Bernini Sculpture: Writing Assignment 15

Placed in the back of a chapel near the front of the church, Bernini’s sculpture catches full attention at even a partial glance. If the facial expression is initially overlooked, even peripheral vision will catch the special lighting. As attention is drawn towards the work, the first thing seen is the expression – not in the face, but in the mouth. The lighting creates such a contrast between the darkness of the mouth and the lightness of the face that is impossible to ignore. The light falls upon the head and face of the woman, through what seems to be a window, though on closer inspection includes artificial wall lights to apparently achieve what the sculptor had in mind. The light seems to be the source of intense pleasure, perhaps sexual, that the woman is evidently feeling. As the eyes follow the fading light down the figure, it is clear that this experience is not a still life, as marble sheets seem frozen in the midst of intense movement. The pillow appears softer than the mattress, though it doesn’t seem that she is quite using it. Below her divine experience, a ruffled cloth lays cast in marble, while above, cherubs creepily look on, strangely enjoying watching such a private experience.

In my mind, many details were omitted from explicit observation of the first Ecstasy until viewing the second to realize the intense differences. In Santa Maria della Vittoria, The Ecstasy of Saint Theresa attempts to be much more spectacular. First of all, it is placed in a very ideal location for viewing, as it is in the very large niche adjacent to the altar and apse of the church. The niche is not nearly as deep as the chapel housing the previous Bernini piece, making the Ecstasy visible already halfway down the aisle. The experience in marble is lifted some five to ten feet higher, making it actually difficult to see up close. The light falls from straight overhead, following the guide of the golden rays that grab your attention first and draw your eyes downward toward the scene. Once again, the shadow of the mouth becomes the point of reference in observation, though this time the mouth portrays more a sense of agony than pleasure. Along with this, the angel appears much too happy to be responsible for what looks like pain. The intense elevation of the piece makes it look more supernatural than religious in character. Similarly, the ruffling of Theresa’s garments seem to take the place of her body, making it appear as though she only has the upper half in bodily form. To that end, this piece forces the viewer to see exactly what was intended, less interpretation involved. As if the light from above was not hinting enough of the Divine interaction, the figure is dramatically elevated, accompanied by an angel and artificial light as well in the form of golden rays placed behind. The men on the sides, though not Bernini’s work I assume, just make the experience slightly awkward, wondering if it is entirely appropriate for them to be there, much like the cherubs seen before. While both sculptures use light to distinguish the viewing angle and order of things to be seen, the two are very different in these areas.

The two are actually similar in physical placement within their respective churches, though their effect on parishioners is quite different. The theatricality in the St. Theresa sculpture compared to Bernini’s more subdued artwork across Rome shows two different purposes in art. Beata Ludovica Albertoni is placed far back in a chapel so that people will come in to pray that their religion will affect them in a similar (though not literal) way. In comparison, St. Theresa is presented so that the art can be seen from the main pews. The church then uses the art to remind its followers of the figurative effect Catholicism has on people’s lives. For the former, the art is brought to life by the visiting parishioners, while the latter is brought to life by the church, almost forcing visitors to see it and all its glory.