Gian Lorenzo Bernini


Gian Lorenzo Bernini was an Italian sculptor and architect. While a major figure in the world of architecture, he was, also and even more prominently, the leading sculptor of his age, credited with creating the Baroque style of sculpture. As one scholar has commented, "What Shakespeare is to drama, Bernini may be to sculpture: the first pan-European sculptor whose name is instantaneously identifiable with a particular manner and vision, and whose influence was inordinately powerful...." In addition, he was a painter and a man of the theater: he wrote, directed and acted in plays, for which he designed stage sets and theatrical machinery. He produced designs as well for a wide variety of decorative art objects including lamps, tables, mirrors, and even coaches.
As an architect and city planner, he designed secular buildings, churches, chapels, and public squares, as well as massive works combining both architecture and sculpture, especially elaborate public fountains and funerary monuments and a whole series of temporary structures for funerals and festivals. His broad technical versatility, boundless compositional inventiveness and sheer skill in manipulating marble ensured that he would be considered a worthy successor of Michelangelo, far outshining other sculptors of his generation. His talent extended beyond the confines of sculpture to a consideration of the setting in which it would be situated; his ability to synthesize sculpture, painting, and architecture into a coherent conceptual and visual whole has been termed by the late art historian Irving Lavin the "unity of the visual arts".

Life and career

Early life

Bernini was born in Naples in 1598 to Angelica Galante and Mannerist sculptor Pietro Bernini, originally from Florence. He was the sixth of their thirteen children. Gian Lorenzo Bernini was the definition of childhood genius. He was "recognized as a prodigy when he was only eight years old, he was consistently encouraged by his father, Pietro. His precocity earned him the admiration and favor of powerful patrons who hailed him as 'the Michelangelo of his century'”. In 1606 his father received a papal commission and so moved from Naples to Rome, taking his entire family with him and continuing in earnest the training of his son Gian Lorenzo. Several extant works, dating from circa 1615-1620, are by general scholarly consensus, collaborative efforts by both father and son: they include the Faun Teased by Putti, Boy with a Dragon, the Aldobrandini Four Seasons, and the recently discovered Bust of the Savior. Sometime after the arrival of the Bernini family in Rome, word about the great talent of the boy Gian Lorenzo got around and he soon caught the attention of Cardinal Scipione Borghese, nephew to the reigning pope, Paul V, who spoke of the boy genius to his uncle. Bernini was therefore presented before Pope Paul V, curious to see if the stories about Gian Lorenzo's talent were true. The boy improvised a sketch of Saint Paul for the marveling pope, and this was the beginning of the pope’s attention on this young talent.
Once he was brought to Rome, he rarely left its walls, except for a five-month stay in Paris in the service of King Louis XIV and brief trips to nearby towns, mostly for work-related reasons. Rome was Bernini’s city: “'You are made for Rome,’ said Pope Urban VIII to him, 'and Rome for you'”. It was in this world of 17th-century Rome and the international religious-political power which resided there that Bernini created his greatest works. Bernini's works are therefore often characterized as perfect expressions of the spirit of the assertive, triumphal but self-defensive Counter Reformation Roman Catholic Church. Certainly Bernini was a man of his times and deeply religious, but he and his artistic production should not be reduced simply to instruments of the papacy and its political-doctrinal programs, an impression that is at times communicated by the works of the three most eminent Bernini scholars of the previous generation, Rudolf Wittkower, Howard Hibbard, and Irving Lavin. As Tomaso Montanari's recent revisionist monograph, La libertà di Bernini argues and Franco Mormando's anti-hagiographic biography, Bernini: His Life and His Rome, illustrates, Bernini and his artistic vision maintained a certain degree of freedom from the mindset and mores of Counter-Reformation Roman Catholicism.

