Borromini Staircase and Bernini Staircase in Palazzo Barberini: Authors, Descriptions, and Details

If you are fascinated byBaroque art, Palazzo Barberini is a must-see. This imposing palace, now home to the National Gallery of Ancient Art, was for centuries the symbol of the power of the Palazzo Barberini family. It was Pope Urban VIII himself, in the 17th century, who wanted to transform it into a residence worthy of his dynasty, calling the best architects of the time to work on it.

Among the many wonders housed inside, two masterpieces stand out for their originality and charm: the helicoidal staircase by Francesco Borromini and the square staircase by Gian Lorenzo Bernini. Two opposite interpretations of the same architectural element, two unmistakable signatures that tell the soul of the Baroque.

On the one hand, Borromini experiments with light and sinuous forms, creating a staircase that seems to wrap around itself with an almost musical rhythm. On the other, Bernini focuses on solemnity, creating a monumental staircase that is striking in its grandeur and elegance.

But what makes these staircases so special? What secrets lie behind their construction? In this article we will uncover every detail of the Palazzo Barberini staircases and understand what makes them so unique.

If after reading you want to see these wonders live, visit the tickets page for all the information on how to arrange your visit.

The historical and architectural context of Palazzo Barberini

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In the heart of Rome, just a few steps from the Quirinale, stands one of the most extraordinary palaces of Italian Baroque: Palazzo Barberini. Built between 1625 and 1633, this building was born as the residence of the Barberini family, one of the most powerful of the time, thanks to the election to the papal throne of Maffeo Barberini, who became Pope Urban VIII.

The initial design was entrusted to Carlo Maderno, an architect of great experience and already responsible for the facade of St. Peter‘s. It was he who conceived the palace with an open “H”-shaped plan, an innovation compared to traditional Renaissance palaces, which were usually closed around a central courtyard. The idea was to merge the aristocratic residence with the typology of the suburban villa, creating a complex in which nature and architecture dialogued with each other.

After Maderno ‘s death in 1629, the direction of the work passed into the hands of Gian Lorenzo Bernini, who was young at the time but already established thanks to the protection of Urban VIII. Also at his side was Francesco Borromini, a visionary architect with innovative ideas and a style that would soon make him famous.

Coexistence between the two was not easy. While Bernini had the task of carrying on the construction of the palace with his monumental and theatrical style, Borromini began to experiment with increasingly daring architectural solutions. It was within Palazzo Barberini that two absolute Baroque masterpieces were born: Borromini’s spiral staircase and Bernini’s square staircase. Two works that, while serving the same purpose, embody completely opposite visions of architecture.

Want to learn more about the history of Palazzo Barberini? Read our dedicated article.

Francesco Borromini’s spiral staircase

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In the heart of Palazzo Barberini, almost hidden from Bernini’s imposing staircase, lies one of the most fascinating works of Roman Baroque: Francesco Borromini’s spiral staircase. At first glance it may appear to be “just” a staircase, but observing it up close one quickly realizes that it is much more: a masterpiece of balance, lightness and architectural ingenuity.

A masterpiece of lightness and movement

Designed between 1633 and 1634, this staircase served thesouth wing of the palace, the one intended for Cardinal Francesco Barberini. Unlike Bernini‘s monumental staircase, designed to impress guests, Borromini ‘s staircase had another function: to provide more private access to the cardinal’s private rooms.

Its peculiarity lies in its helicoidal shape, which makes it wrap around itself like a spiral in constant motion. Borromini abandons the classic circular plan and chooses an oval, more flattened plan, which makes the ascent more fluid and harmonious. This choice is not accidental: he is inspired by the treatises of Vignola, Serlio and Palladio, but goes beyond their traditional principles, creating something completely new.

An interplay of light and space

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One of the most striking elements of the staircase is the way light passes through it. Natural light filters in from above through a large oculus, while windows in the façade let in beams of light that change throughout the day, creating an almost mystical atmosphere. This management of light accentuates the feeling of movement and makes the staircase a living work, changing depending on the point of view.

Another detail that makes it unique is the supporting structure. The twin Doric columns, distributed along the ramp, give the illusion that the staircase is suspended in the void, defying gravity. Each turn is composed of 12 columns, and on the capitals can be seen small bees, the symbol of the Barberini family.

Doubts about the attribution

Today the spiral staircase of Palazzo Barberini is almost universally attributed to Francesco Borromini, but this was not always the case. For a long time, in fact, there has been debate about who was the true author of this extraordinary structure. Some art historians raised doubts, advancing the hypothesis that the design might have been carried out by Gian Lorenzo Bernini or that Borromini played only a secondary role.

One of the main reasons for this debate is that, in the earliest documents, the staircase was attributed to Bernini, who, after the death of Carlo Maderno in 1629, had taken over the direction of work on Palazzo Barberini. As the pope’s official architect, Bernini had control over many design decisions, and it would not be strange to think that the staircase may have been conceived under his supervision.

Then there is another aspect to consider: Borromini, at the time, was still a young architect, working under Bernini. This has led some scholars to speculate that the design of the staircase may have originated from a collaboration between the two, rather than from a completely autonomous idea by Borromini.

