The Counter Reformation and Bernini’s Cornaro Chapel

Walking up to the Cornaro chapel the figure of St. Teresa in Ecstasy loomed above me. The statue was lit with a golden light and placed so that I felt I was witnessing a heavenly scene. On either side of the statue were marble windows with spectators, from inside St. Peters, viewing Teresa’s ecstasy. The scene in front of me was moving. Witnessing Teresa, the angel raising his spear to pierce her again, evoked curiosity. The reclining woman above me, limp to the world, was receiving God’s love not forcing it upon herself. St. Teresa was experiencing a miracle from God. The viewer wants to have the same experience, wants to be touched by God as well. After seeing this chapel, seeing the serene, reclining figure of St. Teresa, I felt if I been a 17th century viewer I would have wanted to have the same experience with God.

I walked up a small step and was in the Altieri Chapel. I was only a few feet away from the statue of the Blessed Ludovica Albertoni. Ludovica is not placed on a heavenly level, but directly in front of the viewer. The chapel is plain, the decoration minimal all denoting the earthly world. The sculpture itself is carved differently than many of Bernini’s other works. There is minimal definition between textures: the robes and the bed seemed to meld together. By bringing this image of ecstasy to an earthly plane I felt Bernini was telling the viewer that this experience could be had on earth.

The difference between viewing St. Teresa in Ecstasy and Blessed Ludovica Albertoni is that the first is a heavenly scene removed from the viewer and the latter a scene of ecstasy on earth. St. Teresa in Ecstasy was commissioned by the church and therefore the scene needed to be removed from the viewer and raised to a heavenly level. The scene could also be viewed in an erotic manner and by moving the statue up, away from earth, the sculpture loses any hedonistic reference. When viewing Blessed Ludovica the viewer is invited into the scene, asked to watch the ecstasy. This is a private commission by the Altieri family and is not required to fulfill the desires of the church. Bernini does not shy away from eroticism in this piece. Ludovica is more feminine, she clutches her heart, her toes curl in ecstasy. Ludovica is of the earth. These two statues both show a similar experience, but their commissioners dictate the viewers experience with the sculptures.

The chapels also serve very different purposes. The Cornaro Chapel is ornate: gilded stucco and marble coats the place. The statue sits high above the viewer with marble columns surrounding the scene. The image is encased in a marble chamber that removes the scene even further away from the viewer. Rays of golden light shine behind the sculpture. The Altieri Chapel is markedly plain. The walls are bare, there is minimal gilding and the only source of vibrant color comes from painting of the Virgin Mary and Child hanging over Ludovica’s sculpture. The chapel is small and Bernini opens the space by angling the walls out toward the viewer, opening the space and inviting the spectator in. The Altieri Chapel is not imposing, upon entering the chapel you feel welcomed in, a bench sits to the side where you can rest and experience the chapel. The Cornaro Chapel is closed to the viewer while the Altieri Chapel opens itself to the spectator.

As a 17th century viewer of these chapels the two messages you receive differ greatly. In the Cornaro Chapel the scene is removed, it is a heavenly scene that is gated from the viewer. In the Altieri Chapel the chapel is wide open inviting you into the scene. The church is showing the viewer the miraculous nature of God and encouraging the viewer to act piously. The private Altieri Chapel shows Ludovica’s experience on an earthly plane, bringing the viewer close to the experience. Both chapels are dedicated to God’s miracles, but the church removes those miracles from the viewer while the private chapel brings the experience closer to the spectator.