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class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Youth"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1</span> <span>Youth</span> </div> </a> <ul id="toc-Youth-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Partnership_with_Scipione_Borghese" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Partnership_with_Scipione_Borghese"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.2</span> <span>Partnership with Scipione Borghese</span> </div> </a> <ul id="toc-Partnership_with_Scipione_Borghese-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Papal_artist:_the_pontificate_of_Urban_VIII" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Papal_artist:_the_pontificate_of_Urban_VIII"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.3</span> <span>Papal artist: the pontificate of Urban VIII</span> </div> </a> <ul id="toc-Papal_artist:_the_pontificate_of_Urban_VIII-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Temporary_eclipse_and_resurgence_under_Innocent_X" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Temporary_eclipse_and_resurgence_under_Innocent_X"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.4</span> <span>Temporary eclipse and resurgence under Innocent X</span> </div> </a> <ul id="toc-Temporary_eclipse_and_resurgence_under_Innocent_X-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Embellishment_of_Rome_under_Alexander_VII" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Embellishment_of_Rome_under_Alexander_VII"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.5</span> <span>Embellishment of Rome under Alexander VII</span> </div> </a> <ul id="toc-Embellishment_of_Rome_under_Alexander_VII-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Visit_to_France_and_service_to_King_Louis_XIV" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Visit_to_France_and_service_to_King_Louis_XIV"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.6</span> <span>Visit to France and service to King Louis XIV</span> </div> </a> <ul id="toc-Visit_to_France_and_service_to_King_Louis_XIV-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Later_years_and_death" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Later_years_and_death"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.7</span> <span>Later years and death</span> </div> </a> <ul id="toc-Later_years_and_death-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Personal_life" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Personal_life"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Personal life</span> </div> </a> <button aria-controls="toc-Personal_life-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Personal life subsection</span> </button> <ul id="toc-Personal_life-sublist" class="vector-toc-list"> <li id="toc-Personal_residences" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Personal_residences"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.1</span> <span>Personal residences</span> </div> </a> <ul id="toc-Personal_residences-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Works_of_art,_architecture,_and_mixed_genre" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Works_of_art,_architecture,_and_mixed_genre"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Works of art, architecture, and mixed genre</span> </div> </a> <button aria-controls="toc-Works_of_art,_architecture,_and_mixed_genre-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Works of art, architecture, and mixed genre subsection</span> </button> <ul id="toc-Works_of_art,_architecture,_and_mixed_genre-sublist" class="vector-toc-list"> <li id="toc-Sculpture" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sculpture"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1</span> <span>Sculpture</span> </div> </a> <ul id="toc-Sculpture-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Architecture" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Architecture"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2</span> <span>Architecture</span> </div> </a> <ul id="toc-Architecture-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Fountains" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Fountains"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.3</span> <span>Fountains</span> </div> </a> <ul id="toc-Fountains-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Tomb_monuments_and_other_works" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Tomb_monuments_and_other_works"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.4</span> <span>Tomb monuments and other works</span> </div> </a> <ul id="toc-Tomb_monuments_and_other_works-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Paintings,_drawings,_and_work_for_the_theater" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Paintings,_drawings,_and_work_for_the_theater"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.5</span> <span>Paintings, drawings, and work for the theater</span> </div> </a> <ul id="toc-Paintings,_drawings,_and_work_for_the_theater-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Influence_and_post-mortem_reputation" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Influence_and_post-mortem_reputation"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Influence and post-mortem reputation</span> </div> </a> <button aria-controls="toc-Influence_and_post-mortem_reputation-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Influence and post-mortem reputation subsection</span> </button> <ul id="toc-Influence_and_post-mortem_reputation-sublist" class="vector-toc-list"> <li id="toc-Disciples,_collaborators,_and_rivals" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Disciples,_collaborators,_and_rivals"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.1</span> <span>Disciples, collaborators, and rivals</span> </div> </a> <ul id="toc-Disciples,_collaborators,_and_rivals-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-First_biographies" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#First_biographies"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.2</span> <span>First biographies</span> </div> </a> <ul id="toc-First_biographies-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Legacy" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Legacy"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.3</span> <span>Legacy</span> </div> </a> <ul id="toc-Legacy-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Gallery" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Gallery"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Gallery</span> </div> </a> <ul id="toc-Gallery-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Selected_works" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Selected_works"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Selected works</span> </div> </a> <button aria-controls="toc-Selected_works-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Selected works subsection</span> </button> <ul id="toc-Selected_works-sublist" class="vector-toc-list"> <li id="toc-Sculpture_2" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sculpture_2"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.1</span> <span>Sculpture</span> </div> </a> <ul id="toc-Sculpture_2-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Architecture_and_fountains" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Architecture_and_fountains"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.2</span> <span>Architecture and fountains</span> </div> </a> <ul id="toc-Architecture_and_fountains-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Paintings" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Paintings"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.3</span> <span>Paintings</span> </div> </a> <ul id="toc-Paintings-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>References</span> </div> </a> <button aria-controls="toc-References-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle References subsection</span> </button> <ul id="toc-References-sublist" class="vector-toc-list"> <li id="toc-Bibliography" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Bibliography"> <div class="vector-toc-text"> <span class="vector-toc-numb">7.1</span> <span>Bibliography</span> </div> </a> <ul id="toc-Bibliography-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Gian Lorenzo Bernini</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 74 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-74" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">74 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Afrikaans" lang="af" hreflang="af" data-title="Gian Lorenzo Bernini" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target"><span>Afrikaans</span></a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%AC%D8%A7%D9%86_%D9%84%D9%88%D8%B1%D9%8A%D9%86%D8%B2%D9%88_%D8%A8%D8%B1%D9%86%D9%8A%D9%86%D9%8A" title="جان