ecstasy of saint theresa
Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. [a] The selected site for the chapel was the left transept that had previously held an image of ‘St. Paul in Ecstasy’, which was replaced by Bernini’s dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622.  It was completed in 1652 for the then princely sum of 12,000 scudi. [b]
The two central sculptural figures of the swooning nun and the angel with the spear derive from an episode described by Teresa of Avila, a mystical cloistered Discalced Carmelite reformer and nun, in her autobiography, The Life of Teresa of Jesus (1515–1582). Her experience of religious ecstasy in her encounter with the angel is described as follows:
Other Sculptures by Bernini
Note: In creating his Ecstasy of Saint Teresa it is almost certain that Bernini made use of styles initiated by certain Mannerist artists. For example, we can see the basis for Bernini’s masterpiece in the simple piety, floating drapery and heavenward gaze of the Beata Michelina (1606, Pinacoteca Vaticana, Rome), a painting by the influential Mannerist religious painter Federico Barocci (1526-1612).
The Ecstasy of Saint Theresa was a Czech alternative rock band, formed in 1990 by Jan Muchow, Jan Gregar, Petr Wegner and Irna Libowitz.  Early shoegaze influences included Siouxsie and the Banshees, Cocteau Twins, and My Bloody Valentine.
The band released the EP Pigment in 1991. This album, along with 1992’s Susurrate, featured a feedback-drenched psychedelic rock sound. [ citation needed ]
Bernini’s famous sculpture was commissioned by Cardinal Federico Cornaro of Venice in 1647 for his burial chapel in Santa Maria della Vittoria, replacing the previous sculpture showing St. Paul in Ecstasy. The Cardinal hired an already famous but down and out Bernini (his reputation was tarnished after his bell tower for the façade of St. Peter’s had to be demolished in 1646) for the fantastic amount of 12,000 scudi (roughly $120,000), a price unheard of at that time.
Gian Lorenzo Bernini
13. These other impetuosities are very different. It is not we who apply the fuel; the fire is already kindled, and we are thrown into it in a moment to be consumed. It is by no efforts of the soul that it sorrows over the wound which the absence of our Lord has inflicted on it; it is far otherwise; for an arrow is driven into the entrails to the very quick, and into the heart at times, so that the soul knows not what is the matter with it, nor what it wishes for. It understands clearly enough that it wishes for God, and that the arrow seems tempered with some herb which makes the soul hate itself for the love of our Lord, and willingly lose its life for Him. It is impossible to describe or explain the way in which God wounds the soul, nor the very grievous pain inflicted, which deprives it of all self-consciousness; yet this pain is so sweet, that there is no joy in the world which gives greater delight. As I have just said, the soul would wish to be always dying of this wound.
The work, The Ecstasy of Saint Theresa of Ávila, is not a solitary piece of sculpture. It is the central marble group of a sculpture complex designed and competed by Bernini for the Cornaro Chapel within the Church.