Bernini’s "The Ecstasy of Saint Teresa" and Saint Teresa's Vision

Somehow, I think that Bernini’s most famous sculptural group, The Ecstasy of Saint Teresa, would have a different impact on people at different stages of their life. At least this is how it was for me. I used to think it was so over the top, so ridiculously theatrical, even a little (dare I say it) disingenuous. Its’ theatricality cannot be denied – it is the embodiment of Baroque. The floating Saint with all that marvelous, dramatic drapery, that Angel, who is almost conjured out of the foam of that drapery, those golden rays. But most of all – that face!

The barefoot Carmelite nun Teresa of Avila was almost fourty years old when she began to have visions. It’s a mature age. An age when things are felt and understood differently to how they are felt and understood in one’s twenties or thirties. I think, perhaps, if we view her vision, immortalised by the genius hand of Bernini, through that lens, the words and the sculpture would feel much more authentic.

Here is Saint Teresa’s Vision:

“…In his hands I saw a long golden spear and at the end of the iron tip I seemed to see a point of fire. With this he seemed to pierce my heart several times so that it penetrated to my entrails. When he drew it out, I thought he was drawing them out with it and he left me completely afire with a great love for God. The pain was so sharp that it me utter several moans; and so excessive was the sweetness caused me by this intense pain that one can never wish to lose it, nor will one’s soul be content with anything less than God.”

ish to lose it, nor will one’s soul be content with anything less than God.”