Ecstasy of Saint Teresa

From Wiki
Jump to: navigation, search

Template:For Template:Infobox artwork

The Ecstasy of Saint Teresa (alternatively Saint Teresa in Ecstasy or Transverberation of Saint Teresa; in Template:Lang-it or Template:Lang) is the central sculptural group in white marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. It was designed and completed by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the Chapel in marble, stucco and paint. It is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. It pictures Teresa of Ávila.


The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini’s artistic services; the sculptor had been the favorite artist of the previous and profligate Barberini pope. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro (1579–1673). Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of ‘St. Paul in Ecstasy’, which was replaced by Bernini’s dramatization of a religious experience undergone and related by the first Discalced Carmelite saint who had recently been canonized in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.<ref>Corresponding to c. $120,000 Italian Baroque Sculpture : Books : Thames & Hudson</ref>

Sculptural group and its setting

File:Santa Maria della Vittoria - 1.jpg
Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel
The two central sculptural figures of the swooning nun and the angel with the spear derive from an episode described by Teresa of Avila, a mystical cloistered Discalced Carmelite reformer and nun, in her autobiography, ‘The Life of Teresa of Jesus’ (1515–1582). Her experience of religious ecstasy in her encounter with the angel is described as follows:


The group is illuminated by natural light which filters through a hidden window in the dome of the surrounding aedicule, and underscored by gilded stucco rays. Teresa is shown lying on a cloud indicating that this is intended to be a divine apparition we are witnessing. Other witnesses appear on the side walls; life-size high-relief donor portraits of male members of the Cornaro family are present and shown discussing the event in boxes as if at the theatre. Although the figures are executed in white marble, the aedicule, wall panels and theatre boxes are made from colored marbles. Above, the vault of the Chapel is frescoed with an illusionistic cherub-filled sky with the descending light of the Holy Ghost allegorized as a dove.

The art historian Rudolf Wittkower has written: Template:Quote


The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure in the "orgiastic" grouping as both intentional and influential on artists and writers of the day. Irving Lavin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit".

Robert Harbison, however, has expressed his doubt that Bernini, a follower of the mystical exercises of followers of St. Ignatius of Loyola, would have intended to depict here an episode of lust fulfilled and proposes that instead, Bernini aims to express the facial and bodily equivalents of a state of divine joy.

Similar works by Bernini

  • See also entry titled Bernini's Cornaro chapel: the complete work of art found in the Baroque section.
  • Death of the Blessed Ludovica Albertoni (1671–74)—San Francesco a Ripa, Rome.
  • Martyrdom of Saint Lawrence (1614–15)
  • Truth Unveiled by Time (1646–52) – Galleria Borghese, Rome.<ref>Official Site Borghese Gallery Bernini – Truth Unveiled by Time</ref>

Influencing or influenced works

  • Stefano Maderno's sculpture of St Cecilia in namesake church (1600).
  • Melchiorre Caffà's Santa Rose of Lima (1665) and his Assumption of St Catherine.
  • Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome.
  • The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture.
  • Angels and Demons, the novel by Dan Brown which lists the sculpture as the third "altar of science" of the fictionalized Illuminati.
  • The sculpture is the subject of the song "The Lie" from the Peter Hammill album The Silent Corner and the Empty Stage. Here is a little essay about the song, on a French musical site.
  • In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle.
  • Street artist Banksy used the image of Saint Theresa in one of his works, though he removed the angelic figure and added a fast food meal.
  • The sculpture and its image are frequently referred to in the novel Cutting For Stone by Abraham Verghese.


References and sources




External links

Template:Commons category Template:External media

Template:Gian Lorenzo Bernini