Works for Cardinal Scipione Borghese

Under the patronage of the extravagantly wealthy and most powerful Cardinal Scipione Borghese, the young Bernini rapidly rose to prominence as a sculptor. Among his early works for the cardinal were decorative pieces for the garden of the Villa Borghese, such as The Goat Amalthea with the Infant Jupiter and a Faun. This marble sculpture is generally considered by scholars to be the earliest work executed entirely by Bernini himself. Other allegorical busts also date to this period, including the so-called Damned Soul and Blessed Soul of circa 1619, which may have been influenced by a set of prints by Pieter de Jode I or Karel van Mallery, but which were in fact unambiguously cataloged in the inventory of their first documented owner, Fernando de Botinete y Acevedo, as depicting a nymph and a satyr, a commonly paired duo in ancient sculpture. By the time he was twenty-two, Bernini was considered talented enough to have been given a commission for a papal portrait, the Bust of Pope Paul V, now in the J. Paul Getty Museum.
Bernini's reputation, however, was definitively established by four masterpieces, executed between 1619 and 1625, all now displayed in the Galleria Borghese in Rome. To the art historian Rudolf Wittkower these four works—Aeneas, Anchises, and Ascanius, The Rape of Proserpina, Apollo and Daphne, and David —"inaugurated a new era in the history of European sculpture". It is a view repeated by other scholars, such as Howard Hibbard who proclaimed that, in all of the seventeenth century, "there were no sculptors or architects comparable to Bernini". Adapting the classical grandeur of Renaissance sculpture and the dynamic energy of the Mannerist period, Bernini forged a new, distinctly Baroque conception for religious and historical sculpture, powerfully imbued with dramatic realism, stirring emotion and dynamic, theatrical compositions. Bernini's early sculpture groups and portraits manifest "a command of the human form in motion and a technical sophistication rivalled only by the greatest sculptors of classical antiquity." Moreover, Bernini possessed the ability to depict highly dramatic narratives with characters showing intense psychological states, but also to organize large-scale sculptural works that convey a magnificent grandeur.
Unlike sculptures done by his predecessors, these focus on specific points of narrative tension in the stories they are trying to tell: Aeneas and his family fleeing the burning Troy; the instant that Pluto finally grasps the hunted Persephone; the precise moment that Apollo sees his beloved Daphne begin her transformation into a tree. They are transitory but dramatic powerful moments in each story. Bernini's David is another stirring example of this. Michelangelo's motionless, idealized David shows the subject holding a rock in one hand and a sling in the other, contemplating the battle; similarly immobile versions by other Renaissance artists, including Donatello's, show the subject in his triumph after the battle with Goliath. Bernini illustrates David during his active combat with the giant, as he twists his body to catapult toward Goliath. To emphasize these moments, and to ensure that they were appreciated by the viewer, Bernini designed the sculptures with a specific viewpoint in mind. Their original placements within the Villa Borghese were against walls so that the viewers' first view was the dramatic moment of the narrative.
The result of such an approach is to invest the sculptures with greater psychological energy. The viewer finds it easier to gauge the state of mind of the characters and therefore understands the larger story at work: Daphne's wide open mouth in fear and astonishment, David biting his lip in determined concentration, or Proserpina desperately struggling to free herself. In addition to portraying psychological realism, they show a greater concern for representing physical details. The tousled hair of Pluto, the pliant flesh of Proserpina, or the forest of leaves beginning to envelop Daphne all demonstrate Bernini's exactitude and delight for representing complex real world textures in marble form.

Papal artist: the pontificate of Urban VIII

Beginning in 1623, with the ascent of his friend and former tutor, Cardinal Maffeo Barberini, to the papal throne as Pope Urban VIII, Bernini enjoyed near monopolistic patronage from the Barberini pope and family:. The new Pope Urban is reported to have remarked, "It is a great fortune for you, O Cavaliere, to see Cardinal Maffeo Barberini made pope, but our fortune is even greater to have Cavalier Bernini alive in our pontificate." Although he did not fare so well during the reign of Innocent X, under Alexander VII, he once again regained pre-eminent artistic domination and continued to be held in high regard by Clement IX. His horizons rapidly and widely broadened: he was not just producing sculpture for private residences, but playing the most significant artistic role on the city stage, as sculptor, architect, and urban planner. His official appointments also testify to this—"curator of the papal art collection, director of the papal foundry at Castel Sant'Angelo, commissioner of the fountains of Piazza Navona". Such positions gave Bernini the opportunity to demonstrate his versatile skills throughout the city. To great protest from older, experienced master architects, he, with virtually no architectural training to his name, was appointed Chief Architect of St Peter's in 1629, upon the death of Carlo Maderno. From then on, Bernini's work and artistic vision would be placed at the symbolic heart of Rome.
Bernini's artistic pre-eminence, particularly during the reign of pope Urban VIII and again under Pope Alexander VII, meant he was able to secure the most important commissions in the Rome of his day, namely, the various massive embellishment projects of the newly finished St. Peter's Basilica, completed under Pope Paul V with the addition of Maderno's nave and facade and finally re-consecrated by Pope Urban VIII on 18 November 1626, after 150 years of planning and building. Within the basilica he was responsible for the Baldacchino, the decoration of the four piers under the cupola, the Cathedra Petri or Chair of St. Peter in the apse, the tomb monument of Matilda of Tuscany, the chapel of the Blessed Sacrament in the right nave, and the decoration of the new nave. The St Peter's Baldacchino immediately became the visual centerpiece of the new St. Peter's. Designed as a massive spiraling gilded bronze canopy over the tomb of St Peter, Bernini's four-pillared creation reached nearly from the ground and cost around 200,000 Roman scudi. "Quite simply", writes one art historian, "nothing like it had ever been seen before". Soon after the St Peter's Baldacchino, Bernini undertook the whole-scale embellishment of the four massive piers at crossing of the basilica including, most notably, four colossal, theatrically dramatic statues, among them, the majestic St. Longinus executed by Bernini himself.
In the basilica, Bernini also began work on the tomb for Urban VIII, completed only after Urban's death in 1644, one in a long, distinguished series of tombs and funerary monuments for which Bernini is famous and a traditional genre upon which his influence left an enduring mark, often copied by subsequent artists. Indeed, Bernini's final and most original tomb monument, the Tomb of Pope Alexander VII, in St. Peter's Basilica, represents, according to Erwin Panofsky, the very pinnacle of European funerary art, whose creative inventiveness subsequent artists could not hope to surpass. Begun and largely completed during Alexander VII's reign, Bernini's design of the Piazza San Pietro in front of the Basilica is one of his most innovative and successful architectural designs, which transformed a formerly irregular, inchoate open space into an aesthetically unified, emotionally thrilling, and logistically efficient, completely in harmony with the pre-exiting buildings and other features and adding to the majesty of the basilica.
Despite this engagement with public architecture, Bernini was still able to produce artworks that showed the gradual refinement of his portrait technique. A number of Bernini's sculptures show the continual evolution of his ability to capture the utterly distinctive personal characteristics that he saw in his sitters. This included a number of busts of Urban VIII himself, the family bust of Francesco Barberini or most notably, the Two Busts of Scipione Borghese—the second of which had been rapidly created by Bernini once a flaw had been found in the marble of the first. The transitory nature of the expression on Scipione's face is often noted by art historians, iconic of the Baroque concern for representing movement in static artworks. To Rudolf Wittkower the "beholder feels that in the twinkle of an eye not only might the expression and attitude change but also the folds of the casually arranged mantle".
Portraits in marble include that of Costanza Bonarelli, unusual in its more personal, intimate nature. Bernini had an affair with Costanza, who was the wife of one of his assistants. When Bernini then suspected Costanza of involvement with his brother, he badly beat him and ordered a servant to slash her face with a razor. Pope Urban VIII intervened on his behalf, and he was simply fined.
Beginning in the late 1630s, now known in Europe as one of the most accomplished portraitists in marble, Bernini also began to receive royal commissions from outside Rome, for subjects such as Cardinal Richelieu of France, Francesco I d'Este the powerful Duke of Modena, Charles I of England and his wife, Queen Henrietta Maria. The sculpture of Charles I was produced in Rome from a triple portrait executed by Van Dyck, that survives today in the British Royal Collection. The bust of Charles was lost in the Whitehall Palace fire of 1698 and that of Henrietta Maria was not undertaken due to the outbreak of the English Civil War.