لورينزو برنيني – Arabic" lang="ar" hreflang="ar" data-title="جان لورينزو برنيني" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Asturian" lang="ast" hreflang="ast" data-title="Gian Lorenzo Bernini" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target"><span>Asturianu</span></a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Covanni_Lorenso_Bernini" title="Covanni Lorenso Bernini – Azerbaijani" lang="az" hreflang="az" data-title="Covanni Lorenso Bernini" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target"><span>Azərbaycanca</span></a></li><li class="interlanguage-link interwiki-ba mw-list-item"><a href="https://ba.wikipedia.org/wiki/%D0%94%D0%B6%D0%BE%D0%B2%D0%B0%D0%BD%D0%BD%D0%B8_%D0%9B%D0%BE%D1%80%D0%B5%D0%BD%D1%86%D0%BE_%D0%91%D0%B5%D1%80%D0%BD%D0%B8%D0%BD%D0%B8" title="Джованни Лоренцо Бернини – Bashkir" lang="ba" hreflang="ba" data-title="Джованни Лоренцо Бернини" data-language-autonym="Башҡортса" data-language-local-name="Bashkir" class="interlanguage-link-target"><span>Башҡортса</span></a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B2%D0%B0%D0%BD%D1%96_%D0%9B%D0%B0%D1%80%D1%8D%D0%BD%D1%86%D0%B0_%D0%91%D0%B5%D1%80%D0%BD%D1%96%D0%BD%D1%96" title="Джавані Ларэнца Берніні – Belarusian" lang="be" hreflang="be" data-title="Джавані Ларэнца Берніні" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target"><span>Беларуская</span></a></li><li class="interlanguage-link interwiki-be-x-old mw-list-item"><a href="https://be-tarask.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B2%D0%B0%D0%BD%D1%8C%D0%BD%D1%96_%D0%9B%D1%8F%D1%80%D1%8D%D0%BD%D1%86%D0%B0_%D0%91%D1%8D%D1%80%D0%BD%D1%96%D0%BD%D1%96" title="Джаваньні Лярэнца Бэрніні – Belarusian (Taraškievica orthography)" lang="be-tarask" hreflang="be-tarask" data-title="Джаваньні Лярэнца Бэрніні" data-language-autonym="Беларуская (тарашкевіца)" data-language-local-name="Belarusian (Taraškievica orthography)" class="interlanguage-link-target"><span>Беларуская (тарашкевіца)</span></a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%94%D0%B6%D0%BE%D0%B2%D0%B0%D0%BD%D0%B8_%D0%9B%D0%BE%D1%80%D0%B5%D0%BD%D1%86%D0%BE_%D0%91%D0%B5%D1%80%D0%BD%D0%B8%D0%BD%D0%B8" title="Джовани Лоренцо Бернини – Bulgarian" lang="bg" hreflang="bg" data-title="Джовани Лоренцо Бернини" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target"><span>Български</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Catalan" lang="ca" hreflang="ca" data-title="Gian Lorenzo Bernini" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Czech" lang="cs" hreflang="cs" data-title="Gian Lorenzo Bernini" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Welsh" lang="cy" hreflang="cy" data-title="Gian Lorenzo Bernini" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target"><span>Cymraeg</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Giovanni_Lorenzo_Bernini" title="Giovanni Lorenzo Bernini – Danish" lang="da" hreflang="da" data-title="Giovanni Lorenzo Bernini" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – German" lang="de" hreflang="de" data-title="Gian Lorenzo Bernini" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Estonian" lang="et" hreflang="et" data-title="Gian Lorenzo Bernini" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%A4%CE%B6%CE%B1%CE%BD_%CE%9B%CE%BF%CF%81%CE%AD%CE%BD%CF%84%CF%83%CE%BF_%CE%9C%CF%80%CE%B5%CF%81%CE%BD%CE%AF%CE%BD%CE%B9" title="Τζαν Λορέντσο Μπερνίνι – Greek" lang="el" hreflang="el" data-title="Τζαν Λορέντσο Μπερνίνι" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target"><span>Ελληνικά</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Spanish" lang="es" hreflang="es" data-title="Gian Lorenzo Bernini" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Esperanto" lang="eo" hreflang="eo" data-title="Gian Lorenzo Bernini" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Basque" lang="eu" hreflang="eu" data-title="Gian Lorenzo Bernini" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target"><span>Euskara</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%AC%D8%A7%D9%86_%D9%84%D9%88%D8%B1%D9%86%D8%AA%D8%B3%D9%88_%D8%A8%D8%B1%D9%86%DB%8C%D9%86%DB%8C" title="جان لورنتسو برنینی – Persian" lang="fa" hreflang="fa" data-title="جان لورنتسو برنینی" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Le_Bernin" title="Le Bernin – French" lang="fr" hreflang="fr" data-title="Le Bernin" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Irish" lang="ga" hreflang="ga" data-title="Gian Lorenzo Bernini" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target"><span>Gaeilge</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Galician" lang="gl" hreflang="gl" data-title="Gian Lorenzo Bernini" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%9E%94_%EB%A1%9C%EB%A0%8C%EC%B4%88_%EB%B2%A0%EB%A5%B4%EB%8B%88%EB%8B%88" title="잔 로렌초 베르니니 – Korean" lang="ko" hreflang="ko" data-title="잔 로렌초 베르니니" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D4%BC%D5%B8%D6%80%D5%A5%D5%B6%D6%81%D5%B8_%D4%B2%D5%A5%D6%80%D5%B6%D5%AB%D5%B6%D5%AB" title="Լորենցո Բերնինի – Armenian" lang="hy" hreflang="hy" data-title="Լորենցո Բերնինի" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-hi mw-list-item"><a href="https://hi.wikipedia.org/wiki/%E0%A4%9C%E0%A4%BF%E0%A4%AF%E0%A4%BE%E0%A4%A8_%E0%A4%B2%E0%A5%8B%E0%A4%B0%E0%A5%87%E0%A4%82%E0%A4%9C%E0%A5%8B_%E0%A4%AC%E0%A5%87%E0%A4%B0%E0%A5%8D%E0%A4%A8%E0%A4%BF%E0%A4%A8%E0%A5%80" title="जियान लोरेंजो बेर्निनी – Hindi" lang="hi" hreflang="hi" data-title="जियान लोरेंजो बेर्निनी" data-language-autonym="हिन्दी" data-language-local-name="Hindi" class="interlanguage-link-target"><span>हिन्दी</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Croatian" lang="hr" hreflang="hr" data-title="Gian Lorenzo Bernini" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-io mw-list-item"><a href="https://io.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Ido" lang="io" hreflang="io" data-title="Gian Lorenzo Bernini" data-language-autonym="Ido" data-language-local-name="Ido" class="interlanguage-link-target"><span>Ido</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Indonesian" lang="id" hreflang="id" data-title="Gian Lorenzo Bernini" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Italian" lang="it" hreflang="it" data-title="Gian Lorenzo Bernini" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%92%27%D7%95%D7%91%D7%90%D7%A0%D7%99_%D7%9C%D7%95%D7%A8%D7%A0%D7%A6%D7%95_%D7%91%D7%A8%D7%A0%D7%99%D7%A0%D7%99" title="ג'ובאני לורנצו ברניני – Hebrew" lang="he" hreflang="he" data-title="ג'ובאני לורנצו ברניני" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-pam mw-list-item"><a href="https://pam.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Pampanga" lang="pam" hreflang="pam" data-title="Gian Lorenzo Bernini" data-language-autonym="Kapampangan" data-language-local-name="Pampanga" class="interlanguage-link-target"><span>Kapampangan</span></a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%AF%E1%83%9D%E1%83%95%E1%83%90%E1%83%9C%E1%83%98_%E1%83%9A%E1%83%9D%E1%83%A0%E1%83%94%E1%83%9C%E1%83%AA%E1%83%9D_%E1%83%91%E1%83%94%E1%83%A0%E1%83%9C%E1%83%98%E1%83%9C%E1%83%98" title="ჯოვანი ლორენცო ბერნინი – Georgian" lang="ka" hreflang="ka" data-title="ჯოვანი ლორენცო ბერნინი" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target"><span>ქართული</span></a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%9B%D0%BE%D1%80%D0%B5%D0%BD%D1%86%D0%BE_%D0%91%D0%B5%D1%80%D0%BD%D0%B8%D0%BD%D0%B8" title="Лоренцо Бернини – Kazakh" lang="kk" hreflang="kk" data-title="Лоренцо Бернини" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target"><span>Қазақша</span></a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Ioannes_Laurentius_Bernini" title="Ioannes Laurentius Bernini – Latin" lang="la" hreflang="la" data-title="Ioannes Laurentius Bernini" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target"><span>Latina</span></a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/D%C5%BEovanni_Lorenco_Bern%C4%ABni" title="Džovanni Lorenco Bernīni – Latvian" lang="lv" hreflang="lv" data-title="Džovanni Lorenco Bernīni" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target"><span>Latviešu</span></a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Lithuanian" lang="lt" hreflang="lt" data-title="Gian Lorenzo Bernini" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target"><span>Lietuvių</span></a></li><li class="interlanguage-link interwiki-olo mw-list-item"><a href="https://olo.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Livvi-Karelian" lang="olo" hreflang="olo" data-title="Gian Lorenzo Bernini" data-language-autonym="Livvinkarjala" data-language-local-name="Livvi-Karelian" class="interlanguage-link-target"><span>Livvinkarjala</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Giovanni_Lorenzo_Bernini" title="Giovanni Lorenzo Bernini – Hungarian" lang="hu" hreflang="hu" data-title="Giovanni Lorenzo Bernini" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%8F%D0%B0%D0%BD_%D0%9B%D0%BE%D1%80%D0%B5%D0%BD%D1%86%D0%BE_%D0%91%D0%B5%D1%80%D0%BD%D0%B8%D0%BD%D0%B8" title="Џан Лоренцо Бернини – Macedonian" lang="mk" hreflang="mk" data-title="Џан Лоренцо Бернини" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target"><span>Македонски</span></a></li><li class="interlanguage-link interwiki-mg mw-list-item"><a href="https://mg.