Bernini's Masterpiece: The Ecstasy of Saint Teresa in Rome

The Ecstasy of Saint Teresa: A 17th-Century Masterpiece by Bernini

Cornaro Chapel, Santa Maria della Vittoria, Rome (1647-1652)

The Ecstasy of Saint Teresa, a marble sculpture group considered to be Gian Lorenzo Bernini's masterpiece, is located in the Cornaro Chapel within the Roman church of Santa Maria della Vittoria. Commissioned by the Patriarch of Venice, Cardinal Federico Cornaro, the chapel was intended as his final resting place. The scene depicted in the sculpture is based on Saint Teresa of Ávila's own description of her mystical experience, later included in her canonization.

Bernini masterfully integrates architecture, sculpture, and painting to create a theatrical experience. The work is a perfect example of Baroque art's aim to surprise and engage the viewer. The strategic use of light further enhances the visual impact of the piece.

A Theatrical Display of Faith and Artistry

The Ecstasy of Saint Teresa is positioned within a niche above the altar, framed by double columns supporting a richly curved entablature. The dark tone of the surrounding materials accentuates the white marble sculpture group, which appears to float like an apparition. Bernini, drawing upon his experience as a designer, creates a sense of drama that is characteristic of the Baroque period.

In the vault above, a painted sky depicts a group of angels in clouds, worshiping the Holy Spirit. An angel descends from this celestial scene, as if the heavenly realm is penetrating the earthly one. Gilded bronze rays materialize the heavenly light, illuminating the sculpture.

On the side walls of the chapel, members of the Cornaro family are depicted in illusionistic architecture, kneeling behind pews as if witnessing the scene alongside the viewer. This adds another layer to the theatrical presentation.

A Moment of Divine Ecstasy Captured in Marble

The figure of Saint Teresa is shown reclining on a cloud, seemingly in a state of rapture. Her left hand falls limp, and her bare feet are suspended in the air. Her body is enveloped in voluminous clothing. A delicate angel stands before her, smiling, holding her mantle with his left hand and preparing to pierce her chest with an arrow in his right.

The angel's robe, which partially covers his body, appears light and airy, contrasting with the heavy drapery of the saint. The figures are arranged in a dynamic composition based on two diagonals, emphasizing the saint's upward movement and the angel's descent.

The saint's face is masterfully rendered, capturing her expression of divine ecstasy. Bernini's technical skill is evident in the detailed representation of textures, from the skin and hair to the cloth and cloud. The use of bronze in combination with polychrome marble further enhances the visual richness of the work.