Temporary eclipse and resurgence under Innocent X

Under Urban VIII, Bernini had been appointed chief architect for the basilica of St. Peter's. Work by Bernini included the aforementioned Baldacchino and the St Longinus. In 1636, eager to finally finish the exterior of St. Peter's, Pope Urban ordered Bernini to design and build the two long-intended bell towers for its facade: the foundations of the two towers had already been designed and constructed by Carlo Maderno decades earlier. Once the first tower was finished in 1641, cracks began to appear in the facade but, curiously enough, work continued on the second tower and the first storey was completed. Despite the presence of the cracks, work only stopped in July 1642 once the papal treasury had been exhausted by the disastrous War of Castro. With the death of Pope Urban and the ascent to power of Barberini-enemy in 1644, Pope Innocent X Pamphilj, Bernini's enemies raised a great alarm over the cracks, predicting a disaster for the whole basilica and placing the blame entirely on Bernini. The subsequent investigations, in fact, revealed the cause of the cracks as Maderno's defective foundations and not Bernini's elaborate design, an exoneration later confirmed by the meticulous investigation conducted in 1680 under Pope Innocent XI.
, Rome, 1645-1652
Nonetheless, Bernini's opponents in Rome succeeded in seriously damaging the reputation of Urban's artist and in persuading the pope to order the complete demolition of both towers, to Bernini's great humiliation and indeed financial detriment. After this, one of the rare failures of his career, Bernini retreated into himself: according to his son, Domenico. his subsequent unfinished statue of 1647, Truth Unveiled by Time, was intended to be his self-consoling commentary on this affair, expressing his faith that eventually Time would reveal the actual Truth behind the story and exonerate him fully, as indeed did occur.
Bernini did not entirely lose patronage, not even of the pope. Innocent X maintained Bernini in all of the official roles given to him by Urban. Under Bernini's design and direction, work continued on decorating the massive new but entirely unadorned nave of St. Peter's, with the addition of an elaborate multi-colored marble flooring, marble facing on the walls and pilasters, and scores of stuccoed statues and reliefs. It is not without reason that Pope Alexander VII once quipped, 'if one were to remove from Saint Peter's everything that had been made by the Cavalier Bernini, that temple would be stripped bare.' Indeed, given all of his many and various works within the basilica over several decades, it is to Bernini that is due the lion's share of responsibility for the final and enduring aesthetic appearance and emotional impact of St. Peter's. He was also allowed to continue to work on Urban VIII's tomb, despite Innocent's antipathy for the Barberini. A few months after completing Urban's tomb, Bernini won, in controversial circumstances, the Pamphilj commission for the prestigious Four Rivers Fountain on Piazza Navona, marking the end of his disgrace and the beginning a yet another glorious chapter in his life.
'', 1651
If there had been doubts over Bernini's position as Rome's preeminent artist, the success of the Four Rivers Fountain removed them. Bernini continued to receive commissions from Pope Innocent X and other senior members of Rome's clergy and aristocracy, as well as from exalted patrons outside of Rome, such as Francesco d'Este. In such an environment, Bernini's artistic style flourished. New types of funerary monument were designed, such as the seemingly floating medallion, hovering in the air as it were, for the deceased nun Maria Raggi, while chapels he designed, such as the Raimondi Chapel in the church of San Pietro in Montorio, illustrated how Bernini could use hidden lighting to help suggest divine intervention within the narratives he was depicting.
The Cornaro Chapel showcased Bernini's ability to integrate sculpture, architecture, fresco, stucco, and lighting into "a marvelous whole" and thus create what scholar Irving Lavin has called the "unified work of art". The central focus of the Cornaro Chapel is the ecstasy of the Spanish nun and saint-mystic, Teresa of Avila. Bernini presents the spectator with a theatrically vivid portrait, in gleaming white marble, of the swooning Teresa and the quietly smiling angel, who delicately grips the arrow piercing the saint's heart. On either side of the chapel the artist places, portraits in relief of various members of the Cornaro family – the Venetian family memorialized in the chapel, including Cardinal Federico Cornaro who commissioned the chapel from Bernini – who are in animated conversation among themselves, presumably about the event taking place before them. The result is a complex but subtly orchestrated architectural environment providing the spiritual context that suggests to viewers the ultimate nature of this miraculous event.
It was an artistic tour de force that incorporates all of the multiple forms of visual art and technique that Bernini had at his disposal, including hidden lighting, thin gilded beams, recessive architectural space, secret lens, and over twenty diverse types of colored marble: these all combine to create the final artwork—"a perfected, highly dramatic and deeply satisfying seamless ensemble".

