which of the following is not true of berninis ecstasy of saint teresa
The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini’s artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope. Without papal patronage, the services of Bernini’s studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro (1579–1653).
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]
This sculpture was based on Saint Teresa who was canonized by the Catholic Church based on her writings of her visions she experienced with an angel from God. The sculpture was based in part on the writing below:
Bernini’s Ecstasy of Saint Teresa
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).
After Innocent X
It is located inside St. Peter’s, near the site of St. Peter’s tomb.
It stands upon the gigantic head of Goliath.