Some stylistic elements have also fueled doubts. If we compare the Palazzo Barberini staircase with other staircases designed by Borromini later, such as the one in the convent of San Carlo alle Quattro Fontane or the one in the Palazzo di Propaganda Fide, some differences emerge. Borromini’s later works feature even more extreme and daring forms, with elaborate decoration and out-of-the-box architectural solutions. Palazzo Barberini‘s staircase, on the other hand, has a more sober and rational elegance, which might suggest a Bernini influence or, simply, a Borromini still in an early phase of his style.

In spite of these questions, today most scholars agree that Borromini is the paternity of the staircase. In support of this thesis there are several pieces of evidence:

• The style of the staircase perfectly reflects Borromini’s innovative approach, with its masterful use of light and dynamic forms.
• The architect’s nephew, Bernardo Borromini, clearly writes in a 1685 letter that the staircase was designed by his uncle.
• An 18th-century engraving by Domenico de Rossi depicts the staircase without ever questioning the attribution to Borromini.

In short, although the debate existed, today the spiral staircase in Palazzo Barberini is considered one of Borromini’s first independent masterpieces.

Gian Lorenzo Bernini’s square staircase

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If Borromini ‘s staircase is a masterpiece of lightness and movement, Gian Lorenzo Bernini’s square staircase is its exact antithesis: monumental, imposing, designed to impress. Located in the north wing of Palazzo Barberini, this staircase is not just a link between floors, but a true statement of power and grandeur.

A representative entrance

Designed around 1630, Bernini ‘s square staircase was intended to meet a precise need: to create a scenic access to the palace’s main floor, the one used for ceremonial functions. Not surprisingly, the staircase directly connected the courtyard of the Cavallerizza (now gone) with the upper floors, ensuring a triumphal entrance for the Barberini family’s most important guests.

While Borromini ‘s spiral staircase served a more discreet passage, Bernini ‘s grand staircase was designed to impress. And it does so with solid forms, grand proportions and a perfect harmony of space.

A solemn and theatrical architecture

Unlike the spiral staircases or parallel flights typical of the 16th century, Bernini ‘s grand staircase introduces an innovation: the square well plan. The large central shaft, which runs high, creates a dramatic effect that amplifies the perception of space. As one ascends, one has the feeling of being enveloped by the architecture itself, with the ramps elegantly overlapping and overlooking the central void.

Paired Doric columns support the first flights up to the main floor, while higher up they give way to massive pillars, giving a sense of stability and solidity. The walls, punctuated by niches with statues, reinforce the impression of being in a majestic and celebratory environment.

Bernini and Borromini: the challenge of the staircase

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Palazzo Barberini is not only a masterpiece of Baroque architecture, but also the site of one of the most famous rivalries in art history: that between Gian Lorenzo Bernini and Francesco Borromini. Two brilliant architects, two opposing visions, two monumental scales that still tell the story of their confrontation.

Two scales, two different souls

Both staircases in Palazzo Barberini are extraordinary, but for completely different reasons.

Bernini’s square staircase is imposing, solemn, theatrical. It is designed to impress those who walk down it and emphasize the prestige of the Barberini family. Its structure is large, majestic, built to dominate space and convey a sense of power.

Borromini’s spiral staircase is intimate, light, experimental. It does not impose itself, but captivates with its elegance and fluid movement. Its oval design, the light filtering from above, and the arrangement of the columns create an almost dreamlike effect, completely different from Bernini’s monumental approach.

These two staircases are more than just architectural elements: they are the signature of their authors, the symbol of two conceptions of art that marked the entire Baroque era.

Two irreconcilable characters

The rivalry between Bernini and Borromini was not only stylistic, but also character-based.

Bernini was a favorite of the papal court, beloved by the Barberini and endowed with a natural charisma. Besides being an architect, he was also a sculptor and stage designer, capable of creating spectacular and grandiose works.

Borromini, on the other hand, was more introverted, restless and a perfectionist. He disliked worldliness and devoted himself exclusively to architectural experimentation, seeking innovative solutions and departing from the conventions of the time.

The collaboration between the two, which began in the early 1630s, soon turned into a heated competition, culminating in their final estrangement. By 1633 their paths parted forever, and their antagonism was reflected in some of Rome’s most important works.

Two interpretations of the Baroque

The challenge between Bernini and Borromini did not end at Palazzo Barberini. Their confrontation extended to many other works in the capital, such as San Pietro, Sant’Ivo alla Sapienza, and San Carlo alle Quattro Fontane. Bernini dominated with his theatrical and emotional Baroque, Borromini responded with his geometric and visionary forms.

Even today, visiting Palazzo Barberini means entering this artistic duel and admiring up close two opposite but complementary interpretations of Baroque architecture.

Do you want to know what other wonderful works are housed inside Palazzo Barberini? We have discussed them in detail in this article.

Conclusion

Palazzo Barberini ‘s staircases are not simply architectural elements: they are stories in stone, works that speak of two geniuses of Baroque architecture and their opposing but complementary vision. Bernini and Borromini, with their talent and rivalry, created two masterpieces that still amaze those who walk down them.

On the one hand, Bernini’s square staircase, solemn and monumental, designed to impress and convey a sense of grandeur. On the other, Borromini’s spiral staircase, a masterpiece of lightness and movement, enchanting with its elegance and play of light and shadow.

Two different ways of interpreting architecture, two unmistakable signatures that left an indelible imprint on the Roman Baroque. Visiting Palazzo Barberini means experiencing this artistic challenge and walking through history.

If you want to admire these wonders up close and discover the rest of the artistic heritage housed in the palace, visit the tickets page and arrange your visit!