Embellishment of Rome under Alexander VII

Upon his accession to the Chair of St Peter, Pope Alexander VII Chigi began to implement his extremely ambitious plan to transform Rome into a magnificent world capital by means of systematic, bold urban planning. In so doing, he brought to fruition the long, slow recreation of the urban glory of Rome—the "renovatio Romae"—that had begun in the fifteenth century under the Renaissance popes. Alexander immediately commissioned large-scale architectural changes in the city, for example connecting new and existing buildings by opening up streets and piazzas. Bernini's career showed a greater focus on designing buildings during this pontificate, as there were far greater opportunities.
Bernini's creations during this period include the piazza leading to St Peter's. In a previously broad, unstructured space, he created two massive semi-circular colonnades, each row of which was formed of four white columns. This resulted in an oval shape that formed an inclusive arena within which any gathering of citizens, pilgrims and visitors could witness the appearance of the pope—either as he appeared on the loggia on the facade of St Peter's or on balconies on the neighbouring Vatican palaces. Often likened to two arms reaching out from the church to embrace the waiting crowd, Bernini's creation extended the symbolic greatness of the Vatican area, creating an "exhilarating expanse" that was, architecturally, an "unequivocal success".
Elsewhere within the Vatican, Bernini created systematic rearrangements and majestic embellishment of either empty or aesthetically undistinguished space that exist as he designed them to the present day and have become indelible icons of the splendor of the papal precincts. Within the hitherto unadorned apse of the basilica, the Cathedra Petri, the symbolic throne of St Peter, was rearranged as a monumental gilded bronze extravagance that matched the Baldacchino created earlier in the century. Bernini's complete reconstruction of the Scala Regia, the stately papal stairway between St. Peters's and the Vatican Palace, was slightly less ostentatious in appearance but still taxed Bernini's creative powers to create a seemingly uniform, totally functional, but nonetheless regally impressive stairway to connect two irregular buildings within an even more irregular space.
Not all works during this era were on such a large scale. Indeed, the commission Bernini received to build the church of Sant'Andrea al Quirinale for the Jesuits was relatively modest in physical size, which Bernini executed completely free of charge. Sant'Andrea shared with the St. Peter's piazza—unlike the complex geometries of his rival Francesco Borromini—a focus on basic geometric shapes, circles and ovals to create spiritually intense buildings. Equally, Bernini moderated the presence of colour and decoration within these buildings, focussing visitors' attention on these simple forms that underpinned the building. Sculptural decoration was never eliminated, but its use was more minimal. He also designed the church of Santa Maria dell'Assunzione in the town of Ariccia with its circular outline, rounded dome and three-arched portico.

Visit to France and service to King Louis XIV

At the end of April 1665, and still considered the most important artist in Rome, if indeed not in all of Europe, Bernini was forced by political pressure to travel to Paris to work for King Louis XIV, who required an architect to complete work on the royal palace of the Louvre. Bernini would remain in Paris until mid-October. Louis XIV assigned a member of his court to serve as Bernini's translator, tourist guide, and overall companion, Paul Fréart de Chantelou, who kept a Journal of Bernini's visit that records much of Bernini's behaviour and utterances in Paris. The writer Charles Perrault, who was serving at this time as an assistant to the French Finance Minister Jean-Baptiste Colbert, also provided a first-hand account of Bernini's visit.
Bernini's popularity was such that on his walks in Paris the streets were lined with admiring crowds. But things soon turned sour. Bernini presented finished designs for the east front of the Louvre, which were ultimately rejected, albeit formally not until 1667, well after his departure from Paris. It is often stated in the scholarship on Bernini that his Louvre designs were turned down because Louis and his financial advisor Jean-Baptiste Colbert considered them too Italianate or too Baroque in style. In fact, as Franco Mormando points out, "aesthetics are never mentioned in any of ... surviving memos" by Colbert or any of the artistic advisors at the French court. The explicit reasons for the rejections were utilitarian, namely, on the level of physical security and comfort. It is also indisputable that there was an interpersonal conflict between Bernini and the young French king, each one feeling insufficiently respected by the other. Though his design for the Louvre went unbuilt, it circulated widely throughout Europe by means of engravings and its direct influence can be seen in subsequent stately residences such as Chatsworth House, Derbyshire, England, seat of the Dukes of Devonshire.
Other projects in Paris suffered a similar fate. With the exception of Chantelou, Bernini failed to forge significant friendships at the French court. His frequent negative comments on various aspects of French culture, especially its art and architecture, did not go down well, particularly in juxtaposition to his praise for the art and architecture of Italy ; he said that a painting by Guido Reni was worth more than all of Paris. The sole work remaining from his time in Paris is the Bust of Louis XIV although he also contributed a great deal to the execution of the Christ Child Playing with a Nail marble relief by his son Paolo as a gift to the Queen of France. Back in Rome, Bernini created a monumental equestrian statue of Louis XIV; when it finally reached Paris, the French king found it extremely repugnant and wanted it destroyed; it was instead re-carved into a representation of the ancient Roman hero Marcus Curtius.

