St. Theresa in Ecstasy

St. Theresa was begun in 1647 and was completed by 1652. The sculpture itself is located in the Cornaro chapel. It is located on the chapel’s central wall in a rectangular niche. Theresa looks almost enclosed or trapped by the columns and recessed niche she is in. This was intentional because of the fact that Theresa herself was such a controversial woman that she looks enclosed and controlled. The church was afraid that because Theresa could be considered subversive that people would not take away the meaning they wanted to convey. As mentioned before this was during the Counter Reformation and because she was so controversial their need something to show that while she remains a figure who can emotionally move people she is also controlled by the church.

The sculpture is three dimensional, but because of being situated in the recession in the wall the viewer can only see the front of Theresa. She is enclosed in a niche with two marble columns to the left and right of her. Theresa looks as if she floats on a cloud with the angel above her with his spear of gold. Theresa looks as if she is in a state of ecstasy her mouth is open and she looks like she is either about to faint or already has. Her arm and leg have fallen to her side and this adds more to the affect that she is not in control of her body, but rather God is. Theresa’s clothing appears heavily draped adding more to the dramatic scene occurring. The angel looks quite child like, and is smiling as he is about to spear her. He also appears as if he is with Theresa floating on a cloud.

                The sun appears as golden rays behind Theresa and the angel, and there is also a hidden window to let natural light in. This allows for both natural and supernatural light to occur. (Toman 286)
                The audience of St. Theresa in this chapel soon realizes that there are other people watching her as well. The family of Federico Cornaro is located to Theresa’s right in a box. There are four men who look as if they are almost discussing what is occurring to her. Three are turned towards each other in discussion and the fourth is looking towards Theresa. There is another set of men on the eastern wall who look much like those to the right of her. Once again they are conversing among themselves. These men stand as witnesses, representatives of church and state who sat in judgment on people like Theresa (Call, 37).

                St. Theresa was considered to be one of Bernini’s most successful pieces of work. However, there was some criticism to the sculpture based on the thought that she can be viewed as having superficial eroticism. This would take away from the church’s goal of the Counter Reformation (Toman 286).