Baroque Masterpieces: Bernini’s Ecstasy of Saint Teresa and Borromini’s Sant’Ivo alla Sapienza
Bernini’s *Ecstasy of Saint Teresa*: A Study in Baroque Art
The characters within Bernini’s *Ecstasy of Saint Teresa* do not seem concerned with the events unfolding around them. They are naturalistic portraits, capturing a moment of profound spiritual intensity. The background features an in-depth architectural projection, reminiscent of the *stiacciato* technique, a type of relief widely used during the Italian Renaissance. The first use of *stiacciato* is attributed to Donatello, particularly in his altar of San Antonio de Padua in 1450.
Natural light is materialized as a beam of golden bronze, enveloping the saint who is suspended in midair on a bank of clouds. This represents the glory that enables her flight, illuminated by the indirect light of the stage lighting. Saint Teresa is depicted undergoing a mystical experience, enjoying the supreme ecstatic union with Christ. This vision blurs the lines between the human and the supernatural.
The group is the core of maximum tension, and it is one of the most exquisite sculptures ever created. It is unsurpassed in its interpretation of spiritual ecstasy and sensual *turbamento* at once, and also for its high technical virtuosity. The composition is formed by two intersecting diagonals. The faces display different expressions: the angel, who plunges the arrow and resembles Eros, expresses happiness, while Saint Teresa appears to die of love, her face reflecting a state of ecstasy and surrender. This reflects the literature of the time. Her hand lies heavy, and the contrast of delicate fabrics obscures the saint’s anatomy, creating a visual effect like a rock waterfall. This leads to a contrast of materials, especially in the depiction of the clouds.
Bernini “was the first to undertake the unification of architecture, painting, and sculpture so that together they form a magnificent whole,” according to his biographer, Baldinucci.
Borromini’s *Sant’Ivo alla Sapienza*: A Masterpiece of Baroque Architecture
Planning and Context (1642-1662)
Borromini designed *Sant’Ivo alla Sapienza* between 1642 and 1662. The church rises within the courtyard of the University designed by Giacomo della Porta and was part of the Roman College at the time. Borromini, therefore, had to adapt his design to the existing space.
Courtyard and Facade Integration
The courtyard is a classic example of Renaissance architecture, featuring two floors with arches overlapping arches on pilasters on each of their facades. An upper floor with pedimented windows is set back above the arches. There is a strong geometrical partitioning of space. Despite the feeling of Borromini’s imaginative approach to architecture, everything is clearly based on geometry. The courtyard is made up of three squares, with half a square at each end. These extremes are used to create the atrium and to give the facade its entry. Borromini placed the church in the background and used the existing structure to create its concave facade.
The three squares are fundamental in providing the proportions for the differences at the ends. At first glance, the facade looks very different from the rest of the courtyard, but in reality, it is constructed based on the implementation of the arches and pilasters used by Giacomo della Porta.
Architectural Details
Borromini used towering arches with a transition to mark the concavity of the facade, which is made of brick with stone supports. He divided the two-story facade with a cornice, entablature, and *rebanco*, scoring it well, as Della Porta had done. He used the same elements, but by covering the wall, he was able to open windows, which give the impression of a different building.
At the top, he created a small, recessed upper body that serves to attach to the windows on the third floor and as the base of the dome’s drum. On the concave front, he created a convex drum, creating a dynamic opposition. On the sides of the convex drum, he placed superimposed pilasters that allow the convex top line to follow the ledge, a characteristic feature of his style.