the ecstasy of st. teresa group
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 ]
Stefano Maderno (1576-1636)
Foremost Mannerist, early Baroque sculptor in Rome.
Francois Duquesnoy (1594-1643)
Exponent of a restrained form of classical sculpture.
The art historian Rudolf Wittkower wrote:
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.
“The instance of a single image that appears time and time again in multiple artists’ work is also something that fascinates me. For example, the saint in ecstasy. Bernini, who was greatly admired by many of the Spanish artists who went to Italy and saw his works, is perhaps the quintessential example of a seventeenth-century Baroque creator of ecstasies in art. And the most outstanding of his creations of ecstasy is, I think, the sculptural group that is created to observe the ecstasy of Saint Teresa. Saint Teresa had reverberations all across Europe in the later half of the seventeenth century.”
Harbison, Robert. Reflections on Baroque. Chicago: University of Chicago Press, 2003.
Auclair, Marcelle. Saint Teresa of Avila. New York, 1953.
Probably, the early forms of bridal mysticism were influenced by the myth of Eros and Psyche, which was quite popular during late Hellenism. Indeed, we find a gnostic interpretation of this myth in the anonymous homily entitled Exegesis on the Soul, which describes the sacrament of the Bridal Chamber. During the Renaissance, Greek themes and images were rediscovered in Italy and elsewhere in Europe. Certainly, the form of Teresa’s vision, and the symbolism illustrated here by Bernini, lies very close to the tale of the god of love and his human beloved. Psyche’s name means “soul,” and she begins her career as a mortal. It is because Eros loves her and wants her for his bride that Zeus is willing to elevate her to the status of an immortal. For Teresa, the moment in which she experiences the spiritual wound is but one moment in a complex drama culminating in the spiritual marriage, when such wounds will no longer be felt but are supplanted by a complete union of God and the soul on an inner level.