Borromini’s San Carlo alle Quattro Fontane facade and Bernini’s David share movement, use of perspective, and historical references. While Borromini’s facade employs undulation to create movement, Bernini’s David depicts the strained facial expression and muscles of the rock slinging movement. The facade considers the viewer’s up-close gaze due to the modest setting size and uses sculpture, ovals, and undulation to guide the viewers eyes, similar to how the twist of David’s spine intends for viewers to perceive it in different angles and perspectives. Borromini recalls antiquity’s tradition of entablatures and Corinthian columns while cultivating the mathematics of Roman-inspired Renaissance architecture by creating more complex mathematical shapes and spaces. David also recalls the Roman-inspired Renaissance by referencing Michelangelo’s David, building on the mathematical contrapposto and creating a more dynamic figure.