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Malagasy" lang="mg" hreflang="mg" data-title="Gian Lorenzo Bernini" data-language-autonym="Malagasy" data-language-local-name="Malagasy" class="interlanguage-link-target"><span>Malagasy</span></a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D8%AC%D8%A7%D9%86_%D9%84%D9%88%D8%B1%D9%8A%D9%86%D8%B2%D9%88_%D8%A8%D8%B1%D9%86%D9%8A%D9%86%D9%89" title="جان لورينزو برنينى – Egyptian Arabic" lang="arz" hreflang="arz" data-title="جان لورينزو برنينى" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target"><span>مصرى</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Dutch" lang="nl" hreflang="nl" data-title="Gian Lorenzo Bernini" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%B8%E3%83%A3%E3%83%B3%E3%83%BB%E3%83%AD%E3%83%AC%E3%83%B3%E3%83%84%E3%82%A9%E3%83%BB%E3%83%99%E3%83%AB%E3%83%8B%E3%83%BC%E3%83%8B" title="ジャン・ロレンツォ・ベルニーニ – Japanese" lang="ja" hreflang="ja" data-title="ジャン・ロレンツォ・ベルニーニ" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no badge-Q17437798 badge-goodarticle mw-list-item" title="good article badge"><a href="https://no.wikipedia.org/wiki/Giovanni_Lorenzo_Bernini" title="Giovanni Lorenzo Bernini – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Giovanni Lorenzo Bernini" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Giovanni_Lorenzo_Bernini" title="Giovanni Lorenzo Bernini – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Giovanni Lorenzo Bernini" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Bernini_Jovanni_Lorenso" title="Bernini Jovanni Lorenso – Uzbek" lang="uz" hreflang="uz" data-title="Bernini Jovanni Lorenso" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target"><span>Oʻzbekcha / ўзбекча</span></a></li><li class="interlanguage-link interwiki-pa mw-list-item"><a href="https://pa.wikipedia.org/wiki/%E0%A8%9C%E0%A8%BF%E0%A8%86%E0%A8%A8_%E0%A8%B2%E0%A9%8B%E0%A8%B0%E0%A9%87%E0%A8%82%E0%A8%9C%E0%A8%BC%E0%A9%8B_%E0%A8%AC%E0%A9%87%E0%A8%B0%E0%A8%A8%E0%A8%BF%E0%A8%A8%E0%A9%80" title="ਜਿਆਨ ਲੋਰੇਂਜ਼ੋ ਬੇਰਨਿਨੀ – Punjabi" lang="pa" hreflang="pa" data-title="ਜਿਆਨ ਲੋਰੇਂਜ਼ੋ ਬੇਰਨਿਨੀ" data-language-autonym="ਪੰਜਾਬੀ" data-language-local-name="Punjabi" class="interlanguage-link-target"><span>ਪੰਜਾਬੀ</span></a></li><li class="interlanguage-link interwiki-pms mw-list-item"><a href="https://pms.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Piedmontese" lang="pms" hreflang="pms" data-title="Gian Lorenzo Bernini" data-language-autonym="Piemontèis" data-language-local-name="Piedmontese" class="interlanguage-link-target"><span>Piemontèis</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Giovanni_Lorenzo_Bernini" title="Giovanni Lorenzo Bernini – Polish" lang="pl" hreflang="pl" data-title="Giovanni Lorenzo Bernini" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Portuguese" lang="pt" hreflang="pt" data-title="Gian Lorenzo Bernini" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Romanian" lang="ro" hreflang="ro" data-title="Gian Lorenzo Bernini" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-qu mw-list-item"><a href="https://qu.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Quechua" lang="qu" hreflang="qu" data-title="Gian Lorenzo Bernini" data-language-autonym="Runa Simi" data-language-local-name="Quechua" class="interlanguage-link-target"><span>Runa Simi</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%91%D0%B5%D1%80%D0%BD%D0%B8%D0%BD%D0%B8,_%D0%94%D0%B6%D0%BE%D0%B2%D0%B0%D0%BD%D0%BD%D0%B8_%D0%9B%D0%BE%D1%80%D0%B5%D0%BD%D1%86%D0%BE" title="Бернини, Джованни Лоренцо – Russian" lang="ru" hreflang="ru" data-title="Бернини, Джованни Лоренцо" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sq mw-list-item"><a href="https://sq.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Albanian" lang="sq" hreflang="sq" data-title="Gian Lorenzo Bernini" data-language-autonym="Shqip" data-language-local-name="Albanian" class="interlanguage-link-target"><span>Shqip</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Simple English" lang="en-simple" hreflang="en-simple" data-title="Gian Lorenzo Bernini" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Slovak" lang="sk" hreflang="sk" data-title="Gian Lorenzo Bernini" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target"><span>Slovenčina</span></a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Slovenian" lang="sl" hreflang="sl" data-title="Gian Lorenzo Bernini" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target"><span>Slovenščina</span></a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D8%AC%D8%A7%D9%86_%D9%84%DB%86%D8%B1%DB%8E%D9%86%D8%B2%DB%86_%D8%A8%DB%8E%D8%B1%D9%86%DB%8C%D9%86%DB%8C" title="جان لۆرێنزۆ بێرنینی – Central Kurdish" lang="ckb" hreflang="ckb" data-title="جان لۆرێنزۆ بێرنینی" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target"><span>کوردی</span></a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%82%D0%BE%D0%B2%D0%B0%D0%BD%D0%B8_%D0%9B%D0%BE%D1%80%D0%B5%D0%BD%D1%86%D0%BE_%D0%91%D0%B5%D1%80%D0%BD%D0%B8%D0%BD%D0%B8" title="Ђовани Лоренцо Бернини – Serbian" lang="sr" hreflang="sr" data-title="Ђовани Лоренцо Бернини" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target"><span>Српски / srpski</span></a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Gian Lorenzo Bernini" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target"><span>Srpskohrvatski / српскохрватски</span></a></li><li class="interlanguage-link interwiki-fi badge-Q17559452 badge-recommendedarticle mw-list-item" title="recommended article"><a href="https://fi.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Finnish" lang="fi" hreflang="fi" data-title="Gian Lorenzo Bernini" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Giovanni_Lorenzo_Bernini" title="Giovanni Lorenzo Bernini – Swedish" lang="sv" hreflang="sv" data-title="Giovanni Lorenzo Bernini" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-tl mw-list-item"><a href="https://tl.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Tagalog" lang="tl" hreflang="tl" data-title="Gian Lorenzo Bernini" data-language-autonym="Tagalog" data-language-local-name="Tagalog" class="interlanguage-link-target"><span>Tagalog</span></a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%88%E0%B8%B1%E0%B8%99_%E0%B9%82%E0%B8%A5%E0%B9%80%E0%B8%A3%E0%B8%99%E0%B9%82%E0%B8%8B_%E0%B9%81%E0%B8%9A%E0%B8%A3%E0%B9%8C%E0%B8%99%E0%B8%B5%E0%B8%99%E0%B8%B5" title="จัน โลเรนโซ แบร์นีนี – Thai" lang="th" hreflang="th" data-title="จัน โลเรนโซ แบร์นีนี" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target"><span>ไทย</span></a></li><li class="interlanguage-link interwiki-tg mw-list-item"><a href="https://tg.wikipedia.org/wiki/%D0%91%D0%B5%D1%80%D0%BD%D0%B8%D0%BD%D0%B8,_%D2%B6%D0%BE%D0%B2%D0%B0%D0%BD%D0%BD%D0%B8_%D0%9B%D0%BE%D1%80%D0%B5%D0%BD%D1%81%D0%BE" title="Бернини, Ҷованни Лоренсо – Tajik" lang="tg" hreflang="tg" data-title="Бернини, Ҷованни Лоренсо" data-language-autonym="Тоҷикӣ" data-language-local-name="Tajik" class="interlanguage-link-target"><span>Тоҷикӣ</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Gian_Lorenzo_Bernini" title="Gian Lorenzo Bernini – Turkish" lang="tr" hreflang="tr" data-title="Gian Lorenzo Bernini" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a 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id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Italian sculptor and architect (1598–1680)</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">"Bernini" redirects here. For other uses, see <a href="/wiki/Bernini_(disambiguation)" class="mw-disambig" title="Bernini (disambiguation)">Bernini (disambiguation)</a>.</div> <p class="mw-empty-elt"> </p> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox biography vcard"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:125%;"><div class="fn">Gian Lorenzo Bernini</div></th></tr><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><a href="/wiki/File:Gian_Lorenzo_Bernini,_self-portrait,_c1623.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d5/Gian_Lorenzo_Bernini%2C_self-portrait%2C_c1623.jpg/220px-Gian_Lorenzo_Bernini%2C_self-portrait%2C_c1623.jpg" decoding="async" width="220" height="286" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d5/Gian_Lorenzo_Bernini%2C_self-portrait%2C_c1623.jpg/330px-Gian_Lorenzo_Bernini%2C_self-portrait%2C_c1623.