Later years and death

Bernini remained physically and mentally vigorous and active in his profession until just two weeks before his death that came as a result of a stroke. The pontificate of his old friend, Clement IX, was too short to accomplish more than the dramatic refurbishment by Bernini of the Ponte Sant'Angelo, while the artist's elaborate plan, under Clement, for a new apse for the basilica of Santa Maria Maggiore came to an unpleasant end in the midst of public uproar over its cost and the destruction of ancient mosaics that it entailed. The last two popes of Bernini's life, Clement X and Innocent XI, were both not especially close or sympathetic to Bernini and not particularly interested in financing works of art and architecture, especially given the disastrous conditions of the papal treasury. The most important commission by Bernini, executed entirely by him in just six months in 1674, under Clement X was the statue of the Blessed Ludovica Albertoni, another nun-mystic. The work, reminiscent of Bernini's Ecstasy of Saint Teresa, is located in the chapel dedicated to Ludovica remodeled under Bernini's supervision in the Trastevere church of San Francesco in Ripa, whose facade was designed by Bernini's disciple, Mattia de' Rossi. In his last two years, Bernini also carved the bust of the Savior and supervised the restoration of the historic Palazzo della Cancelleria as per papal commission under Innocent XI. The latter commission is outstanding confirmation of both Bernini's continuing professional reputation and good health of mind and body even in advanced old age, inasmuch as the pope had chosen him over any number of talented younger architects plentiful in Rome, for this prestigious and most difficult assignment since, as his son Domenico points out, "deterioration of the palace had advanced to such an extent that the threat of its imminent collapse was quite apparent."
Shortly after the completion of the latter project, Bernini died in his home on 28 November 1680 and was buried, with little public fanfare, in the simple, unadorned Bernini family vault, along with his parents, in the Basilica di Santa Maria Maggiore. Though an elaborate funerary monument had once been planned, it was never built and Bernini remained with no permanent public acknowledgement of his life and career in Rome until 1898 when, on the anniversary of his birth, a simple plaque and small bust was affixed to the face of his home on the Via della Mercede, proclaiming "Here lived and died Gianlorenzo Bernini, a sovereign of art, before whom reverently bowed popes, princes, and a multitude of peoples."

Personal life

In the 1630s he engaged in an affair with a married woman named Costanza and sculpted a bust of her during the height of their romance. She later had an affair with his younger brother, Luigi, who was Bernini's right-hand man in his studio. When Gian Lorenzo found out about Costanza and his brother, in a fit of mad fury, he chased Luigi through the streets of Rome and into the basilica of Santa Maria Maggiore, threatening his life. To punish his unfaithful mistress, Bernini had a servant go to the house of Costanza, where the servant slashed her face several times with a razor. The servant was later jailed, and Costanza was jailed for adultery; Bernini himself was exonerated by the pope, even though he had committed a crime in ordering the face-slashing. Soon after, in May 1639, at age forty-one, Bernini wed a twenty-two-year-old Roman woman, Caterina Tezio, in an arranged marriage, under orders from Pope Urban. She bore him eleven children, including youngest son Domenico Bernini, who would later be his first biographer. After his never-repeated fit of passion and bloody rage and his subsequent marriage, Bernini turned more sincerely to the practice of his faith, according to his early official biographers, whereas brother Luigi was to once again, in 1670, bring great grief and scandal to his family by his sodomitic rape of a young Bernini workshop assistant at the construction site of the 'Constantine' memorial in St. Peter's Basilica.

