Ecstasy and Vision: Two Concepts Connected with Bernini's Teresa

Author(s): Susanne Warma

Source: The Art Bulletin , Sep., 1984, Vol. 66, No. 3 (Sep., 1984), pp. 508-511
Published by: CAA

Stable URL: http://www.jstor.com/stable/3050453

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508 THE ART BULLETIN SEPTEMBER 1984 VOLUME LXVI NUMBER 3
Ecstasy and Vision: Two Concepts Connected
with Bernini's Teresa'
Susanne Warma
differ almost diametrically in her writings, just as they do in com-
separate.
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Gian Lorenzo Bernini, Ecstasy of Saint Teresa. Rome, Sta. Maria
della Vittoria (photo: Alinari)
Bernini's statue usually known as The Ecstasy of Saint Teresa (Fig.
1) is, just as usually, explained as a representation of the ecstasy
she experienced when her heart was pierced. This has the weighty
authority of Baldinucci, writing in 1682, who describes the Cor-
naro Chapel in Sta. Maria della Vittoria as containing "the won-
derful group of St. Teresa and the Angel who pierces the Saint's
heart with the arrow of Divine Love while she is in the transports
1 This paper reflects conclusions reached in my Master's thesis, written
at the University of Georgia under the direction of Professor Robert Eng-
gass, whom I wish to thank for his continuing encouragement, sugges-
tions, and criticism; as I do Professor Robert Harris for translating from
the Latin the Bull of Canonization of Saint Teresa; and the University of
Georgia for its generous financial support for this research.
2 Filippo Baldinucci, The Life of Bernini, trans. Catherine Enggass, Uni-
versity Park, Pa., 1966, 35; in the original "il mirabil gruppo della S.
Teresa col'angelo, il quale mentre ella e rapita in un dolcissimo estasi,
collo strale dell'amor divino gli ferisce il cuore"; Baldinucci Vita di Gian
Lorenzo Bernini (Florence, 1682). I have used the edition by Sergio Samek
Ludovici, Milan, 1948, 101.
3Teresa, Life, 151; in the original "aqui son las verdaderas revelaciones
en este eixtasi y las grandes mercedes y visiones, y todo approvecha para
humillar y fortalecer el alma"; Teresa, Vida, 220.
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of sweetest ecstasy."2 However, the image does not correspond to
the saint's own description, in her writings, of the term "ecstasy,"
which is precise, detailed, and technical. Instead, it corresponds
to the similarly precise meaning of the term "vision." The two
mon understanding today. It is true that on one occasion Teresa
briefly links the two closely, saying that "in ecstasy come true
revelations, great favors and visions, all of which help to humble
and strengthen the soul,"3 but in all other texts they are kept
In his recent book on Bernini, Irving Lavin has investigated the
Cornaro Chapel in detail, and his analysis of the sculpture treats
both the formal and thematic innovations of Bernini. For him the
thematic innovations include the representation of Saint Teresa's
death, nuptials, levitation, and receiving of the Eucharist. In dis-
cussing the formal innovations, Lavin correctly hypothesizes the
sculptor's desire to depict not only the piercing of Teresa's heart
but also the depth of her experience through the inner penetration
of her soul.
Bernini shows the saint and angel suspended upon a cloud, an
innovation in Teresian iconography also noted by Lavin. The
beautiful seraph, a representation of divine love, is placed on Saint
Teresa's right side (contrary to her written account, quoted below
in full, which states he was on her left); he holds an arrow4 very
loosely in his right hand, and with his left holds part of her habit.
According to Lavin Teresa is reclining, and this serves to em-
phasize the saint's passivity. After all she is the recipient of action
being thrust upon her by God and carried out by an angel, who,
by touching her garment, effortlessly transports her to the clouds.5
In depicting their clothing, as Lavin emphasized, the sculptor
shows knowledge of Teresa's account. She states that the angel
repeatedly plunged the arrow into her heart, which left her con-
sumed by the love of God. The angel's drapery shows a backward
movement, indicating that he has withdrawn the arrow at least
once and is about to repeat his action. The "flame-like" folds of
Teresa's habit obscure her body and appear to consume it.6
The saint's death and nuptials are for Lavin, as noted above,
two of Bernini's thematic innovations. Accounts of her death and
the fact that she died during ecstasy are the bases of Lavin's well-
developed thesis. Teresa herself relates both death and nuptials
to ecstasy in her writing, when she refers to ecstasy as a time
when "the soul ... is entirely dead to the world,"'7 and says that
the "union" which "comes from heavenly love"8 is part of the
ecstatic experience in which "one rises to God and lives with Him."9
Since the sculptural group is placed in what was intended to be
a mortuary chapel, death is an obvious overall theme. Her nup-
tials are, of course, a more subtle suggestion.
As will be demonstrated by Teresa's own writings, however,
4 Even though, according to Saint Teresa's account, the arrow was golden
with an iron tip, Bernini has given the arrow a golden tip. Possibly this
comes from the tradition of representing the golden arrow as one that
kindles love, a legend that can be found in Ovid's Metamorphoses.
5 Irving Lavin, Bernini and the Unity of the Visual Arts, i, New York,
1980, 109-110.
6 Ibid., 111.
7 Teresa, Life, 122; in the original "el alma ... pues lo esti al mundo";
Vida, 167.
8 Teresa, Life, 124; in the original "juntamiento con el amor celestial";
Vida, 171.
9 Teresa, Works, I, 329.
 NOTES AND DOCUMENTATION 509

