190 ARCHITECTURE. 
Many buildings of his are extant, but they are all in the corrupt Italian 
style. Among these is the fagade of the church of St. Ignatius in Rome 
( pl. 48, fig. 9), whose front projections, double tiers of pilasters one above 
the other, and poor frontons, make it an example of utter tastelessness. 
The church was begun in 1626 at the expense of Cardinal Ludovisi, from 
the design of Father Grassi or of Domenichino, and was completed in 
1685. Father Pozzo crowned the work by furnishing the church with 
singularly tasteless altars. Its length is 140 feet, and it is 103 feet high. 
In the interior there are coupled fluted Corinthian pilasters standing in 
front of the pillars of the nave, with a complete entablature, and above that 
an attic, with tasteless work in stucco. 
16. Tae Caurcy San Carto ALLE QuatTrro FonTane in Rome. Among 
all the architects of the 17th century, Francesco Borromini (born 1599, died 
1667) contributed most largely to the disgrace of architecture. Originally 
a sculptor, he studied architecture with Maderno. His works are remark- 
able for showing how far a favored artist can possibly go astray. He hated 
regularity, and crammed his facades with broken entablatures, pilasters, 
semi-columns, niches, senseless ornaments, and door and window pediments 
of every imaginable form. Notwithstanding this, his works were engraved 
on copper as specimens of beautiful architecture, and so greatly assisted the 
corruption of art throughout Europe. The above-mentioned church, built 
by him in 1640 (pl. 48, jig. 10, ground plan; jig. 11, the facade) proves 
the truth of our assertion. This mixture of straight, convex, and concave 
lines, of semi-columns above each other, of niches and sculptures, of scroll 
cornices and reversed consoles, indicates only the taste of an architect who 
degraded his art to the level of a joiner’s craft, and found pleasure in doing 
precisely the reverse of what others did. The interior of the church is, as 
the ground plan shows, formed of irregular, crooked lines, and contains 16 
Corinthian three-quarter columns, 22 feet high. 
17. Tae Cuurcu peLia Superea in Turi (pl. 45, jig. 1, plan; jig. 2, 
elevation). One of the best pupils of the architect Carlo Fontana, whose 
ability we have already observed in St. Peter’s, was Filippo Ivara (born 
1685, died 1755), of whose beautiful buildings a great number still remain. 
The most beautiful is doubtless the seminary and church della Superga, 
upon a height near Turin. From this point a broad view of country is 
commanded. Here in 1706 Victor Amadeus and Prince Eugene projected 
the plan of defence for Turin, and Victor Amadeus vowed, should he be 
victorious, to erect there a splendid temple to God. After the liberation 
of Piedmont, Ivara began the building in 1715. It was finished in the 
year 1735. The plan cannot be over-praised. It covers an area of about 
500 feet in length and 300 in breadth, and forms a symmetrical quadrangle. 
The building of the seminary is very skilfully joined to the church. The 
interior has a court of 150 feet in length, with two tiers of colonnades, and 
around this dwellings are distributed. The outer plan of the church is 
united with the common passage by a more than semicircular part, before 
which stands a portico of columns, four across the front and three in depth. 
To it are joined two retreating facades, which are adorned with Corinthian 
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