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d5/Gian_Lorenzo_Bernini%2C_self-portrait%2C_c1623.jpg/440px-Gian_Lorenzo_Bernini%2C_self-portrait%2C_c1623.jpg 2x" data-file-width="3485" data-file-height="4532" /></a></span><div class="infobox-caption">Self-portrait of Bernini, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1623</span>, <a href="/wiki/Galleria_Borghese" title="Galleria Borghese">Galleria Borghese</a>, Rome</div></td></tr><tr><th scope="row" class="infobox-label">Born</th><td class="infobox-data"><div style="display:inline" class="nickname">Gian Lorenzo Bernini</div><br /><span style="display:none">(<span class="bday">1598-12-07</span>)</span>7 December 1598<br /><div style="display:inline" class="birthplace"><a href="/wiki/Naples" title="Naples">Naples</a>, <a href="/wiki/Kingdom_of_Naples" title="Kingdom of Naples">Kingdom of Naples</a></div></td></tr><tr><th scope="row" class="infobox-label">Died</th><td class="infobox-data">28 November 1680<span style="display:none">(1680-11-28)</span> (aged 81)<br /><div style="display:inline" class="deathplace">Rome, <a href="/wiki/Papal_States" title="Papal States">Papal States</a></div></td></tr><tr><th scope="row" class="infobox-label">Known for</th><td class="infobox-data"><a href="/wiki/List_of_works_by_Gian_Lorenzo_Bernini" title="List of works by Gian Lorenzo Bernini">Sculpture, painting, architecture</a></td></tr><tr><th scope="row" class="infobox-label"><span style="white-space:nowrap;">Notable work</span></th><td class="infobox-data"><i><a href="/wiki/David_(Bernini)" title="David (Bernini)">David</a></i>, <i><a href="/wiki/Apollo_and_Daphne_(Bernini)" title="Apollo and Daphne (Bernini)">Apollo and Daphne</a></i>, <i><a href="/wiki/The_Rape_of_Proserpina" title="The Rape of Proserpina">The Rape of Proserpina</a></i>, <i><a href="/wiki/Ecstasy_of_Saint_Teresa" title="Ecstasy of Saint Teresa">Ecstasy of Saint Teresa</a></i></td></tr><tr><th scope="row" class="infobox-label">Movement</th><td class="infobox-data category"><a href="/wiki/Baroque_style" class="mw-redirect" title="Baroque style">Baroque style</a></td></tr><tr><td colspan="2" class="infobox-full-data"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1257001546"></td></tr><tr><th scope="row" class="infobox-label"><span style="white-space:nowrap;">Patron(s)</span></th><td class="infobox-data"><a href="/wiki/Cardinal_(Catholic_Church)" title="Cardinal (Catholic Church)">Cardinal</a> <a href="/wiki/Scipione_Borghese" title="Scipione Borghese">Scipione Borghese</a></td></tr><tr style="display:none"><td colspan="2"> </td></tr></tbody></table> <p><b>Gian Lorenzo</b> (or <b>Gianlorenzo</b>) <b>Bernini</b> (<span class="rt-commentedText nowrap"><style data-mw-deduplicate="TemplateStyles:r1177148991">.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}</style><span class="IPA-label IPA-label-small"><a href="/wiki/British_English" title="British English">UK</a>: </span><span class="IPA nopopups noexcerpt" lang="en-fonipa"><a href="/wiki/Help:IPA/English" title="Help:IPA/English">/<span style="border-bottom:1px dotted"><span title="'b' in 'buy'">b</span><span title="/ɛər/: 'are' in 'bare'">ɛər</span><span title="/ˈ/: primary stress follows">ˈ</span><span title="'n' in 'nigh'">n</span><span title="/iː/: 'ee' in 'fleece'">iː</span><span title="'n' in 'nigh'">n</span><span title="/i/: 'y' in 'happy'">i</span></span>/</a></span></span>, <span class="rt-commentedText nowrap"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1177148991"><span class="IPA-label IPA-label-small"><a href="/wiki/American_English" title="American English">US</a>: </span><span class="IPA nopopups noexcerpt" lang="en-fonipa"><a href="/wiki/Help:IPA/English" title="Help:IPA/English">/<span style="border-bottom:1px dotted"><span title="'b' in 'buy'">b</span><span title="/ər/: 'er' in 'letter'">ər</span><span title="/ˈ/: primary stress follows">ˈ</span></span>-/</a></span></span>; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1177148991"><span class="IPA-label IPA-label-small">Italian:</span> <span class="IPA nowrap" lang="it-Latn-fonipa"><a href="/wiki/Help:IPA/Italian" title="Help:IPA/Italian">[ˈdʒan<span class="wrap"> </span>loˈrɛntso<span class="wrap"> </span>berˈniːni]</a></span>; Italian <b>Giovanni Lorenzo</b>; 7 December 1598 – 28 November 1680) was an Italian sculptor and architect. While a major figure in the world of architecture, he was more prominently the leading sculptor of his age, credited with creating the <a href="/wiki/Baroque_sculpture" title="Baroque sculpture">Baroque style of sculpture</a>. </p><p>As one scholar has commented, "What <a href="/wiki/Shakespeare" class="mw-redirect" title="Shakespeare">Shakespeare</a> 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 ..."<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> In addition, he was a painter (mostly small canvases in oil) and a man of the theatre: he wrote, directed and acted in plays (mostly Carnival satires), 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. </p><p>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 (in stucco and wood) for funerals and festivals. His broad technical versatility, boundless compositional inventiveness and sheer skill in manipulating <a href="/wiki/Marble_sculpture" title="Marble sculpture">marble</a> ensured that he would be considered a worthy successor of <a href="/wiki/Michelangelo" title="Michelangelo">Michelangelo</a>, 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 <a href="/wiki/Irving_Lavin" title="Irving Lavin">Irving Lavin</a> the "unity of the visual arts".<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Biography">Biography</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=1" title="Edit section: Biography"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Pietro_Bernini.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/93/Pietro_Bernini.jpg/180px-Pietro_Bernini.jpg" decoding="async" width="180" height="237" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/93/Pietro_Bernini.jpg/270px-Pietro_Bernini.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/93/Pietro_Bernini.jpg/360px-Pietro_Bernini.jpg 2x" data-file-width="380" data-file-height="500" /></a><figcaption>Portrait of <a href="/wiki/Pietro_Bernini" title="Pietro Bernini">Pietro Bernini</a>, father of Gian Lorenzo</figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Youth">Youth</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=2" title="Edit section: Youth"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Bernini was born on 7 December 1598 in <a href="/wiki/Naples" title="Naples">Naples</a> to Angelica Galante, a Neapolitan, and <a href="/wiki/Mannerism" title="Mannerism">Mannerist</a> sculptor <a href="/wiki/Pietro_Bernini" title="Pietro Bernini">Pietro Bernini</a>, originally from <a href="/wiki/Florence" title="Florence">Florence</a>. He was the sixth of their thirteen children.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Gian Lorenzo Bernini was "recognized as a prodigy when he was only eight years old, [and] he was consistently encouraged by his father, Pietro. His precocity earned him the admiration and favour of powerful patrons who hailed him as 'the Michelangelo of his century'”.<sup id="cite_ref-FOOTNOTEPosèq2006161–190_4-0" class="reference"><a href="#cite_note-FOOTNOTEPosèq2006161–190-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> More specifically, it was <a href="/wiki/Pope_Paul_V" title="Pope Paul V">Pope Paul V</a>, who after first attesting to the boy Bernini's talent, famously remarked, 'This child will be the Michelangelo of his age,' later repeating that prophecy to Cardinal Maffeo Barberini (the future <a href="/wiki/Pope_Urban_VIII" title="Pope Urban VIII">Pope Urban VIII</a>), as Domenico Bernini reports in his biography of his father.<sup id="cite_ref-FOOTNOTEMormando201198,_100_5-0" class="reference"><a href="#cite_note-FOOTNOTEMormando201198,_100-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> In 1606 his father received a papal commission (to contribute a marble relief to the Cappella Paolina of <a href="/wiki/Santa_Maria_Maggiore" title="Santa Maria Maggiore">Santa Maria Maggiore</a>) and so moved from Naples to Rome, taking his entire family with him and continuing in earnest the training of his son Gian Lorenzo. </p><p>Several extant works, dating circa 1615–1620, are by general scholarly consensus, collaborative efforts by both father and son: they include the <i>Faun Teased by Putti</i> (c. 1615, <a href="/wiki/Metropolitan_Museum" class="mw-redirect" title="Metropolitan Museum">Metropolitan Museum</a>, NYC), <i>Boy with a Dragon</i> (c. 1616–17, <a href="/wiki/Getty_Museum" class="mw-redirect" title="Getty Museum">Getty Museum</a>, Los Angeles), the Aldobrandini <i>Four Seasons</i> (c. 1620, private collection), and the recently discovered <i>Bust of the Savior</i> (1615–16, New York, private collection).<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> Sometime after the arrival of the Bernini family in Rome, word about the great talent of the boy Gian Lorenzo spread throughout the city and he soon caught the attention of Cardinal <a href="/wiki/Scipione_Borghese" title="Scipione Borghese">Scipione Borghese</a>, 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 marvelling pope, and this was the beginning of the pope's attention on this young talent.