Architecture

Bernini's architectural works include sacred and secular buildings and sometimes their urban settings and interiors. He made adjustments to existing buildings and designed new constructions. Amongst his most well known works are the Piazza San Pietro, the piazza and colonnades in front of St. Peter's Basilica and the interior decoration of the Basilica. Amongst his secular works are a number of Roman palaces: following the death of Carlo Maderno, he took over the supervision of the building works at the Palazzo Barberini from 1630 on which he worked with Borromini; the Palazzo Ludovisi ; and the Palazzo Chigi.
His first architectural projects were the façade and refurbishment of the church of Santa Bibiana and the St. Peter's baldachin, the bronze columned canopy over the high altar of St. Peter's Basilica. In 1629, and before St. Peter's Baldachin was complete, Urban VIII put him in charge of all the ongoing architectural works at St Peter's. However, Bernini fell out of favor during the papacy of Innocent X Pamphili: one reason was the pope's animosity towards the Barberini and hence towards their clients including Bernini. Another reason was the failure of the belltowers designed and built by Bernini for St. Peter's Basilica, commencing during the reign of Urban VIII. The completed north tower and the only partially completed south tower were ordered demolished by Innocent in 1646 because their excessive weight had caused cracks in the basilica's facade and threatened to do more calamitous damage. Professional opinion at the time was in fact divided over the true gravity of the situation and over the question of responsibility for the damage: Who was to blame? Bernini? Pope Urban VIII who forced Bernini to design over-elaborate towers? Deceased Architect of St. Peter's, Carlo Maderno who built the weak foundations for the towers? Official papal investigations in 1680 in fact completely exonerated Bernini, while inculpating Maderno. Never wholly without patronage during the Pamphili years, after Innocent's death in 1655 Bernini regained a major role in the decoration of St. Peter's with the Pope Alexander VII Chigi, leading to his design of the piazza and colonnade in front of St. Peter's. Further significant works by Bernini at the Vatican include the Scala Regia, the monumental grand stairway entrance to the Vatican Palace, and the Cathedra Petri, the Chair of Saint Peter, in the apse of St. Peter's, in addition to the Chapel of the Blessed Sacrament in the nave.
Bernini did not build many churches from scratch; rather, his efforts were concentrated on pre-existing structures, such as the restored church of Santa Bibbiana and in particular St. Peter's. He fulfilled three commissions for new churches in Rome and nearby small towns. Best known is the small but richly ornamented oval church of Sant'Andrea al Quirinale, done for the Jesuit novitiate, representing one of the rare works of his hand with which Bernini's son, Domenico, reports that his father was truly and very pleased. Bernini also designed churches in Castelgandolfo and Ariccia, and was responsible for the re-modeling of the Santuario della Madonna di Galloro, endowing it with a majestic new facade.
When Bernini was invited to Paris in 1665 to prepare works for Louis XIV, he presented designs for the east facade of the Louvre Palace, but his projects were ultimately turned down in favour of the more sober and classic proposals of a committee consisting of three Frenchmen: Louis Le Vau, Charles Le Brun, and the doctor and amateur architect Claude Perrault, signaling the waning influence of Italian artistic hegemony in France. Bernini's projects were essentially rooted in the Italian Baroque urbanist tradition of relating public buildings to their settings, often leading to innovative architectural expression in urban spaces like piazze or squares. However, by this time, the French absolutist monarchy now preferred the classicising monumental severity of the Louvre's facade, no doubt with the added political bonus that it had been designed by a Frenchmen. The final version did, however, include Bernini's feature of a flat roof behind a Palladian balustrade.

Personal residences

During his lifetime Bernini lived in various residences throughout the city: principal among them, a palazzo right across from Santa Maria Maggiore and still extant at Via Liberiana 24, while his father was still alive; after his father's death in 1629, Bernini moved the clan to the long-ago-demolished Santa Marta neighborhood behind the apse of St. Peter's Basilica, which afforded him more convenient access to the Vatican Foundry and to his working studio also on the Vatican premises. In 1639, Bernini bought property on the corner of the via della Mercede and the via del Collegio di Propaganda Fide in Rome. This gave him the distinction of being the only one of two artists to be proprietor of his own large palatial residence, furnished as well with its own water supply. Bernini refurbished and expanded the existing palazzo on the Via della Mercede site, at what are now Nos. 11 and 12. Bernini lived at No. 11, but this was extensively remodeled in the 19th century. It is imagined that it must have been galling for Bernini to witness through the windows of his dwelling, the construction of the tower and dome of Sant'Andrea delle Fratte by his rival, Borromini, and also the demolition of the chapel that he, Bernini, had designed at the Collegio di Propaganda Fide to see it replaced by Borromini's chapel. The construction of Sant'Andrea, however, was completed by Bernini's close disciple, Mattia de' Rossi, and it contains the marble originals of two of Bernini's own angels executed by the master for the Ponte Sant'Angelo.

Fountains in Rome

True to the decorative dynamism of Baroque which loved the aesthetic pleasure and emotional delight afforded by the sight and sound of water in motion, among Bernini's most gifted and applauded creations were his Roman fountains, which were both utilitarian public works and personal monuments to their patrons, papal or otherwise. His first fountain, the 'Barcaccia' at the foot of the Spanish Steps, cleverly surmounted a challenge that Bernini was to face in several other fountain commissions, the low water pressure in many parts of Rome, creating a low-lying flat boat that was able to take greatest advantage of the small amount of water available. Another example is the long-ago dismantled "Woman Drying Her Hair" fountain that Bernini created for the no-longer-extant Villa Barberini ai Bastioni on the edge of the Janiculum Hill overlooking St. Peter's Basilica. His other fountains include the Fountain of the Triton, or Fontana del Tritone, and the Barberini Fountain of the Bees, the Fontana delle Api. The Fountain of the Four Rivers, or Fontana dei Quattro Fiumi, in the Piazza Navona is an exhilarating masterpiece of spectacle and political allegory in which Bernini again brilliantly overcame the problem of the piazza's low water pressure creating the illusion of an abundance of water that in reality did not exist. An oft-repeated, but false, anecdote tells that one of the Bernini's river gods defers his gaze in disapproval of the facade of Sant'Agnese in Agone, impossible because the fountain was built several years before the façade of the church was completed. Bernini was also the artist of the statue of the Moor in La Fontana del Moro in Piazza Navona.
Bernini's Triton Fountain is depicted musically in the second section of Ottorino Respighi's Fountains of Rome.