the only purely ecstatic element of the sculptural group is senses the were permitted to give some indication of the great joy
placement of the saint's vision on a cloud. Lavin's hypothesis theyis feel. But now the soul enjoys incomparably more, and ye
that by depicting her in a state of levitation Bernini was actuallyhas still less power to show it. For there is no power left in the
representing the Eucharist. He correctly notes that Teresa often body - and the soul possesses none - by which this joy can
experienced ecstasy during religious services. However, according be communicated.11
to Teresa, one remains in the same position during ecstasy asInbe- connection with the fourth state, Teresa uses the "raising of th
fore its onset. It is unlikely that the saint would be sitting or re-
spirit"12 and the "flight of the spirit"13 as descriptive phrases t
clining while receiving the Eucharist, as Lavin suggests. emphasize
More the soul's detachment from earthly creatures. "Befo
probably she would have been kneeling. Hence, when overcome you can be warned by a thought or help yourself in any way,
with ecstasy, she would be lifted, still kneeling, on the cloud.comes If as a quick and violent shock; you see and feel this cloud
the thesis as to the Eucharist is correct, then Bernini has or delib-
this powerful eagle rising and bearing you up on its wings
erately chosen to ignore Teresa's written description, which, and
Lavin indeed see that you are being carried away you know no
holds, the sculptor followed.10 where."14 Not only is the soul lifted away, but occasionally th
Numerous visual sources can be argued to have been anentire in- body as well.'" She concludes by saying that the soul faint
spiration to the sculptor. However, Bernini's understanding of in the
a swoon, which is accompanied by feelings of calmness and
concepts of ecstasy and vision, only briefly touched upon by
joy.16
Lavin, will help to explain the sculpture, in which imagery of Saintthe Teresa also provides us with a description of the char-
acteristics of ecstasy. One remains in the same physical position
piercing of the heart finds a culminating representation. Because
Saint Teresa died in 1582 and was not canonized until 1622,during Ber-an ecstatic state as prior to its onset, probably because one
is unable to move. In this state the body feels weightless. Even
nini did not have available a long tradition of accepted iconog-
though the senses do not function in a normal manner, one is still
raphy pertaining to her. Yet within the sixty years from Teresa's
death to the commissioning of the Cornaro Chapel, images ofable to hear and see, if dimly. At the very peak of ecstasy, which
Saint
is not reached every time, all senses are lost. This loss persists
Teresa, especially the piercing of her heart, had become popular.
The principal source of Teresian iconography is, of course, briefly
herand is the result of the close union with God. At this time
the eyes are usually closed, although occasionally they remain
autobiography, though the piercing of her heart is also mentioned
in her Spiritual Relations. open but one is unable to see. At the height of ecstasy one is
The person who can best explain Saint Teresa's ecstasy unable and to see things of the earthly world or to perceive earthly
visions is Saint Teresa, who wrote about her own mysticalthings.17ex- As the soul's strength increases, the body's strength de-
periences. In them the concept of ecstasy is indeed central.creases.
In anThe heart-beat slows considerably. The body temperature
ecstatic state, man is farthest from the normal human condition;
also drops and occasionally the body becomes quite cold. Some-
times
Saint Teresa herself has written that it is a prelude to the joys ofduring ecstasy, bones become disjointed, legs and arms
Heaven. She tries to explain the four stages of prayer that can and at times the fists will be clenched.1 At other times
stiffen,
lead to an ecstatic experience. These she refers to as the only four the hands become quite cold, and the fingers remain out-
waters. She did not give any indication of how long one remainsstretched.19 To an onlooker, it may seem that a person remains in
an ecstatic state for a long time (up to three or four hours), but
in each of these stages before progressing to the next, and indeed
most individuals do not go beyond the first. During the firstactually
three the condition lasts for a very short time (only a few sec-
onds), the other time being spent in the ascending to the ecstatic
stages, one loses the desire for earthly things and as one advances
from one stage to another the presence of Christ becomes state
in-and the withdrawal from it.
creasingly stronger. It is the fourth and final state that concerns Levitation can be part of the ecstatic process and is not unusual
us. Ecstasy is described by Teresa as having: among saints. Teresa describes being lifted by a cloud or eagle.
She later says that "my soul has been carried away, and usually
... no sense of anything but enjoyment, without any knowledgemy head as well, without my being able to prevent it; and some-
of what is being enjoyed. The soul realized that it is enjoying
times it has affected my whole body, which has been lifted from
some good thing that contains all good things together, but the ground."20
it Not only did Teresa write about levitation in her
cannot comprehend this good thing. All the senses are taken autobiography, but there were also witnesses who stated that she
up with this joy so that none of them is free to act in any levitated
way, in public. All sources on levitation, Saint Teresa's in-
either outwardly or inwardly. Previously, as I have said,cluded, the have connected it with ecstasy. "Union and rapture, or