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p><p>Once he was brought to Rome, he rarely left its walls, except (much against his will) for a five-month stay in Paris in the service of King <a href="/wiki/Louis_XIV" title="Louis XIV">Louis XIV</a> and brief trips to nearby towns (including <a href="/wiki/Civitavecchia" title="Civitavecchia">Civitavecchia</a>, <a href="/wiki/Tivoli,_Lazio" title="Tivoli, Lazio">Tivoli</a> and <a href="/wiki/Castelgandolfo" class="mw-redirect" title="Castelgandolfo">Castelgandolfo</a>), 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."<sup id="cite_ref-FOOTNOTEBriggs1915197–202_8-0" class="reference"><a href="#cite_note-FOOTNOTEBriggs1915197–202-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Counter_Reformation" class="mw-redirect" title="Counter Reformation">Counter Reformation</a> Catholic Church. Certainly, Bernini was a man of his times and deeply religious (at least later in life),<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> 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, <a href="/wiki/Rudolf_Wittkower" title="Rudolf Wittkower">Rudolf Wittkower</a>, <a href="/wiki/Howard_Hibbard" title="Howard Hibbard">Howard Hibbard</a>, and <a href="/wiki/Irving_Lavin" title="Irving Lavin">Irving Lavin</a>.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> As <a href="/wiki/Tomaso_Montanari" title="Tomaso Montanari">Tomaso Montanari</a>'s recent revisionist monograph, <i>La libertà di Bernini</i> (Turin: Einaudi, 2016) argues and <a href="/wiki/Franco_Mormando" title="Franco Mormando">Franco Mormando</a>'s anti-hagiographic biography, <i>Bernini: His Life and His Rome</i> (Chicago: University of Chicago Press, 2011), illustrates, Bernini and his artistic vision maintained a certain degree of freedom from the mindset and mores of Counter-Reformation Roman Catholicism. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Pope_Paul_V_Borghese_by_Gian_Lorenzo_Bernini,_1621-1622_-_Ny_Carlsberg_Glyptotek_-_Copenhagen_-_DSC09342.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Pope_Paul_V_Borghese_by_Gian_Lorenzo_Bernini%2C_1621-1622_-_Ny_Carlsberg_Glyptotek_-_Copenhagen_-_DSC09342.JPG/220px-Pope_Paul_V_Borghese_by_Gian_Lorenzo_Bernini%2C_1621-1622_-_Ny_Carlsberg_Glyptotek_-_Copenhagen_-_DSC09342.JPG" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Pope_Paul_V_Borghese_by_Gian_Lorenzo_Bernini%2C_1621-1622_-_Ny_Carlsberg_Glyptotek_-_Copenhagen_-_DSC09342.JPG/330px-Pope_Paul_V_Borghese_by_Gian_Lorenzo_Bernini%2C_1621-1622_-_Ny_Carlsberg_Glyptotek_-_Copenhagen_-_DSC09342.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Pope_Paul_V_Borghese_by_Gian_Lorenzo_Bernini%2C_1621-1622_-_Ny_Carlsberg_Glyptotek_-_Copenhagen_-_DSC09342.JPG/440px-Pope_Paul_V_Borghese_by_Gian_Lorenzo_Bernini%2C_1621-1622_-_Ny_Carlsberg_Glyptotek_-_Copenhagen_-_DSC09342.JPG 2x" data-file-width="2736" data-file-height="3648" /></a><figcaption><a href="/wiki/Bust_of_Pope_Paul_V" title="Bust of Pope Paul V">Bust of Pope Paul V</a> (1621–1622) by Bernini.</figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Partnership_with_Scipione_Borghese">Partnership with Scipione Borghese</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=3" title="Edit section: Partnership with Scipione Borghese"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1237032888/mw-parser-output/.tmulti">.mw-parser-output .tmulti .multiimageinner{display:flex;flex-direction:column}.mw-parser-output .tmulti .trow{display:flex;flex-direction:row;clear:left;flex-wrap:wrap;width:100%;box-sizing:border-box}.mw-parser-output .tmulti .tsingle{margin:1px;float:left}.mw-parser-output .tmulti .theader{clear:both;font-weight:bold;text-align:center;align-self:center;background-color:transparent;width:100%}.mw-parser-output .tmulti .thumbcaption{background-color:transparent}.mw-parser-output .tmulti .text-align-left{text-align:left}.mw-parser-output .tmulti .text-align-right{text-align:right}.mw-parser-output .tmulti .text-align-center{text-align:center}@media all and (max-width:720px){.mw-parser-output .tmulti .thumbinner{width:100%!important;box-sizing:border-box;max-width:none!important;align-items:center}.mw-parser-output .tmulti .trow{justify-content:center}.mw-parser-output .tmulti .tsingle{float:none!important;max-width:100%!important;box-sizing:border-box;text-align:center}.mw-parser-output .tmulti .tsingle .thumbcaption{text-align:left}.mw-parser-output .tmulti .trow>.thumbcaption{text-align:center}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .tmulti .multiimageinner img{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .tmulti .multiimageinner img{background-color:white}}</style><div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:391px;max-width:391px"><div class="trow"><div class="tsingle" style="width:103px;max-width:103px"><div class="thumbimage" style="height:145px;overflow:hidden"><span typeof="mw:File"><a href="/wiki/File:Aeneas,_Anchises,_and_Ascanius_by_Bernini.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/97/Aeneas%2C_Anchises%2C_and_Ascanius_by_Bernini.jpg/101px-Aeneas%2C_Anchises%2C_and_Ascanius_by_Bernini.jpg" decoding="async" width="101" height="145" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/97/Aeneas%2C_Anchises%2C_and_Ascanius_by_Bernini.jpg/152px-Aeneas%2C_Anchises%2C_and_Ascanius_by_Bernini.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/97/Aeneas%2C_Anchises%2C_and_Ascanius_by_Bernini.jpg/202px-Aeneas%2C_Anchises%2C_and_Ascanius_by_Bernini.jpg 2x" data-file-width="5086" data-file-height="7319" /></a></span></div><div class="thumbcaption"><i><a href="/wiki/Aeneas,_Anchises,_and_Ascanius" title="Aeneas, Anchises, and Ascanius">Aeneas, Anchises, and Ascanius</a></i> (1619)</div></div><div class="tsingle" style="width:92px;max-width:92px"><div class="thumbimage" style="height:145px;overflow:hidden"><span typeof="mw:File"><a href="/wiki/File:The_Rape_of_Proserpina_(Rome).jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/The_Rape_of_Proserpina_%28Rome%29.jpg/90px-The_Rape_of_Proserpina_%28Rome%29.jpg" decoding="async" width="90" height="145" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/The_Rape_of_Proserpina_%28Rome%29.jpg/135px-The_Rape_of_Proserpina_%28Rome%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c5/The_Rape_of_Proserpina_%28Rome%29.jpg/180px-The_Rape_of_Proserpina_%28Rome%29.jpg 2x" data-file-width="4943" data-file-height="7974" /></a></span></div><div class="thumbcaption"><i><a href="/wiki/The_Rape_of_Proserpina_(Bernini)" class="mw-redirect" title="The Rape of Proserpina (Bernini)">Rape of Proserpina</a></i> (1621–22)</div></div><div class="tsingle" style="width:89px;max-width:89px"><div class="thumbimage" style="height:145px;overflow:hidden"><span typeof="mw:File"><a href="/wiki/File:Apollo_and_Daphne_(Bernini)_(cropped).jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Apollo_and_Daphne_%28Bernini%29_%28cropped%29.jpg/87px-Apollo_and_Daphne_%28Bernini%29_%28cropped%29.jpg" decoding="async" width="87" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Apollo_and_Daphne_%28Bernini%29_%28cropped%29.jpg/131px-Apollo_and_Daphne_%28Bernini%29_%28cropped%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Apollo_and_Daphne_%28Bernini%29_%28cropped%29.jpg/174px-Apollo_and_Daphne_%28Bernini%29_%28cropped%29.jpg 2x" data-file-width="4640" data-file-height="7800" /></a></span></div><div class="thumbcaption"><i><a href="/wiki/Apollo_and_Daphne_(Bernini)" title="Apollo and Daphne (Bernini)">Apollo and Daphne</a></i> (1622–25)</div></div><div class="tsingle" style="width:99px;max-width:99px"><div class="thumbimage" style="height:145px;overflow:hidden"><span typeof="mw:File"><a href="/wiki/File:Bernini%27s_David_02.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/92/Bernini%27s_David_02.jpg/97px-Bernini%27s_David_02.jpg" decoding="async" width="97" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/92/Bernini%27s_David_02.jpg/146px-Bernini%27s_David_02.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/92/Bernini%27s_David_02.jpg/194px-Bernini%27s_David_02.jpg 2x" data-file-width="4456" data-file-height="6686" /></a></span></div><div class="thumbcaption"><i><a href="/wiki/David_(Bernini)" title="David (Bernini)">David</a></i> (1623–24)</div></div></div></div></div> <p>Under the patronage of the extravagantly wealthy and most powerful Cardinal Scipione Borghese, the young Bernini rapidly rose to prominence as a sculptor.