Borromini and the New Astronomy: the elliptical dome

Abstract

The cosmological view of the universe has frequently been reflected in art and architecture, especially in the cosmological symbolism attached to domed architecture, which relates to the traditional perception of the flat earth covered by the dome of heaven. Examples range from Byzantine churches to the revival of domed architecture during the Renaissance, and the decoration of the domes themselves also often alludes to astronomical symbolism. The reflection of contemporary perceptions of the universe in art developed dramatically during the Renaissance alongside the changing view of the universe, instigated by such thinkers as Copernicus, Kepler and Galileo. While Copernicus challenged the accepted order in his heliocentric system, Kepler further demonstrated that the ordering of the movement in the universe was in fact based on elliptical rather than perfect circular motion. Contemporary with Kepler’s writings, the work of the Baroque architect Borromini appears to have been influenced by the enormous changes in world view, cosmology and astronomy of the age. His major architectural works reflect seventeenth century scientific developments and are often based on schemes of mathematical precision. His use of the elliptical dome in preference to traditional classical and humanist precepts, such as the perfection of the circular form, appears to be related to the changing cosmological view and it seems unlikely to be a coincidence that that the predilection for elliptical domes in ecclesiastical architecture comes in at about the same time as Kepler.