Title: Ecstasy of Saint Teresa / L'Estasi di Santa Teresa

Artist: Gian Lorenzo Bernini (Italian Baroque artist)

Place: Cornaro Chapel of the church of Santa Maria della Vittoria in Rome

Completed between 1647 and 1652

BERNINI
Bernini was known for his ability to capture the intense emotions and spiritual experiences of his
subjects, and the "Ecstasy of Saint Teresa" is considered one of his greatest achievements in this regard.

Gian Lorenzo Bernini was an Italian artist, arguably the greatest sculptor of the 17th century, known for
having developed the Baroque style of sculpture. Bernini is also known for his outstanding architectural
works.

The sculpture is also a prime example of the Baroque style, which often sought to engage the viewer's
emotions and senses. Bernini's work, including the "Ecstasy of Saint Teresa," remains a significant part of
art history and continues to be admired for its technical skill and emotional impact.
What is the Baroque period known for?

The Baroque is a highly ornate and elaborate style of architecture, art and design that flourished in Europe in the
17th and first half of the 18th century. Originating in Italy, its influence quickly spread across Europe and it became
the first visual style to have a significant worldwide impact.

*show different styles of Baroque

BACK TO ECSTASY OF SAINT TERESA

The sculpture of Saint Teresa actually consists of two figures, sculpted in white marble: Teresa herself,
shown lying on a cloud, and an angel standing above her, holding a golden spear pointed at Teresa's
heart.

This statue is what we call “installation” nowadays.

Installation Art - Installation art is an artistic genre of three-dimensional works that are often site-
specific and designed to transform the perception of a space. Such kind of art is meant to provoke and
evoke the audiences'/viewers' senses which include longings, moods as well as thoughts.

In some cases, the work's site or location is an essential component that cannot be changed. Moving the
piece or recreating it somewhere else would mean destroying the original and creating a new one, which
might go against the artist's wishes. Site-Specific Art is a category of installation art where the creation
of the piece is related to and dependent upon a particular site.
INTRO
The work depicts an episode of "religious ecstasy" in the life of the cloistered Spanish mystic and
Carmelite nun - Teresa of Avila (1515-1582) - as described in her autobiography "The Life of Teresa of
Jesus". Despite its status as a key work of religious art, critics of the work are divided as to whether
Teresa is experiencing an intense state of divine joy, or a physical orgasm. Indeed some devout
contemporary observers expressed outrage that Bernini would debase such a holy experience by
depicting it in a sexual way.

However, Professor Robert Harbison, in his book Reflections on Baroque (2000, University of Chicago
Press) believes that Bernini used the erotic character of the experience as a springboard to a new and
higher type of spiritual awakening.

THE SUBJECT: TERESA OF ÁVILA

A woman of nobility from Spain, Teresa of Ávila was drawn to the Catholic Church’s convent life. She
was a Carmelite sister, a prominent Spanish visionary, a spiritual reformist, a writer, a secluded life
philosopher, and a theorist of contemplative prayer. Over 400 years after her death, she was named a
Doctor of the Church.

Her ascetic doctrine and Carmelite reforms shaped Roman Catholic contemplative life, and her writings
on the Christian soul's journey to God are considered masterpieces.

The Carmelite Sisters are a group of cloistered nuns, which means they live their lives separate from the
outside world.
The cloistered monk or nun does not leave the monastery, only under a few exceptions. They remain in
their religious community for life.

COMPOSITION
Cornaro Chapel is exquisitely created as a tribute to Saint Teresa. It is made of white marble, but placed
within an edicola decorated with ceiling frescoes, from which a golden steel of rays comes down on the
saint.

Essentially, Bernini designed the chapel as a theatre for his sculpture. The latter is positioned in a niche
behind and above the altar, and it is supported by two pairs of marble columns. It is theatrically
illuminated by beams of natural light from a hidden window overhead. This natural light mingles with
and reflects off a sheaf of vertical gilt bronze shafts behind the sculpture, sculpted to resemble the rays
of the sun. High above, the ceiling of the Chapel is frescoed with trompe l'oeil images of a sky filled with
cherubs.
The marble sculpture itself is a wonderful blend of movement and stillness, its whiteness contrasted
with the polychrome (decorated in several colors) marble surround, exactly positioned above the altar as
if it were a heavenly happening in mid-air. However, the drapery portrays the swooning nun’s
“agitation.”
She is shown atop a cloud, implying her ascent to the heavens, with beams of gold light flowing down on
her. Natural light is infused into the area from a secret window above it. As a look of rapture fills
Teresa’s face, a winged angel wields a lance poised to be thrown into her chest.

STORY
Bernini visualized the spiritual pain that Teresa describes in her writing with a physical experience that
has clear sexual overtones; however, Bernini’s work is in fact very faithful to Teresa’s own description. In
her autobiography, which was widely read in Rome:

“I saw in his hands a long golden spear […] This, he plunged into my heart several
times into my heart, that it penetrated to my entrails. […] The pain was so severe
that it made me utter several moans, and yet such pain was so exceedingly sweet
that one cannot possibly desire it to cease.” (St Teresa of Avila, 1515-1582)
[Note that Teresa expresses her intense desire for God in the language of erotic/sensual passion, an
approach which is part of the long tradition of what is called "bridal mysticism" or “bridal spirituality”.]

The core idea of bridal spirituality is that the soul seeks a deep and intimate union with God, akin to the
union between a bride and groom in marriage. It involves a longing for spiritual intimacy, communion,
and love with the divine.

Bernini depicts Teresa falling in near-erotic bliss, closed eyes and mouth wide, and both visible
extremities hanging limp, to capture the real gravity of her encounter. Her ruffled, heavy drapery
contributes to the energy and drama of the image, and the roughness of the material contrasts with her
face’s purity. Teresa is gazing passionately at the childish angel as he proceeds to stab her chest with his
holy love spear, sealing her wonderful connection with God.
As you can see, the angels looks down on Teresa with a sly smile.

Bernini added two sets of witnesses sculpted in life-size statues on either side of Tereasa to codify and
verify the scenario as a true spiritual experience sanctioned by the Catholic Church.

The first group, composed of four male members of the Cornaro family, is located to the left of the altar
as if in a box at the theatre. A second group, consisting of male representatives of church and state are
located to the right.

INTERPRETATION
The conventional interpretation of Bernini's Statue of Saint Teresa is straightforward. The sculpture
shows how serving Christ gave the Saint an immense sense of spiritual satisfaction. To depict the
tangible aspect of Teresa's encounter—a representation of her adoration of God and yearning for
spiritual fusion with him—Bernini uses imagery that suggests sensual pleasure. The artwork complies
with the objectives of the Catholic Counter-Reformation art movement, which sought to explain
Catholicism as plainly as possible.