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Among his early works for the cardinal, as an assistant in his father's workshop, would have been small contributions to decorative pieces for the garden of the <a href="/wiki/Villa_Borghese_gardens" title="Villa Borghese gardens">Villa Borghese</a>, such as perhaps <i>The Allegory of Autumn</i> (formerly in the Hester Diamond collection in New York). Another small garden ornament work (in the Galleria Borghese since Bernini's lifetime), <i><a href="/wiki/The_Goat_Amalthea_with_the_Infant_Jupiter_and_a_Faun" title="The Goat Amalthea with the Infant Jupiter and a Faun">The Goat Amalthea with the Infant Jupiter and a Faun</a></i>, was from 1926 until 2022 generally considered by scholars to be the earliest work executed entirely by the young Bernini himself, despite the fact that it is never mentioned in any of the contemporary sources, except for a late reference (1675) as a Bernini work by Joachim von Sandrart, a German visitor to Rome, an attribution that was given no credence until the twentieth century. Indeed, the official 2022 <i>Catalogo generale</i> (vol. 1, <i>Sculture moderne</i>, cat. 41) of the Galleria Borghese, edited by Anna Coliva (former director of the gallery) formally removes the attribution to Bernini completely, on the basis of both stylistic, technical, and historical (documentary) grounds. </p><p>Instead, among Bernini's earliest and securely documented work is his collaboration on his father's commission of February 1618 from Cardinal Maffeo Barberini to create four marble <i>putti</i> for the Barberini family chapel in the church of <a href="/wiki/Sant%27Andrea_della_Valle" title="Sant'Andrea della Valle">Sant'Andrea della Valle</a>, the contract stipulating that his son Gian Lorenzo would assist in the execution of the statues.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Also dating to 1618 is a letter by Maffeo Barberini in Rome to his brother Carlo in Florence, which mentions that he (Maffeo) was thinking of asking the young Gian Lorenzo to finish one of the statues left incomplete by Michelangelo, then in possession of Michelangelo's grandnephew which Maffeo was hoping to purchase, a remarkable attestation of the great skill that the young Bernini was already believed to possess.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>Although the Michelangelo statue-completion commission came to nought, the young Bernini was shortly thereafter (in 1619) commissioned to repair and complete a famous work of antiquity, the <i><a href="/wiki/Sleeping_Hermaphroditus" title="Sleeping Hermaphroditus">Sleeping Hermaphroditus</a></i> owned by Cardinal Scipione Borghese (<a href="/wiki/Galleria_Borghese" title="Galleria Borghese">Galleria Borghese</a>, Rome) and later (circa 1622) restored the so-called <i><a href="/wiki/Ludovisi_Ares" title="Ludovisi Ares">Ludovisi Ares</a></i> (<a href="/wiki/Museo_Nazionale_Romano" title="Museo Nazionale Romano">Museo Nazionale Romano</a>, Rome).<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>Also dating to this early period are the so-called <i><a href="/wiki/Damned_Soul_(Bernini)" title="Damned Soul (Bernini)">Damned Soul</a></i> and <i><a href="/wiki/Blessed_Soul_(Bernini)" title="Blessed Soul (Bernini)">Blessed Soul</a></i> of circa 1619, two small marble busts which may have been influenced by a set of prints by <a href="/wiki/Pieter_de_Jode_I" title="Pieter de Jode I">Pieter de Jode I</a> or <a href="/wiki/Karel_van_Mallery" title="Karel van Mallery">Karel van Mallery</a>, but which were in fact unambiguously catalogued 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 (they were not commissioned by nor ever belonged to either Scipione Borghese or, as most scholarship erroneously claims, the Spanish cleric, Pedro Foix Montoya).<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> By the time he was twenty-two, Bernini was considered talented enough to have been given a commission for a papal portrait, the <i><a href="/wiki/Bust_of_Pope_Paul_V_(Bernini)" class="mw-redirect" title="Bust of Pope Paul V (Bernini)">Bust of Pope Paul V</a></i>, now in the <a href="/wiki/J._Paul_Getty_Museum" title="J. Paul Getty Museum">J. Paul Getty Museum</a>. </p><p>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—<i><a href="/wiki/Aeneas,_Anchises,_and_Ascanius" title="Aeneas, Anchises, and Ascanius">Aeneas, Anchises, and Ascanius</a></i> (1619), <i><a href="/wiki/The_Rape_of_Proserpina_(Bernini)" class="mw-redirect" title="The Rape of Proserpina (Bernini)">The Rape of Proserpina</a></i> (1621–22), <i><a href="/wiki/Apollo_and_Daphne_(Bernini)" title="Apollo and Daphne (Bernini)">Apollo and Daphne</a></i> (1622–1625), and <i><a href="/wiki/David_(Bernini)" title="David (Bernini)">David</a></i> (1623–24)—"inaugurated a new era in the history of European sculpture."<sup id="cite_ref-FOOTNOTEWittkower195514_16-0" class="reference"><a href="#cite_note-FOOTNOTEWittkower195514-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> 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."<sup id="cite_ref-FOOTNOTEHibbard196521_17-0" class="reference"><a href="#cite_note-FOOTNOTEHibbard196521-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> Adapting the classical grandeur of <a href="/wiki/Renaissance" title="Renaissance">Renaissance</a> 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."<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEWittkower195513_19-0" class="reference"><a href="#cite_note-FOOTNOTEWittkower195513-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p><p>Unlike sculptures done by his predecessors, these focus on specific points of narrative tension in the stories they are trying to tell: <a href="/wiki/Aeneas" title="Aeneas">Aeneas</a> and his family fleeing the burning <a href="/wiki/Troy" title="Troy">Troy</a>; the instant that <a href="/wiki/Pluto_(mythology)" title="Pluto (mythology)">Pluto</a> finally grasps the hunted <a href="/wiki/Persephone" title="Persephone">Persephone</a>; the precise moment that <a href="/wiki/Apollo" title="Apollo">Apollo</a> sees his beloved <a href="/wiki/Daphne" title="Daphne">Daphne</a> begin her transformation into a tree. They are transitory but dramatic powerful moments in each story. Bernini's <i>David</i> is another stirring example of this. Michelangelo's motionless, idealized <i><a href="/wiki/David_(Michelangelo)" title="David (Michelangelo)">David</a></i> 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 <a href="/wiki/David_(Donatello,_bronze)" title="David (Donatello, bronze)">Donatello</a>'s, show the subject in his triumph after the battle with <a href="/wiki/Goliath" title="Goliath">Goliath</a>. Bernini illustrates <a href="/wiki/David" title="David">David</a> 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, though he sculpted them fully in the round. Their original placements within the <a href="/wiki/Villa_Borghese" class="mw-redirect" title="Villa Borghese">Villa Borghese</a> were against walls so that the viewers' first view was the dramatic moment of the narrative.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p><p>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. This is shown by how Bernini portrays her braids coming undone which reveals her emotional distress.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> In addition to portraying psychological realism, they show a greater concern for representing physical details. The tousled hair of Pluto, the pliant flesh of <a href="/wiki/The_Rape_of_Proserpina" title="The Rape of Proserpina">Proserpina</a>, 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.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Papal_artist:_the_pontificate_of_Urban_VIII">Papal artist: the pontificate of Urban VIII</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=4" title="Edit section: Papal artist: the pontificate of Urban VIII"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Interiorvaticano8.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/18/Interiorvaticano8.jpg/220px-Interiorvaticano8.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/18/Interiorvaticano8.jpg/330px-Interiorvaticano8.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/18/Interiorvaticano8.jpg/440px-Interiorvaticano8.jpg 2x" data-file-width="795" data-file-height="596" /></a><figcaption><i>Baldacchino</i> in <a href="/wiki/St._Peter%27s_Basilica" title="St. Peter's Basilica">St. Peter's Basilica</a></figcaption></figure> <p>In 1621 Pope Paul V Borghese was succeeded on the throne of St. Peter by another admiring friend of Bernini's, Cardinal Alessandro Ludovisi, who became <a href="/wiki/Pope_Gregory_XV" title="Pope Gregory XV">Pope Gregory XV</a>: although his reign was very short (he died in 1623), Pope Gregory commissioned portraits of himself (both in marble and bronze) by Bernini. The pontiff also bestowed upon Bernini the honorific rank of 'Cavaliere,' the title with which for the rest of his life the artist was habitually referred. In 1623 came the ascent to the papal throne of his aforementioned friend and former tutor, Cardinal Maffeo Barberini, as <a href="/wiki/Pope_Urban_VIII" title="Pope Urban VIII">Pope Urban VIII</a>, and henceforth (until Urban's death in 1644) 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."