Ecstasy of Saint Teresa. The Ecstasy of Saint Teresa 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 depicts 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 favourite 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. 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 been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi. The two central sculptural figures of the swooning nun and the
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 depicts 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 favourite 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. 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 been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi. The two central sculptural figures of the swooning nun and the
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