Hot baroque: an exhibition at Castel Sant' Angelo on the creation of baroque in 17th-century Rome ranges from architectural drawings and models to an impressive array of devotional and domestic objects

In Rome this summer, holidaymakers who wished to escape the sweltering heat of the city could ascend the monumental heliocoidal brick-vaulted staircase of the Castel Sant'Angelo to one of the capital's finest views. In the series of rooms set atop its fortified perimeter they could enjoy a smorgasboard of 17th-century artefacts ranging from architectural drawings by Francesco Borromini to the splendid Barberini harp, commissioned in 1624.

Somewhat like the three tenors, the architectural triumvirate of Bernini, Borromini and Pietro da Cortona, who directed Rome's artistic production for almost four decades from the 1630s to the 1670s, dominate the show. All three enjoyed monographic exhibitions celebrating their quarter-centenaries in the run up to the millennium. This exhibition therefore distinguishes itself by presenting a range of domestic objects of the period in addition to architectural drawings and models for large building projects. There are tabernacles decorated in precious stones, many small devotional items, such as gilded reliquaries, and an exquisite terracotta bas-relief by Cortona depicting the mystic marriage of St Catherine of Alexandria.

Other highlights among the small works include a ravishing devotional cross of the late 17th century made of carved and gilded wood set on its original base (Fig. 3). In its quality of conception and execution, the ebony Christ recalls Alessandro Algardi's work in this genre, and conveys the intensity of response that baroque artists aimed at bringing forth. Of similar size are two models by Bernini for his Four Rivers Fountain in Piazza Navona. One, in wood, with terracotta figures, belongs to the preliminary design phase, when Bernini was still deciding on the final positions for the individual river gods. The other, by contrast, was cast in bronze as a presentation piece for Cardinal Rospigliosi, who sent it to Philip IV of Spain around 1665. This was just one of the plethora of artistic gifts exchanged between kings, princes and cardinals, for which Bernini was always in much demand; another version cast in silver was sent by Clement IX to Louis XIV and Bernini himself was dispatched to Paris in 1665, against his will, by Alexander VII as a present to the Sun King.

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Together with Cortona, Bernini had earlier submitted to Louis XIV'S first minister, Colbert, designs for extending the Louvre. Their numerous drawings, here also translated into large wooden reconstruction models (Fig. 1), document the markedly different conceptions of palace architecture then current in the two cultures. In these unbuilt projects we see the Italians favouring monumentality and formal representation at the expense of comfort and practicality, while the French king insisted that his bedroom instead be located at the back of the palace away from the noise of the city.

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The most interesting exhibits come from the Vatican collections: three large-scale models for the interior decorative programme of St Peter's that have not been exhibited before. Brought to light by Alfredo Maria Pergolizzi, who also wrote the relevant catalogue essay, they throw new light on the difficult process of devising enormous compositions to be seen from a distance within vast spaces. A large canvas by Cortona, measuring over two by three metres, provides the model for one of the interior dome decorations in the basilica (Fig. 2). Another is a wood and stucco construction of similar dimensions for the reliquary loggia of St Peter's and records Bernini's design for angels and cherubs transporting a cross. A life-size oil sketch painted by Giovanni Schor provided a one-to-one template for Bernini's stained-glass dove of the Holy Spirit that illuminates the Cathedra Petri in the apse of the basilica, the spiritual heart of Catholic Christendom.

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Highlights of the catalogue include Filippo Camerota's essay on the relation between architectural and scientific developments in the period. This issue has assumed increasing importance for our understanding of the formation of baroque culture. For example, Borromini owned many scientific treatises, and sophisticated mathematical calculations played a fundamental part in his architectural designs. An essay by Arnaldo Morelli presents his important documentary discoveries about the disposition of ecclesiastical spaces for music and much new information about musical practice in the period. The relevant works in the show include a small gilded and painted terracotta model of a cembalo made in 1673 by Ludovico Gimiguani. This is fascinating evidence of how patrons required models not only of buildings, but also of expensive objects that they were contemplating having made. This instrument in miniature sports figures of river gods and sea nymphs holding the instrument aloft. Its frieze-like composition vividly recalls the classical compositions and pagan pleasures of Annibale Carracci's ceiling in the palazzo Parnese.