Patronage of Innocent X and Alexander VII

Bernini’s most spectacular public monuments date from the mid-1640s to the 1660s. The Fountain of the Four Rivers in Rome’s Piazza Navona (1648–51) supports an ancient Egyptian obelisk over a hollowed-out rock, surmounted by four marble figures symbolizing four major rivers of the world. This fountain is one of his most spectacular works.

The greatest single example of Bernini’s mature art is the Cornaro Chapel in Santa Maria della Vittoria, in Rome, which completes the evolution begun early in his career. The chapel, commissioned by Federigo Cardinal Cornaro, is in a shallow transept in the small church. Its focal point is his sculpture of The Ecstasy of St. Teresa (1645–52), a depiction of a mystical experience of the great Spanish Carmelite reformer Teresa of Ávila. In representing Teresa’s vision, during which an angel pierced her heart with a fiery arrow of divine love, Bernini followed Teresa’s own description of the event. The sculptured group, showing the transported saint swooning in the void, covered by cascading drapery, is revealed in celestial light within a niche over the altar, where the architectural and decorative elements are richly joined and articulated. At left and right, in spaces resembling opera boxes, numerous members of the Cornaro family are found in spirited postures of conversation, reading, or prayer. The Cornaro Chapel carries Bernini’s ideal of a three-dimensional picture to its apex. The figures of St. Teresa and the angel are sculptured in white marble, but the viewer cannot tell whether they are in the round or merely in high relief. The natural daylight that falls on the figures from a hidden source above and behind them is part of the group, as are the gilt rays behind. The Ecstasy of St. Teresa is not sculpture in the conventional sense. Instead, it is a framed pictorial scene made up of sculpture, painting, and light that also includes the worshiper in a religious drama.

In his later years, the growing desire to control the environments of his statuary led Bernini to concentrate more and more on architecture. Of the churches he designed after completing the Cornaro Chapel, the most impressive is that of Sant’Andrea al Quirinale (1658–70) in Rome, with its dramatic high altar, soaring dome, and unconventionally sited oval plan. But Bernini’s greatest architectural achievement is the colonnade enclosing the piazza before St. Peter’s Basilica. The chief function of the large space was to hold the crowd that gathered for the papal benediction on Easter and other special occasions. Bernini planned a huge oval attached to the church by a trapezoidal forecourt—forms that he compared to the encircling arms of the mother church. The freestanding colonnades were a novel solution to the need for a penetrable enclosure. The piazza guides the visitor toward the church and counterbalances the overly wide facade of St. Peter’s. Bernini’s oval encloses a space centred on the Vatican obelisk, which had been moved before the church by Sixtus V in 1586. Bernini moved an older fountain by Maderno into the long axis of the piazza and built a twin on the other side to make a scenographic whole. The analogies to Bernini’s oval plan of Sant’Andrea al Quirinale are fascinating, as are the differences in meaning and function.

Bernini’s most spectacular religious decoration is the Throne of St. Peter, or the Cathedra Petri (1657–66), a gilt-bronze cover for the medieval wooden throne (cathedra) of the pope. Bernini’s task was not only to make a decorative cover for the chair but also to create a meaningful goal in the apse of St. Peter’s for the pilgrim’s journey through the great church. The seat is seemingly supported by four imposing bronze figures representing theological doctors of the early church: Saints Ambrose, Athanasius, John Chrysostom, and Augustine. Above, a golden glory of angels on clouds and rays of light emanates from the Dove of the Holy Spirit, which is painted on an oval window. The cathedra was produced about the same time as the piazza, and the contrast between these two works shows Bernini’s versatility. Both works were done for the Chigi pope, Alexander VII, who was one of Bernini’s greatest patrons. The tomb (1671–78) that Bernini designed for Alexander VII was largely executed by his pupils.

In addition to his large works, Bernini continued to produce a few portrait busts. The first of these, of Francesco I d’Este, duke of Modena (1650–51), culminates his revolution in portraiture. Much of the freedom and spontaneity of the bust of Cardinal Borghese is kept, but it is united with a heroic pomp and grandiose movement that portray the ideals of the Baroque age as much as the man.

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Trip to France

Bernini went to Paris in 1665, in what was his only prolonged absence from Rome. The trip was made in response to invitations that for many years had been extended to him by King Louis XIV, and the purpose was the design of a new French royal residence. By this time, Bernini was so famous that crowds lined the streets of each city along the route to watch him pass. His initial reception in Paris was equally triumphant, but he soon offended his sensitive hosts by imperiously praising the art and architecture of Italy at the expense of that of France. His statements made him unpopular at the French court and were to some degree responsible for the rejection of his designs for the Louvre. The only relic of Bernini’s visit to France is his great bust of Louis XIV, a linear, vertical, and stable portrait, in which the Sun King gazes out with godlike authority. The image set a standard for royal portraits that lasted 100 years.