<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> Although he did not fare as well during the reign (1644–55) of <a href="/wiki/Innocent_X" class="mw-redirect" title="Innocent X">Innocent X</a>, under Innocent's successor, <a href="/wiki/Alexander_VII" class="mw-redirect" title="Alexander VII">Alexander VII</a> (reigned 1655–67), Bernini once again gained pre-eminent artistic domination and continued in the successive pontificate to be held in high regard by <a href="/wiki/Clement_IX" class="mw-redirect" title="Clement IX">Clement IX</a> during his short reign (1667–69). </p><p>Under Urban VIII's patronage, Bernini's horizons rapidly and widely broadened: he was not just producing sculpture for private residences, but playing the most significant artistic (and engineering) role on the city stage, as sculptor, architect, and urban planner.<sup id="cite_ref-FOOTNOTEHibbard196568_24-0" class="reference"><a href="#cite_note-FOOTNOTEHibbard196568-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> His official appointments also testify to this—"curator of the papal art collection, director of the papal foundry at <a href="/wiki/Castel_Sant%27Angelo" title="Castel Sant'Angelo">Castel Sant'Angelo</a>, commissioner of the fountains of <a href="/wiki/Piazza_Navona" title="Piazza Navona">Piazza Navona</a>".<sup id="cite_ref-FOOTNOTEMormando201172_25-0" class="reference"><a href="#cite_note-FOOTNOTEMormando201172-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> 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 "Architect of St Peter's" in 1629, upon the death of <a href="/wiki/Carlo_Maderno" title="Carlo Maderno">Carlo Maderno</a>. From then on, Bernini's work and artistic vision would be placed at the symbolic heart of Rome. </p><p>Bernini's artistic pre-eminence under Urban VIII (and later under 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 <a href="/wiki/St._Peter%27s_Basilica" title="St. Peter's Basilica">St. Peter's Basilica</a>, 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 100 years of planning and building. Within the basilica he was responsible for the <a href="/wiki/St._Peter%27s_Baldachin" title="St. Peter's Baldachin">Baldacchino</a>, the decoration of the four piers under the cupola, the Cathedra Petri or <a href="/wiki/Chair_of_St._Peter" class="mw-redirect" title="Chair of St. Peter">Chair of St. Peter</a> in the apse, the <a href="/wiki/Tomb_of_Countess_Matilda_of_Tuscany" title="Tomb of Countess Matilda of Tuscany">Tomb of Countess Matilda of Tuscany</a>, the chapel of the Blessed Sacrament in the right nave, and the decoration (floor, walls and arches) of the new nave. The Baldacchino immediately became the visual centrepiece of the basilica. Designed as a massive spiraling gilded bronze canopy over the tomb of St Peter, Bernini's four-columned creation reached nearly 30 m (98 ft) from the ground and cost around 200,000 <a href="/wiki/Roman_scudi" class="mw-redirect" title="Roman scudi">Roman scudi</a> (about 8 million US dollars in the currency of the early 21st century).<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> "Quite simply", writes one art historian, "nothing like it had ever been seen before".<sup id="cite_ref-FOOTNOTEMormando201184_27-0" class="reference"><a href="#cite_note-FOOTNOTEMormando201184-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> Soon after the completion of the Baldacchino, Bernini undertook the whole-scale embellishment of the four massive piers at the crossing of the basilica (i.e., the structures supporting the cupola) including, most notably, four colossal, theatrically dramatic statues. Among the latter is the majestic <i><a href="/wiki/Saint_Longinus_(Bernini)" title="Saint Longinus (Bernini)">St. Longinus</a></i> executed by Bernini himself (the other three are by other contemporary sculptors <a href="/wiki/Fran%C3%A7ois_Duquesnoy" title="François Duquesnoy">François Duquesnoy</a>, <a href="/wiki/Francesco_Mochi" title="Francesco Mochi">Francesco Mochi</a>, and Bernini's disciple, <a href="/wiki/Andrea_Bolgi" title="Andrea Bolgi">Andrea Bolgi</a>). </p><p>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 <a href="/wiki/Tomb_of_Pope_Alexander_VII" title="Tomb of Pope Alexander VII">Tomb of Pope Alexander VII</a>, in St. Peter's Basilica, represents, according to <a href="/wiki/Erwin_Panofsky" title="Erwin Panofsky">Erwin Panofsky</a>, the very pinnacle of European funerary art, whose creative inventiveness subsequent artists could not hope to surpass.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Richelieu_le_Bernin_M.R.2165_mp3h9006.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/Richelieu_le_Bernin_M.R.2165_mp3h9006.jpg/220px-Richelieu_le_Bernin_M.R.2165_mp3h9006.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/Richelieu_le_Bernin_M.R.2165_mp3h9006.jpg/330px-Richelieu_le_Bernin_M.R.2165_mp3h9006.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/47/Richelieu_le_Bernin_M.R.2165_mp3h9006.jpg/440px-Richelieu_le_Bernin_M.R.2165_mp3h9006.jpg 2x" data-file-width="3504" data-file-height="2336" /></a><figcaption><i>Bust of Armand, Cardinal de Richelieu</i> (1640–1641)</figcaption></figure> <p>Despite this busy engagement with large works of public architecture, Bernini was still able to devote himself to his sculpture, especially portraits in marble, but also large statues such as the life-size <i><a href="/wiki/Saint_Bibiana_(Bernini)" title="Saint Bibiana (Bernini)">Saint Bibiana</a></i> (1624, Church of <a href="/wiki/Santa_Bibiana" title="Santa Bibiana">Santa Bibiana</a>, Rome). Bernini's portraits show his ever-increasing ability to capture the utterly distinctive personal characteristics of his sitters, as well as his ability to achieve in cold white marble almost painterly-like effects that render with convincing realism the various surfaces involved: human flesh, hair, fabric of varying type, metal, etc. These portraits included a number of busts of Urban VIII himself, the family <a href="/wiki/Bust_of_Francesco_Barberini_(Bernini)" class="mw-redirect" title="Bust of Francesco Barberini (Bernini)">bust of Francesco Barberini</a> and most notably, the <a href="/wiki/Two_Busts_of_Scipione_Borghese" class="mw-redirect" title="Two Busts of Scipione Borghese">Two Busts of Scipione Borghese</a>—the second of which had been rapidly created by Bernini once a flaw had been found in the marble of the first.<sup id="cite_ref-FOOTNOTEWittkower195588_29-0" class="reference"><a href="#cite_note-FOOTNOTEWittkower195588-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> The transitory nature of the expression on Scipione's face is often noted by art historians, as iconic of the Baroque concern for representing fleeting 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".<sup id="cite_ref-FOOTNOTEWittkower195588_29-1" class="reference"><a href="#cite_note-FOOTNOTEWittkower195588-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p><p>Other marble portraits in this period include that of <a href="/wiki/Bust_of_Costanza_Bonarelli" title="Bust of Costanza Bonarelli">Costanza Bonarelli</a> unusual in its more personal, intimate nature. (At the time of the sculpting of the portrait, Bernini was having an affair with <a href="/wiki/Costanza_Piccolomini_Bonarelli" title="Costanza Piccolomini Bonarelli">Costanza</a>, wife of one of his assistants, sculptor, Matteo.) Indeed, it would appear to be the first marble portrait of a non-aristocratic woman by a major artist in European history.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p><p>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 <a href="/wiki/Cardinal_Richelieu" title="Cardinal Richelieu">Cardinal Richelieu</a> of France, <a href="/wiki/Francesco_I_d%27Este" title="Francesco I d'Este">Francesco I d'Este</a> the powerful <a href="/wiki/Duchy_of_Modena_and_Reggio" title="Duchy of Modena and Reggio">Duke of Modena</a>, <a href="/wiki/Charles_I_of_England" title="Charles I of England">Charles I of England</a> and his wife, Queen <a href="/wiki/Henrietta_Maria_of_France" title="Henrietta Maria of France">Henrietta Maria</a>. The <a href="/wiki/Bust_of_King_Charles_I_(Bernini)" title="Bust of King Charles I (Bernini)">bust of Charles I</a> was produced in Rome from a triple portrait (oil on canvas) executed by <a href="/wiki/Van_Dyck" class="mw-redirect" title="Van Dyck">Van Dyck</a>, that survives today in the British Royal Collection. The bust of Charles was lost in the <a href="/wiki/Whitehall_Palace" class="mw-redirect" title="Whitehall Palace">Whitehall Palace</a> fire of 1698 (though its design is known through contemporary copies and drawings) and that of Henrietta Maria was not undertaken due to the outbreak of the <a href="/wiki/English_Civil_War" title="English Civil War">English Civil War</a>.