St. Peter’s Basilica & Ecstasy of Saint Theresa: Baroque Art
St. Peter’s Basilica: A Monument of Faith and Art
St. Peter’s Basilica, constructed between 1506 and 1626, stands as a testament to Renaissance and Baroque artistry. By the late 15th century, the old St. Peter’s Basilica showed signs of decay. Pope Julius II (1503-1513) decided to reconstruct it, entrusting the initial work to Bramante. The temple was designed to house the tomb of St. Peter, with a centralized, commemorative church layout. Bramante’s design featured a Greek cross plan, with four smaller Greek crosses at the corners, enabling simultaneous liturgical functions and accommodating thousands of pilgrims.
After Bramante’s death in 1514, and following several architects, Michelangelo took over in 1546. He resumed the central plan, simplifying the design by inscribing a Greek cross within a square. This design was crowned by a magnificent dome, 138 meters in height, supported by four massive pillars, each 18 meters thick. Externally, a stone colonnade rises from the drum, supporting the lantern and emphasizing the verticality of the structure. Michelangelo’s dynamic design was completed after his death by Giacomo della Porta in 1590.
The Baroque Transformation
The most significant changes occurred in the 17th century under Carlo Maderno. Following Baroque principles, he lengthened the nave, transforming the centralized plan into a longitudinal one. This change, while grand, created a facade that didn’t organically correspond with the interior. The facade, topped with a balustrade and giant statues of the apostles, partially obscured the view of Michelangelo’s dome, diminishing its ascending momentum.
Bernini’s Colonnade and St. Peter’s Square
The final element was the grand colonnade designed by Gian Lorenzo Bernini, framing St. Peter’s Square (1656-1667). The square was designed to be relatively far from the facade, allowing for an overall view of the building. Bernini’s design incorporated an optical illusion, making the colonnade and facade appear closer. The vast plaza could gather thousands of faithful. Bernini’s design is widespread and low, consistent with the facade. Two urban elements can be distinguished: the center of the square with the obelisk, which is the meeting place, and the two arms that allow better visibility. With Bernini’s oval design, access to the Vatican takes on all the features demanded by the changing times.
The Ecstasy of Saint Theresa: Bernini’s Masterpiece
The Ecstasy of Saint Theresa (1645-1652), a sculptural group commissioned by Cardinal Federico Cornaro, is located in the Cornaro Chapel, Santa Maria della Vittoria, Rome. Bernini, the most significant Baroque sculptor, drew inspiration from Greek sculptures, creating a scene laden with drama. The sculptural group is crafted from marble of different qualities and is immersed in a context of golden bronze rays.
A Theatrical Representation
The use of different materials reflects the Baroque taste for polychromy. The sculpture receives light from a hidden window, a key element that gives life to the forms and coheres the ensemble. The light especially affects the angel’s hand, symbolizing divine energy. The group is located in an altar, with painted figures appearing on the side walls, creating a theatrical setting where sculpture, architecture, and painting integrate.
Spiritual and Physical Ecstasy
Bernini intended to convey an ambiguous state of mind, where pleasure and pain, eroticism and spirituality, intermingle. A cupid-like angel gently approaches the saint, who is in full mystical swoon, to pierce her heart with a golden arrow. The composition is diagonal, with the two figures in different attitudes. The deep folds of their garments convey movement and create shadows that accentuate the expressiveness of the ensemble. Bernini uses solid materials to represent ethereal elements like clouds and rays of light.
The Counter-Reformation’s religiosity is evident; art is no longer limited to explaining certain content but uses theatrical displays to persuade and make representations that captivate the senses.