10 Lavin (as in note 5), I, 118. 14 Teresa, Life, 136-37; in the original "sin prevenir el pensamiento ni ayuda

11 Teresa, Life, 122; in the original:
Aca no hay sentir, sino gozar sin entender lo que se goza. Entiendese
que se goza un bien, adonde juntos se encierran todos los bienes, mas
no se comprende este bien. Ocu(panse todos los sentidos en este gozo,
de manera que no queda ninguno desocupado para poder en otra cosa
exterior ni interiormente.
ninguna, viene un impetu tan acelerado y fuerte, que veis y sentis lev-
antarse esta nube o esta aguila caudalosa y cogeros con sus alas. Y digo
que se entiende y veisos Ilevar, y no sabefis d6nde"; Vida, 192.
15 Teresa, Life, 137; Vida, 192-93.
16 Teresa, Life, 25; Vida, 174.
17 Teresa, Life, 142-43; Vida, 203-04.

Antes dabaseles licencia para que, como digo, hagan algunas mues-18 Robert T. Petersson, The Art of Ecstasy: Teresa, Bernini and Crashaw,
New York, 1970, 36.
tras del gran gozo que sienten; acai el alma goza mis sin comparaci6n,
y pu'dese dar a entender muy menos, porque no queda poder en19 elTeresa, Works, I, 329.
cuerpo, ni el alma le tiene para poder comunicar aquel gozo.
20 Teresa, Life, 137; in the original "el alma y aun casi ordinario la cabeza
tras ella, sin poderla tener, y algunas todo el cuerpo, hasta levantarle";
Vida, 168.
Vida, 193.
12 Teresa, Life, 124; in the original "levantamiento de espiritu"; Vida, 171.
13 Teresa, Life, 124; in the original "vuelo del espiritu"; Vida, 172.

