No end has been written about the two men, their long running rivalry and how they shaped the Baroque Rome that we still see today. The work of both guys is just stunning. Having trekked round Rome, I just marvel at the imagination.

But who would be the designer’s designer? Which of them would be sitting at his terminal in Pininfarina or working with Thomas Heatherwick today?

Bernini is the master of drama and performance in his work. Go to the Galleria Borghese and look at the Nymph Daphne turning into a laurel tree just as the God Apollo has grabbed her. This scene would be ambitious as a painting, but Bernini has captured the drama from a massive block of marble. The capture, the terror and the escape are all there as Daphne is turning into a tree in front of our eyes. Or Saint Theresa in the Church of Santa Maria Vittoria. Again, we are sharing a drama as it happens. An angel has appeared in front of a reclining Saint Theresa, who has risen up from the ground, the folds of her gown billowing. We are not quite alone, as Bernini’s patrons, the Cornaro family are sitting up in galleries either side of their chapel in the church, watching the proceedings. Some of the guys are chatting, some not really paying attention and some riveted to the scene. Bernini is the true showman, and created the most extraordinary work of art. Even his church, Sant’Andrea al Quirinale creates drama. The design is lavish and the impression stunning. He used to go to this church in his old age and reflect upon his life. I can see why. The more you look, the more you see. It took Marion and me three visits before we noticed that Bernini had cherubs looking over the ledge of the lantern up inside the dome. Drama was his thing. He was the true master.

By comparison, Francesco Borromini did drama in a different way.  Go to the church of San Carlo alle Quattro Fontane which is very close to Sant’Andrea up on the Quirinale Hill. It is a small church that he fitted into a very awkward site. It is a design to quietly sit and savour. Once again, the more you look, the more you see, but rather than homing in on quirky details, you appreciate the geometry and the genius of the guy. The interior is plain white and forces you to concentrate on the design. The forms and shapes he has used are just incredible. Having made lots of trips to the coffee shops in Sant’Eustachio, I had been very taken by Borromini’s wedding cake cupola on his design for Sant’Ivo alla Sapienza, but had no success in getting into the church until the last visit. The courtyard is just a lovely space and the church is again a small building with the same plain white interior. It is just the most beautiful building and I can quite understand why some people think it was his finest work and one of the great buildings in Rome.

Bernini was certainly the master of performance, but I reckon the man with the ultimate mastery of form and shape was Borromini. He would have been at home in the modern world with our fantastic buildings, super yachts and even a Ferrari 599. I think that he would approve.

Probably a world away from designing Sarum Hydraulics gear. Elegant designs in our own field, but hardly the big canvas to work on. These people were just amazing.

As always, comments welcome.