Cardinal Federico Cornaro hailed from Venice and could claim at least 6 ancestors who had served the church in the role he now occupied. His father had even been a Doge! This chapel was not only the site for Federico's burial but it would serve to venerate his distinguished family as well. Giulia reviewed the complicated climate of the post counter-reformation in Rome and Cornaro's religious goals for the chapel. She explained Cornaro's choice of the newly canonized, and somewhat problematic, St Teresa for the main altarpiece (she was a woman; a conversa; a mystic who had been tried as a heretic; and she stressed autonomy - a direct experience with god ... but she was also one of the churches newest saints and the power of her personal story would make good fodder in the Catholic war against the Protestants.) Who better to bring this complicated commission and its goals to light than the endlessly-talented Bernini?
The formal and thematic changes Bernini made to the traditional depiction of St. Teresa in Ecstasy provide the clues to the goals he was trying to accomplish. Rich colored marbles, hidden light sources, subtle iconography, painted stucco ... the entire chapel works as a bel composto that draws the viewer into the miracle of St Teresa, but at the same time, Bernini controls our experience and keeps us from getting too close. We are therefore reminded of the authority of the church and the central role it plays in salvation (even in independently minded people like Teresa.)
Next, it was time for a direct comparison of Bernini and Borromini using the side-by-side churches of San Carlino and San Andrea al Quirinale as our models.
Borromini - lacked social graces, paranoid, depressed ... Bernini - had the love of the papacy, countless commissions, and seemingly endless innovation and talent ... But could Bernini really be exploiting Borromini and taking credit for his inventions?? We may never know that truth of that one ... but the two did borrow from and influence each other. In San Carlino we saw how Borromini worked on a small scale, never used color - all his interiors are painted white, and his effects are attained by purely architectural means. Where in San Andrea Bernini has created a jewelbox rich in colored marbles, iconographic detail and theatricality. The group was evenlly split when asked to choose which church was their favorite.
After all that churchin' we all deserved a quick stop at Tazza d'Oro for cafe and coronetti. Then it was time to break - some students went to work on their upcoming rione projects; some went grocery shopping; some went to take naps before the afternoon Italian class. In the afternoon the sun finally came out turning the sky an impossible blue. Che bella!
Salute!! Here is to our last two weeks in Rome! We will miss it! Lisa and Julie
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