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510 THE ART BULLETIN SEPTEMBER 1984 VOLUME LXVI NUMBER 3

elevation, or flight of the spirit or transport," Teresa wrote, "They out of pain."30 If a vision is particularly strong, as it was in the
are all one. I mean these are all different names for the same thing, instance that concerns us, during the piercing of Saint Teresa's
which is also called ecstasy."21 She also says that in her opinionheart, then it is possible that the soul will enter into ecstasy after
ecstasy, rapture, and suspension are the same, but she uses thethe vision. However, it must be noted that Teresa did not say she
word suspension more often because the terms ecstasy and rap-experienced ecstasy after this vision. Neither did she mention lev-
ture seem to frighten people. Later she states that rapture and itation in connection with visions, yet Bernini placed her sus-
suspension differ from transport because in rapture the soul, un-pended on a cloud.
concerned with worldly things, rises to God and lives with him. In her autobiography, Saint Teresa refers to the occasion of the
Transport, however, comes after a sudden flash of light which piercing of her heart as a true impulse and a vision, while in her
penetrates to the soul and carries it away like a little bird thatSpiritual Relations she calls it a prayer. Bernini depicted the mo-
has escaped the flesh.22 ment as it is described by the saint herself in the famous and often
Bernini's sculptural group in the Cornaro Chapel, despite itsquoted passage that Pope Gregory XV included in her bull of
usual title of The Ecstasy of Saint Teresa, most probably repre-canonization:
sents the moment of the vision of the piercing of the heart. This
raises the question whether visions, like levitation, are associated Beside me, on the left hand, appeared an angel in bodily fo
with ecstasy. In one portion of her autobiography, as noted above, such as I am not in the habit of seeing except very rarel
Saint Teresa writes that visions come in ecstasy.23 Yet in all other But it was our Lord's will that I should see this angel in
portions of her writings she speaks as if ecstasy and visions are following way. He was not tall but short, and very beaut
separate and different. Visions (like ecstasy) occur during times and his face was so aflame that he appeared to be one of
of prayer, but "it should be noted that if we see visions and hear highest rank of angels who seem to be on fire ... In his h
words like this [a reference to the preceding paragraph in the au- I saw a great golden spear, and at the iron tip there appea
tobiography], it is never, in my opinion, at a time when the soul to be a point of fire. This he plunged into my heart seve
is in union or during the rapture itself ... all senses are completely times so that it penetrated into my entrails. When he pulle
lost [during ecstasy] and, as I believe, there can be no seeing or out, I felt that he took them with it, and left me utterly c
understanding or hearing at all1."24 sumed by the great love of God. The pain was so severe t
Saint Teresa provides us with an explanation of two types of it made me utter several moans. The sweetness caused by
visions. In the first, the Divine Presence is invisible; he is thus intense pain is so extreme that one cannot possibly wish i
showing us that he is God, that he is powerful and can do all cease, nor is one's soul then content with anything but G
things. In the second type of vision, the Divine Presence is seen This is not a physical, but a spiritual pain, though the bo
with the eyes of the soul which can perceive the excellence, beauty has some share in it - even a considerable share. So gentl
and glory of God.25 this wooing which takes place between God and the soul tha
At the beginning of a vision one encounters a soft white light. anyone thinks I am lying, I pray God, in his goodness, to g
Saint Teresa describes it as an "infused radiance"26 which differs him some experience of it.31
from the sun's rays because the sun is not so bright.27 This light
Normally, so Teresa tells us, one does not see an angel. Inst
appears prior to the actual sight of a supernatural person or angel.
Often one experiences a combination of "joy and sorrow"28 or one feels only the pain of the wounded soul. It should be rem
pain and sweetness29 in visions, while during ecstasy one feels bered that the piercing of the heart is an affliction of the sou
enjoyment. During a vision one falls into a seated position; then, leaves no physical impression.32 One must note that Saint T
as in ecstasy, one cannot move. During a vision one cannot breathe never mentions pain as part of ecstasy. The only disturbing p
and can only utter "a few slight moans ... not aloud, but inwardly, of ecstasy comes after the moment of greatest intensity when

