“The Ecstasy of Saint Theresa” was created by Gian Lorenzo Bernini in 1652, and was commissioned by Cardinal Federico Cornaro. The piece still stands in Rome, Italy in the in the Cornaro Chapel of the Santa Maria della Vittoria church.
Bernini’s work was heavily influenced by the new wave of religious art inspired by the patronage of the Council of Trent. While this piece was not directly funded by the organization, he was commissioned to create an installation piece for the Cornaro Chapel by Cardinal Federica Carnaro himself. The piece depicts the newly canonized Saint Theresa, an odd choice for the time because of her questionable claims of religious ideology and spiritual experiences. She is shown in a state of rapture, her much recorded spiritual encounters in which she was overwhelmed by the love of God. This particular scene is thought to have been inspired by a particular passage from her writings:
“… Beside me, on the left hand, appeared an angel in bodily form… He was not tall but short, and very beautiful; and his face was so aflame that he appeared to be one of the highest rank of angels, who seem to be all on fire… In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times … and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one’s soul then content with anything but God. This is not a physical, but a spiritual pain, though the body has some share in it-even a considerable share …” (PBS).
The piece is huge and imposing, taking up not only and entire wall, but also the ceiling and walls perpendicular to the central focus as well. The piece is ornate, using sculpture, carving, painting, theatrical staging, as well as lighting to create an overwhelming product. The central figures as well as the on looking audience on the perpendicular walls are all incredibly expressive. They are positioned in movement with expressions of interest, or in Theresa’s case, ecstasy. Bernini’s background in theater leant greatly to his dramatic staging of the characters of interest. He positioned the central scene under the stained glass window, so that the chamber in which Theresa and the angel are positioned would light up as if from the light of a heavenly power from above, reflected on the gilded beams raining down upon them. His piece served the purpose of overwhelming the audience with the power of faith, inspiring a stronger worship of god through the depiction of heaven’s divine glory.
I, personally, enjoy the splendor of works like this. The entirety of the piece is simply awe inspiring. The attention to detail is incredible, creating expressive unique characters from marble, and crafting flowing robes from the stone.
The scene is framed perfectly, the contrasting dark marble around the scene creating the presence of a stage. The figures appear to be floating in the center focus, in a state of rapture between the darkened representation of Hell below, and the figurative light of heaven above. The religious symbolism involved in the piece, besides the obvious is astounding, such as the small detail of the dove, the representation of the holy spirit, painted towards the ceiling, near the window so that the light of heaven seems to shine down upon the figures from where it rests. The contrasts of light and dark stone, shadow and light around the very sculptures themselves, utilize not only the actual marble, but also the empty space around the stone to better illuminate the movement and expression of the figures.
Bernini, Gian Lorenzo. The Ecstasy of Saint Theresa. 1652. Sculpture. Santa Maria Della Vittoria, Rome, Italy.
“The Ecstasy of Saint Theresa.” Artble. N.p., 2015. Web. 22 June 2015. <http://www.artble.com/artists/gian_lorenzo_bernini/sculpture/the_ecstasy_of_saint_theresa>.
PBS. PBS, n.d. Web. 22 June 2015. <http://www.pbs.org/wnet/powerofart/berbios.php>.
caitlinjfulkerson 
The work that has been done with stone is indeed a fascinating and remarkable sight. I find it interesting that in many of the sculptures of this time that the robes and flowing nature of them are chosen to portray an unseen wind and air (the spirit of God himself). The talent to create such flowing works will always be awe inspiring to me as well.
Upon doing some research, I didnt realize how the figures on either side of her, as well as the theatrical display box were actually created to portray a sense of “authenticity” with her holy experience. The men on the right were chosen to represent the church and state, perceiving and somehow validating that she was indeed bowing under the ecstatic grace of God.
This influence of the church at the time strikes me as a bit unsettling, but within this culture validation by the church was esteemed so highly in order to receive the saving grace of God.
I dont believe all “holy moments” must be viewed by an official, or even be in the ecstatic context that many experience them. You can always find Holy Moments in the smallest of instances (:
Heres a link to one of my favorite “holy moment” clips from a very worthwhile movie to watch, Waking Life. The quality is a bit poor, and with spanish subtitles, but it should be in English.
Also, heres the article that talked about the men on either side of her
http://www.visual-arts-cork.com/sculpture/ecstasy-of-saint-teresa.htm
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I really love the work of Bernini his work is all over Rome and is breathe taking! The fact that his work always has a soft touchable look to the cold hard marble is amazing. The soft flowing lines of the clothes and the dramatic face make for quite a contrast. The theater boxes on either side of her and the reason behind them being present could show that their where possibly some doubts about Saint Theresa. Due to her previous acts of questionable religious ideology and spiritual experiences. If the boxes were meant to had “authenticity” to Saint Theresa experience I’d say they are doing a good job. I do however, find the level of control the church placed on art to be a little creepy. You either conceited to the church or didn’t create art.
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