Tomb monuments and other works

Another major category of Bernini's activity was that of the tomb monument, a genre on which his distinctive new style exercised a decisive and long-enduring influence; included in this category are his tombs for Popes Urban VIII and Alexander VII, Cardinal Domenico Pimental, and Matilda of Canossa. Related to the tomb monument is the funerary memorial, of which Bernini executed several to be erected on the same site, and in 1665 he commissioned Bernini to create a sculpture to support the obelisk. The sculpture of an elephant bearing the obelisk on its back was executed by one of Bernini's students, Ercole Ferrata, upon a design by his master, and finished in 1667. An inscription on the base relates the Egyptian goddess Isis and the Roman goddess Minerva to the Virgin Mary, who supposedly supplanted those pagan goddesses and to whom the church is dedicated. A popular anecdote concerns the elephant's smile. To find out why it is smiling, legend has it, the viewer must examine the rear end of the animal and notice that its muscles are tensed and its tail is shifted to the left as if it were defecating. The animal's rear is pointed directly at one of the headquarters of the Dominican Order, housing the offices of its Inquisitors as well as the office of Father Giuseppe Paglia, a Dominican friar who was one of the main antagonists of Bernini, as a final salute and last word.
Among his minor commissions for non-Roman patrons or venues, in 1677 Bernini worked along with Ercole Ferrata to create a fountain for the Lisbon palace of the Portuguese nobleman, the Count of Ericeira: copying his earlier fountains, Bernini supplied the design of the fountain sculpted by Ferrata, featuring Neptune with four tritons around a basin. The fountain has survived and since 1945 has been outside the precincts of the gardens of the Palacio Nacional de Queluz, several miles outside of Lisbon.

Paintings and drawings

Bernini would have studied painting as a normal part of his artistic training begun in early adolescence under the guidance of his father, Pietro, in addition to some further training in the studio of the Florentine painter, Cigoli. His earliest activity as a painter was probably no more than a sporadic diversion practiced mainly in his youth, until the mid-1620s, that is, the beginning of the pontificate of Pope Urban VIII who ordered Bernini to study painting in greater earnest because the pontiff wanted him to decorate the Benediction Loggia of St. Peter's. The latter commission was never executed most likely because the required large-scale narrative compositions were simply beyond Bernini's ability as a painter. According to his early biographers, Baldinucci and Domenico Bernini, Bernini completed at least 150 canvases, mostly in the decades of the 1620s and 30s, but currently there are no more than 35-40 surviving paintings that can be confidently attributed to his hand. The extant, securely attributed works are mostly portraits, seen close up and set against an empty background, employing a confident, indeed brilliant, painterly brushstroke, free from any trace of pedantry, and a very limited palette of mostly warm, subdued colors with deep chiaroscuro. His work was immediately sought after by major collectors. Most noteworthy among these extant works are several, vividly penetrating self portraits, especially that in the Uffizi Gallery, Florence, purchased during Bernini's lifetime by Cardinal Leopoldo de' Medici. The only canvas that is securely dated is that of the Apostles Andrew and Thomas in London's National Gallery.
As for Bernini's drawings, about 300 still exist; but this is a minuscule percentage of the drawings he would have created in his lifetime; these include rapid sketches relating to major sculptural or architectural commissions, presentation drawings given as gifts to his patrons and aristocratic friends, and exquisite, fully finished portraits, such as those of Agostino Mascardi and Scipione Borghese and Sisinio Poli.

Disciples, collaborators, and rivals

Among the many sculptors who worked under his supervision were Luigi Bernini, Stefano Speranza, Giuliano Finelli, Andrea Bolgi, Giacomo Antonio Fancelli, Lazzaro Morelli, Francesco Baratta, Ercole Ferrata, the Frenchman Niccolò Sale, Giovanni Antonio Mari, Antonio Raggi, and Francois Duquesnoy. But his most trusted right-hand man in sculpture was Giulio Cartari, while in architecture it was Mattia de' Rossi, both of whom traveled to Paris with Bernini to assist him in his work there for King Louis XIV. Other architect disciples include Giovanni Battista Contini and Carlo Fontana while Swedish architect, Nicodemus Tessin the Younger, who visited Rome twice after Bernini's death, was also much influenced by him.
Among his rivals in architecture were, above all, Francesco Borromini and Pietro da Cortona. Early in their careers they had all worked at the same time at the Palazzo Barberini, initially under Carlo Maderno and, following his death, under Bernini. Later on, however, they were in competition for commissions, and fierce rivalries developed, particularly between Bernini and Borromini. In sculpture, Bernini competed with Alessandro Algardi and Francois Duquesnoy, but they both died decades earlier than Bernini, leaving Bernini effectively with no sculptor of his same exalted status in Rome. Francesco Mochi can also be included among Bernini's significant rivals, though he was not as accomplished in his art as Bernini, Algardi or Duquesnoy.
There was also a succession of painters who, working under the master's close guidance and at times according to his designs, produced canvases and frescos that were integral components of Bernini's larger multi-media works such as churches and chapels: Carlo Pellegrini, Guido Ubaldo Abbatini, Frenchman Guillaume Courtois, Ludovico Gimignani, and Giovanni Battista Gaulli. As far as Caravaggio is concerned, in all the voluminous Bernini sources, his name appears only once, in the Chantelou Diary which records Bernini's disparaging remark about him. However, how much Bernini really scorned Caravaggio's art is a matter of debate whereas arguments have been made in favor of a strong influence of Caravaggio on Bernini. Bernini would of course have heard much about Caravaggio and seen many of his works not only because in Rome at the time such contact was impossible to avoid, but also because during his own lifetime Caravaggio had come to the favorable attention of Bernini's own early patrons, both the Borghese and the Barberini. Indeed, much like Caravaggio, Bernini used a theatrical-like light as an important aesthetic and metaphorical device in his religious settings, often using hidden light sources that could intensify the focus of religious worship or enhance the dramatic moment of a sculptural narrative.

