the ecstasy of saint teresa description
The sculpture of Saint Teresa actually consists of two figures, sculpted in white marble: Teresa herself, shown lying on a cloud, and an angel standing above her, holding a golden spear pointed at Teresa’s heart.
To begin with, the Cornaro Chapel is beautifully designed as a showcase for Saint Teresa. Its spatial construction, use of light, trompe l’oeil mural painting, along with the marble, gilded wood and gilt bronze materials used, is a perfect vehicle for such an expression of piety. The marble sculpture itself – its whiteness contrasting with the polychrome marble surround – precisely poised above the altar as if it were a divine occurrence in mid-air, is a perfect combination of movement and stillness. Yet the drapery also conveys the “agitation” of the swooning nun. And Bernini’s incredible attention to detail is clearly visible in the meticulous carving of the little finger of the Angel’s left hand, and the thumb and forefinger of his right hand.
The Ecstasy of Saint Teresa is a white marble sculpture that was created by Gian Lorenzo Bernini. Bernini was considered one of the great sculptors of his day. The sculpture was commissioned by a Venetian Cardinal and was completed in 1652. It currently rests in Santa Maria della Vittoria Church in Rome, Italy. The sculpture depicts Saint Teresa of Ávila and is widely regarded as a masterpiece among Roman Baroque sculptures.
The nuances of the sculpture are also wondrous to behold, as you can almost feel the sharpness of the arrow and the weight of Teresa’s clothing.
I saw in his hand a long spear of gold, and at the iron’s point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it. The soul is satisfied now with nothing less than God. The pain is not bodily, but spiritual; though the body has its share in it. It is a caressing of love so sweet which now takes place between the soul and God, that I pray God of His goodness to make him experience it who may think that I am lying. 
The group is illuminated by natural light which filters through a hidden window in the dome of the surrounding aedicule, and underscored by gilded stucco rays. Teresa is shown lying on a cloud indicating that this is intended to be a divine apparition we are witnessing. Other witnesses appear on the side walls; life-size high-relief donor portraits of male members of the Cornaro family, e.g. Cardinal Federico Cornaro and Doge Giovanni I Cornaro, are present and shown discussing the event in boxes as if at the theatre. Although the figures are executed in white marble, the aedicule, wall panels and theatre boxes are made from coloured marbles. Above, the vault of the Chapel is frescoed with an illusionistic cherub-filled sky with the descending light of the Holy Ghost allegorized as a dove.
Freudian interpretations aside, the Catholic church has celebrated the sculpture, which is captioned “Mother of Spirituality” and widely praised as a religious masterpiece. Its presence in the transept of Santa Maria Della Vittoria church in Rome has made the church one of the city’s most popular sites for weddings.
“The pain was so sharp that it made me utter several moans; and so excessive was the sweetness caused me by this intense pain that one can never wish it to cease, nor will one’s soul be content with anything less than God.”
Saint Teresa was a nun who was canonized (made a Saint by the Church) in part because of the spiritual visions she experienced. She lived during the middle of the sixteenth century in Spain—at the height of the Reformation. Saint Teresa wrote several books in which she described her visions.
When we walk toward the chapel (figure 2) we see that on either side of us, on the side walls, there are what look like theater boxes. In these boxes, seated figures in appear to be talking and gesturing to each other. Perhaps they are kneeling in prayer as they watch and discuss the scene of the Ecstasy of Saint Teresa.