30 Teresa, Life, 210; in the original "s61o da unos gemidos no gran

21 Teresa, Life, 136; in the original "uni6n a arrobamiento o elevamiento
porque
o vuelo que liaman de espiritu o arrebatamiento, que todo es uno. no puede mas; sonlo en el sentimiento"; Vida, 319.
Digo
que estos diferentes nombres todo es una cosa, y tambien se llama31extasis";
Teresa, Life, 210; in the original:
Vida, 190.
22 Teresa, Works, I, 328-330. Veia un angel cabe mi hacia el lado izquierdo, en forma corporal
que no suelo ver sino por maravilla ... Esta visi6n quiso el Sefi
23 Teresa, Life, 151; in the original "Aqui son las verdaderas revelaciones
en este extasi y las grandes mercedes y visiones, y todo aprovecha viese asi: no era grande, sino pequefio, hermoso mucho, el rostro
para
humillar y fortalecer el alma"; Vida, 220. encendido que parecia de los angeles muy subidos que parecen to
se abrasan: deben ser los que llaman querubines, que los nombre
24 Teresa, Life, 175-76; in the original: me los dicen; mas bien veo que en el cielo hay tanta diferencia de u
angeles a otros y de otros a otros, que no lo sabria decir. Veiale e
Entiendase que cuando se ven visiones o se entienden estas palabras,
manos aun dardo de oro largo, y al fin del hierro me parecia tene
mi parecer, nunca es en tiempo que esta unida el alma en el mismopoco de fuego; ste me parecia meter por el coraz6n algunas vece
arrobamiento; que en este tiempo - como ya dejo declarado, creo en
que me Ilegaba a las entrafias. Al sacarle, me parecia las llevaba cons
la segunda agua - del todo se pierden todas las potencias y a mi par-
y me dejaba toda abrasada en amor grande de Dios. Era tan grand
ecer alli ni se puede ver ni entender ni oir.
dolor que me hacia dar aquellos quejidos, y tan excesiva la suav
que me pone este grandisimo dolor, que no hay desear que se quit
Vida, 260.
se contenta el alma con menos que Dios. No es dolor corporal
25 Teresa, Life, 200; Vida, 302. espiritual, aunque no deja de participar el cuerpo algo, y aun hart
un requiebro tan suave que pasa entre el alma y Dios, que suplic
26 Teresa, Life, 197; in the original "resplandor infuso"; Vida, 298.
a su bondad lo d' a gustar a quien pensare que miento.
27 Teresa, Life, 197-98; Vida, 298.
28 Teresa, Life, 209; in the original "esta pena y gloria"; Vida, Vida,
318. 319-320.
29 Teresa, Life, 209; Vida, 317. 32 Teresa, Works, I, 331.

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 NOTES AND DOCUMENTATION 511

does not want to leave God and return to a worldly life.