The first biographies

The most important primary source for the life of Bernini is the biography written by his youngest son, Domenico, entitled Vita del Cavalier Gio. Lorenzo Bernino, published in 1713 though first compiled in the last years of his father's life. Filippo Baldinucci's Life of Bernini, was published in 1682, and a meticulous private journal, the Diary of the Cavaliere Bernini's Visit to France, was kept by the Frenchman Paul Fréart de Chantelou during the artist's four-month stay from June through October 1665 at the court of King Louis XIV. Also, there is a short biographical narrative, The Vita Brevis of Gian Lorenzo Bernini, written by his eldest son, Monsignor Pietro Filippo Bernini, in the mid-1670s.
Until the late 20th century, it was generally believed that two years after Bernini's death, Queen Christina of Sweden, then living in Rome, commissioned Filippo Baldinucci to write his biography, which was published in Florence in 1682. However, recent research now strongly suggests that it was in fact Bernini's sons who commissioned the biography from Baldinucci sometime in the late 1670s, with the intent of publishing it while their father was still alive. This would mean that first, the commission did not at all originate in Queen Christina who would have merely lent her name as patron and secondly, that Baldinucci's narrative was largely derived from some pre-publication version of Domenico Bernini's much longer biography of his father, as evidenced by the extremely large amount of text repeated verbatim. As the most detailed account and the only one coming directly from a member of the artist's immediate family, Domenico's biography, despite having been published later than Baldinucci's, therefore represents the earliest and more important full-length biographical source of Bernini's life, even though it idealizes its subject and whitewashes a number of less-than-flattering facts about his life and personality.

Legacy

As one Bernini scholar has summarized, "Perhaps the most important result of all of the studies and research of these past few decades has been to restore to Bernini his status as the great, principal protagonist of Baroque art, the one who was able to create undisputed masterpieces, to interpret in an original and genial fashion the new spiritual sensibilities of the age, to give the city of Rome an entirely new face, and to unify the language of the times." Few artists have had as decisive an influence on the physical appearance and emotional tenor of a city as Bernini had on Rome. Maintaining a controlling influence over all aspects of his many and large commissions and over those who aided him in executing them, he was able to carry out his unique and harmoniously uniform vision over decades of work with his long and productive life. Although by the end of Bernini's life there was in motion a decided reaction against his brand of flamboyant Baroque, the fact is that sculptors and architects continued to study his works and be influenced by them for several more decades.
In the eighteenth century Bernini and virtually all Baroque artists fell from favor in the neoclassical criticism of the Baroque, that criticism aimed above all on the latter's supposedly extravagant departures from the pristine, sober models of Greek and Roman antiquity. It is only from the late nineteenth century that art historical scholarship, in seeking a more objective understanding of artistic output within the specific cultural context in which it was produced, without the a priori prejudices of neoclassicism, began to recognize Bernini's achievements and slowly began restore his artistic reputation. However, the reaction against Bernini and the too-sensual, too emotionally charged Baroque in the larger culture remained in effect until well into the twentieth century. Most of the popular eighteenth- and nineteenth-century tourist's guides to Rome all but ignore Bernini and his work, or treat it with disdain, as in the case of the best-selling Walks in Rome by Augustus J.C. Hare, who describes the angels on the Ponte Sant'Angelo as 'Bernini's Breezy Maniacs.'
But now in the twenty-first century, Bernini and his Baroque have now been enthusiastically restored to favor, both critical and popular. Since the anniversary year of his birth in 1998, there have been numerous Bernini exhibitions throughout the world, especially Europe and North America, on all aspects of his work, expanding our knowledge of his work and its influence. In the late twentieth century, Bernini was commemorated on the front of the
:File:Lire 50000.JPG|Banca d'Italia 50,000 lire banknote in the 1980s and 90s
with the back showing his equestrian statue of Constantine. Another outstanding sign of Bernini's enduring reputation came in the decision by architect I.M. Pei to insert a faithful copy in lead of his King Louis XIV Equestrian statue as the sole ornamental element in his massive modernist redesign of the entrance plaza to the Louvre Museum, completed to great acclaim in 1989, and featuring the giant Louvre Pyramid in glass. In 2000 best-selling novelist, Dan Brown, made Bernini and several of his Roman works, the centerpiece of his political thriller, Angels & Demons, while British novelist Iain Pears made a missing Bernini bust the centerpiece of his best-selling murder mystery, The Bernini Bust.

Selected works

Sculpture

Citations