Remarkable and direction for the Roman facade architecture, the counter asked convex shape of the lower central axis with the two three-quarter columns flanking the portal. This element of the antithesis of the concave- convex form and ultimately culminated in the complete resolution of the facade as a surface at Santa Maria della Pace. The cranked cornices take over the structures of the axes of the clamp- shaped, curved triangular pediment over the central three axes of the facade was a complete novelty in Roman architecture. It is also remarkable the niche on the small balcony on the upper floor of the central axis. The effect of depth of the niche is released and generates over illusionistic architectural elements, in fact it is as flat as the land next door. The effect of the facade is inviting and welcoming to visitors, what was the intention of this design by Borromini's own words.
Affairs
Borromini had to consider not only the strict requirements for the facade, he had to solve another architectural problem. A cornerstone of the next Santa Maria in Vallicella previously built the cloister made a regular distribution of interior windows and impossible by the corner location of the land came other structural problems. Borromini solved the problem by having designed the interiors completely independent of the facade. The main room of the actual oratory, the Sala Borromini is a crosswise position and moved to the façade, only the windows of both left and center axes belong to this room. Due to the parallel position of the hall to the front of this is only accessible via a vestibule. That a regular distribution of the window has not been possible, he clad, by varying the distances between the Innenpilaster of the main room and - beyond walking - gave them the appearance of an " ornamental motif ". The corners of the room are rounded, his simple solution to the Eckproblem. The outgoing of the pilasters bands of the ceiling he said in effect a skeleton structure. This design is seen as "one of the most permeable space creations of the 17th and 18th century." In this space, musical performances will be performed to this day.
The refectory, he gave a basic oval shape. This had the advantage that the " empty spaces " in comparison to the originally planned rectangle shape of a room could still be used for a small spiral staircase. Also the design of the washbasin in the room comes from Borromini; he understood him like the other rooms of the oratorio as a unit.
The courtyards contain convex profiled colossal. Borromini was able to compensate for the height difference between the sacristy and the oratory. The arcade arches completed Carlo Rainaldi.
In the first paragraph of also supplied by Borromini " grand " staircase Aufganges is a custom built stucco model of a marble relief, the original of which now stands in St. Peter's Basilica. It represents the meeting between Pope Leo I and Attila dar.