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The Cornaro Chapel houses one of Bernini’s most famous masterpieces, the Ecstasy of St Teresa of Avila. This marble sculpture is housed behind the altar in the church. Constructed of white marble it depicts St Teresa in ecstasy with an angel standing above her preparing to plunge an arrow into her body. In order to illuminate the bronze rays that lead to the figures there is a hidden window. Natural light floods in making the surface sparkle.
This sculpture has been heavily criticized throughout the years. In the sculpture St. Teresa’s head is back, her eyes are rolling, and her lips are open. Her clothes seem to flow around her body. The obvious sexual connotation is one that the church as argued with for years. In the nineteenth century some people even went so far as to condemn this sculpture for its levels of inappropriateness.
There are many details to this sculpture that make Bernini’s work even more incredible. The carving of the image in several tons of marble is astonishing in itself. In addition he portrays the saint as floating in the air by leaving rough marble underneath her to simulate a cloud.
Samantha Russo, Survey of Art and Architecture, University of Scranton
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On our second trip this week, we visited the church of Santa Maria della Vittoria, which was once again a very impressive work of art and architecture. This church contained a sculpture by Bernini know as Ecstasy of St Teresa of Avila. The church was built in 1605, and was originally dedicated to Saint Paul, but was later changed to being dedicated to the Virgin Mary. The church is incredibly detailed on the inside, with many sculptures and paintings lining the walls and ceilings. The masterpiece of the church however, is Bernini’s Ecstasy of St Teresa of Avila. This sculpture shows an event in which Saint Teresa said she had a dream where an angel was stabbing at her heart. She described this event as causing her extreme joy and pain at the same time, and the facial expressions depicted by Bernini do an excellent job portraying this. Saint Teresa’s tomb is also in the church, and a sculpture of her is placed in a glass case where it can be seen across from Bernini’s sculpture. There are still bones in one of her hands, which I believe is to prove that she was actually buried there. This church was one of the most impressive churches we visited so far because of the amazing sculpture and also the overall design of the architecture.
Patrick Brady, Survey of Art and Architecture, St. John’s University
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Ecstasy of St Teresa of Avila, Bernini, 1652, Baroque. Bernini’s Ecstasy of St Teresa of Avila is found in the Cornaro Chapel inside Santa Maria della Vittoria. The chapel was commissioned by Cardinal Federigo Cornaro. The sculpture was completed during 1645-1652; it is made from marble and bronze metal. It depicts the Spanish nun Teresa de Avila in a state of ecstasy, with a boyish angel above her. The angel is about to plunge a golden arrow into her heart, symbolizing divine love. The swooning St. Teresa is covered in drapery, made of white marble. This sculpture is not so much a sculpture but rather a three dimensional picture, as Bernini intended. The sculpture is composed of marble, metal, pictures and natural light. All these elements together create this three dimensional work of art that is the focal point of the Cornaro Chapel.
I chose this work because of the unconventional design of the sculpture. Most sculptures just rely on the marble and no other elements in their environment to convey the message. Bernini’s Ecstasy of St. Teresa encompasses many materials and elements to create a dramatic effect. The irony is not lost with this sculpture; it is comical to think this work of art is accepted in the church as it depicts a woman in a wild state. But the true wonder in this art is the use of contrast. From her cascading drapery to the cloud effect under her- the sculpture is complex.
Nicole Erazo, Survey of Art and Architecture, University of Florida
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Gianlorenzo Bernini (1598- 1680) was the resident genius in Rome during the seventeenth century. His brilliant sculptures are said to define the Baroque era in Rome. His was a master in technique and produced theatrical, intense sculptures. He was also quite popular with everyone, including cardinals, princes, and women. The Ecstasy of St Teresa of Avila is located in the Cornaro Chapel in the church of St. Maria della Vittoria. The sculpture is considered to be one of his most spectacular works ever. It depicts St Teresa, a sixth century nun, with an angel standing over her holding a golden arrow that he is about to thrust into her heart. Gilded bronze rays surround the pair, adding to the effect that the angel came down from heaven. A hidden window above shines light down the rays and right onto the pair like a spotlight. The sculpture captures a moment that looks like two real life pictures. St. Teresa is leaned back; her face seems to be in agony. Her lips are parted like she is crying for help and her eyes have rolled back into her head. The angel is made to contrast with Teresa. He stands upright in a straight line, while she is in a diagonal line. His clothes seem to be soft, and cling to his body while her clothes seem stiff and heavy. His face is eerily serene as he is about to thrust his golden arrow into her heart. No one can miss the underlying sexual theme in this sculpture. Critics have derided the sculpture as an orgasmic experience rather than a spiritual encounter. St. Teresa’s face as well as the angel’s look like they are in states of divine joy rather than about to kill and be killed. Some people hold that Bernini was simply expressing the scene as St. Teresa depicted it. Bernini and St. Teresa were both devout Catholics that believed in using all five senses to describe experiences of other saints to prepare themselves for mystical experiences of their own. I think that this sculpture is magnificent and but I also find it puzzling. I can’t decide if I think it is a religious scene, erotic scene, or a combination of both, I think the mystery adds to my liking of it.
Elizabeth Fulmer, Survey of Art and Architecture, University of Florida
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