Filippo della Valle as Metalworker
In Bernini's sculpture Teresa's pose is filled with tension because
it appears as if she is moving forward and backward simulta- Vernon Hyde Minor
neously. Her body is in a spasm, while she lacks the strength to
keep her head upright, so that it has an additional heaviness.
Although A art historians know something of Filippo della Valle's
similar tension is evident in her hands and feet. One hand hangs
sculpture in marble and stucco, they know virtually nothing of
by her side, but it is not relaxed. One cannot determine whether
his works in metal.1 Giovanni Battista Foggini trained della Valle,
this arm is falling to her side or whether she is lifting ithis
up.nephew,
The as a sculptor and - perhaps - as a medalist. Or it
other hand seems to rest in her lap. At first glance her left
mayfoot
have been from Massimiliano Soldani Benzi, the Master of
appears relaxed, but a closer inspection reveals that it is the
actually
Mint in Florence, that della Valle first learned bronze casting
in a spasm which causes the toes to move upward. Her right andfoot
the striking of medals. Before he left Florence in 1725, he
does not rest upon the cloud, but pushes against it and meets with
struck at least two portraits, one of Cosimo III, Grand Duke of
resistance as if the cloud were a hard solid mass.33 Her Tuscany,
legs are and the other of Prince Giovanni Gastone de' Medici.2
also drawn somewhat into the body. Even her nostrils seem Dellato
Valle brought this knowledge of metalwork with him to
quiver34 and her lips are parted as if moaning. Again, fullyRome, tobut seems not to have employed it much before the 1740's.
understand the manner in which Bernini has depicted Saint In Teresa
that decade he designed and cast festoons and grotteschi for
we must return to her autobiography, where she describes what
Benedict .TV's Coffeehouse on the Quirinal,3 an altar tabernacle
happens to the physical self during this kind of vision. and cross for the Cappella dei Penitenzieri at S. Giovanni in La-
terano (destroyed),4 and numerous fittings and ornaments for the
The entire body contracts; neither foot nor arm can be Pope's
moved.carriages - all destroyed or lost.' One can study della
If one is standing at the time, one falls into a sitting Valle's
positionstyle and presentation of life-sized figures in metal from
as though transported, and cannot even take a breath. Onetwoonly
surviving Roman commissions, neither of which has been
utters a few slight moans, not aloud, for that is impossible, but with photographs and documentation. They are for the
published
inwardly, out of pain.35
altar at S. Apollinare and for the area surrounding the confessio
at Sta. Maria Maggiore (Figs. 1-6).
It is clear from the direct comparison of Bernini's Saint Teresa
The money for these undertakings derived from instructions,
with the saint's own writings that the moment depicted nowinpreserved
the in the Vatican's Secret Archives, written by Pope
sculpture is primarily that of vision; only the presence of Benedict
the vis- XIV. The typical motu proprio (literally, "on his own
ible object of the cloud implies any ecstatic element in the icon-- a legal term) ordered sums from Rome's lottery to be
motion"
ography. Thus, by combining into one sculpture the elements of
assigned to specific artistic projects.6 When advising his Pro-mag-
vision with one aspect of ecstasy (i.e., levitation), the artist has
giordomo, Cardinal Girolamo Colonna, on the decoration of the
heightened the representation of the religious experience whileat S. Apollinare, Benedict wrote: "We have always in our
Tribune
simultaneously creating a more visually effective image. As a re-
heart the greater glory and cult of the Lord."' Both of these com-
sult of his thorough knowledge and understanding of Teresa'smissions, dating from 1746 to 1750, were part of larger campaigns
writings, Bernini has created an altarpiece that has been as enig-
at Sta. Maria Maggiore and S. Apollinare, related to the Pope's
matic as it is beautiful.
overall desire to promulgate the glory of the Church, and, as one
[University of Georgia might suspect from the timing, to enhance the beautification of
Athens, GA 30602]
Rome for the Jubilee of 1750. The figures are all putti, those
charming secularized adjuncts to the sacred rites. In one instance,
heads of putti bear up the mensa, in the other twin putti joyously
carry torches and peripherally assist, more as acolytes than as
angels, at the celebration of the Mass.
Bibliography
Teresa, Life of St. Teresa of Avila, trans. J. M. Cohen, Baltimore, 1957 I should like to thank the National Endowment for the Humanities, the
, Libro de la Vida (Salamanca, 1588), ed. Fr. Tomas de la Cruz, Bur- American Philosophical Society, and the Council on Research and Cre-
gos, 1964. ative Work at the University of Colorado for their generous support of
my research on Filippo della Valle.
, Complete Works of Saint Teresa of Jesus, trans. and ed. E. Allison
1 The literature on della Valle is small; see esp. V. Moschini, "Filippo della
Peers, New York, 1946.
Valle," L'arte, xxvII, 1925, 177-190; H. Honour, "Filippo della Valle," Con-
noisseur, CXLIV, 1959, 172-79; V. Minor, "Della Valik and G. B. Grossi
Revisited," Antologia di belle arti, II, 1978, 233-247.
2 The Twilight of the Medici: Late Baroque Art in Florence, 1670-1743,
33Petersson (as in note 18), 93. exh. cat., Detroit Art Institute, 1974, 148-49.
34 George C. Bauer, ed., Bernini in Perspective, Englewood Cliffs, N.J., 3 Vatican City, Archivio Segreto Vaticano, SS. Palazzi Apostolici, Com-
1976, 84. putisteria, 995 B (1742), 1 r-v.
35 Teresa, Life, 210; in the original: 4 Ibid., 198.
5 Minor (as in note 1), 240-41.
Otras veces da tan recio, que eso ni nada no se puede hacer, que corta
6 One can find many of these directives bound into the filze of the SS.
todo el cuerpo; ni pies ni brazos no puede menear; antes si esta en pie
se sienta, como una cosa trasportada que no puede ni aun resolar: s61o Palazzi Apostolici (as in note 3), especially Nos. 992-1003.
da unos gemidos no grandes, porque no puede mis; sonlo en el 7 Ibid., 997, 62r: "E Noi che sempre Via pidl abbiamo a cuore la maggior
sentimiento. gloria e culto di Dio, e decoro di d.a Chiesa, ci siamo volontieri indotti
a voler contribuire per l'effetto sudetto la somma di scudi tre mila Romani
Vida, 318-19. ... 7 Settembre 1746 (Binidictus PP XIV)."

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