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Temporary_eclipse_and_resurgence_under_Innocent_X">Temporary eclipse and resurgence under Innocent X</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=5" title="Edit section: Temporary eclipse and resurgence under Innocent X"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ecstasy_of_Saint_Teresa_September_2015-2a.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg" decoding="async" width="220" height="349" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/330px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/440px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg 2x" data-file-width="4242" data-file-height="6722" /></a><figcaption><i><a href="/wiki/Ecstasy_of_Saint_Teresa" title="Ecstasy of Saint Teresa">Ecstasy of Saint Teresa</a></i>, 1651</figcaption></figure> <p>In 1644, with the death of Pope Urban with whom Bernini had been so intimately connected and the ascent to power of the fierce Barberini-enemy <a href="/wiki/Pope_Innocent_X" title="Pope Innocent X">Pope Innocent X</a> <a href="/wiki/Pamphili_family" title="Pamphili family">Pamphilj</a>, Bernini's career suffered a major, unprecedented eclipse, which was to last four years. This had not only to do with Innocent's anti-Barberini politics but also with Bernini's role in the disastrous project of the new bell towers for St. Peter's basilica, designed and supervised entirely by Bernini. </p><p>The infamous bell tower affair was to be the biggest failure of his career, both professionally and financially. In 1636, eager to finally finish the exterior of St. Peter's, Pope Urban had 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 (namely, the last bays at either extremity of the facade) by Carlo Maderno (architect of the nave and the façade) decades earlier. Once the first tower was finished in 1641, cracks began to appear in the façade but, curiously enough, work nonetheless 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 <a href="/wiki/Wars_of_Castro" title="Wars of Castro">Wars of Castro</a>. Knowing that Bernini could no longer depend on the protection of a favourable pope, his enemies (especially <a href="/wiki/Francesco_Borromini" title="Francesco Borromini">Francesco Borromini</a>) 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 <a href="/wiki/Pope_Innocent_XI" title="Pope Innocent XI">Pope Innocent XI</a>.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Museo_borghese,_sala_del_gladiatore,_g.l._bernini,_verit%C3%A0_svelata,_1645-52,_02.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Museo_borghese%2C_sala_del_gladiatore%2C_g.l._bernini%2C_verit%C3%A0_svelata%2C_1645-52%2C_02.JPG/220px-Museo_borghese%2C_sala_del_gladiatore%2C_g.l._bernini%2C_verit%C3%A0_svelata%2C_1645-52%2C_02.JPG" decoding="async" width="220" height="431" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Museo_borghese%2C_sala_del_gladiatore%2C_g.l._bernini%2C_verit%C3%A0_svelata%2C_1645-52%2C_02.JPG/330px-Museo_borghese%2C_sala_del_gladiatore%2C_g.l._bernini%2C_verit%C3%A0_svelata%2C_1645-52%2C_02.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Museo_borghese%2C_sala_del_gladiatore%2C_g.l._bernini%2C_verit%C3%A0_svelata%2C_1645-52%2C_02.JPG/440px-Museo_borghese%2C_sala_del_gladiatore%2C_g.l._bernini%2C_verit%C3%A0_svelata%2C_1645-52%2C_02.JPG 2x" data-file-width="1396" data-file-height="2736" /></a><figcaption><i><a href="/wiki/Truth_Unveiled_by_Time_(Bernini)" title="Truth Unveiled by Time (Bernini)">Truth Unveiled by Time</a></i>, <a href="/wiki/Galleria_Borghese" title="Galleria Borghese">Galleria Borghese</a>, Rome, 1645–1652</figcaption></figure> <p>Nonetheless, Bernini's opponents in Rome succeeded in seriously damaging the reputation of Urban's artist and in persuading Pope Innocent to order (in February 1646) the complete demolition of both towers, to Bernini's great humiliation and indeed financial detriment (in the form of a substantial fine for the failure of the work). After this, one of the rare failures of his career, Bernini retreated into himself: according to his son, <a href="/wiki/Domenico_Bernini" title="Domenico Bernini">Domenico</a>. his subsequent unfinished statue of 1647, <i><a href="/wiki/Truth_Unveiled_by_Time_(Bernini)" title="Truth Unveiled by Time (Bernini)">Truth Unveiled by Time</a></i>, 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. </p><p>Although he received no personal commissions from Innocent or the Pamphilj family in the early years of the new papacy, Bernini did not lose his former positions granted to him by previous popes. Innocent X maintained Bernini in all of the official roles given to him by Urban, including his most prestigious one as "Architect of St. Peter's." Under Bernini's design and direction, work continued on decorating the massive, recently completed but still entirely unadorned nave of St. Peter's, with the addition of elaborate multi-coloured 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.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> He was also allowed to continue to work on Urban VIII's tomb, despite Innocent's antipathy for the Barberini.<sup id="cite_ref-FOOTNOTEMormando2011150_34-0" class="reference"><a href="#cite_note-FOOTNOTEMormando2011150-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> A few months after completing Urban's tomb, in 1648 Bernini won (through furtive manoeuvring with the complicity of the pope's sister-in-law Donna <a href="/wiki/Olimpia_Maidalchini" title="Olimpia Maidalchini">Olimpia</a>) the Pamphilj commission for the prestigious <a href="/wiki/Four_Rivers_Fountain" class="mw-redirect" title="Four Rivers Fountain">Four Rivers Fountain</a> on Piazza Navona, marking the end of his disgrace and the beginning a yet another glorious chapter in his life.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Gian_lorenzo_bernini,_Cenotafio_di_Suor_Maria_Raggi_(1647-53).JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/77/Gian_lorenzo_bernini%2C_Cenotafio_di_Suor_Maria_Raggi_%281647-53%29.JPG/220px-Gian_lorenzo_bernini%2C_Cenotafio_di_Suor_Maria_Raggi_%281647-53%29.JPG" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/77/Gian_lorenzo_bernini%2C_Cenotafio_di_Suor_Maria_Raggi_%281647-53%29.JPG/330px-Gian_lorenzo_bernini%2C_Cenotafio_di_Suor_Maria_Raggi_%281647-53%29.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/77/Gian_lorenzo_bernini%2C_Cenotafio_di_Suor_Maria_Raggi_%281647-53%29.JPG/440px-Gian_lorenzo_bernini%2C_Cenotafio_di_Suor_Maria_Raggi_%281647-53%29.JPG 2x" data-file-width="1944" data-file-height="2592" /></a><figcaption><i><a href="/wiki/Memorial_to_Maria_Raggi" title="Memorial to Maria Raggi">Memorial to Maria Raggi</a></i>, 1651</figcaption></figure> <p>If there had been doubts over Bernini's position as Rome's preeminent artist, they were definitively removed by the unqualified success of the marvellously delightful and technically ingenious Four Rivers Fountain, featuring a heavy ancient obelisk placed over a void created by a cavelike rock formation placed in the centre of an ocean of exotic sea creatures. 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 <a href="/wiki/Bust_of_Francesco_I_d%27Este" title="Bust of Francesco I d'Este">Francesco d'Este</a>. Recovering quickly from the humiliation of the bell towers, Bernini's boundless creativity continued as before. New types of funerary monument were designed, such as, in the Church of <a href="/wiki/Santa_Maria_sopra_Minerva" title="Santa Maria sopra Minerva">Santa Maria sopra Minerva</a>, the seemingly floating medallion, hovering in the air as it were, for the deceased nun <a href="/wiki/Memorial_to_Maria_Raggi" title="Memorial to Maria Raggi">Maria Raggi</a>, while chapels he designed, such as the Raimondi Chapel in the church of <a href="/wiki/San_Pietro_in_Montorio" title="San Pietro in Montorio">San Pietro in Montorio</a>, illustrated how Bernini could use hidden lighting to help suggest divine intervention within the narratives he was depicting and to add a dramatically theatrical "spotlight" to enhance the main focus of the space. </p><p>One of the most accomplished and celebrated works to come from Bernini's hand in this period was the Cornaro Family Chapel in the small Carmelite church of <a href="/wiki/Santa_Maria_della_Vittoria,_Rome" title="Santa Maria della Vittoria, Rome">Santa Maria della Vittoria, Rome</a>. The Cornaro Chapel (inaugurated in 1651) showcased Bernini's ability to integrate sculpture, architecture, fresco, stucco, and lighting into "a marvellous whole" (<i>bel composto</i>, to use early biographer Filippo Baldinucci's term to describe his approach to architecture) and thus create what scholar Irving Lavin has called the "unified work of art". The central focus of the Cornaro Chapel is the <a href="/wiki/Ecstasy_of_Saint_Teresa" title="Ecstasy of Saint Teresa">Ecstasy of Saint Teresa</a>, depicting the so-called "transverberation" of the Spanish nun and saint-mystic, Teresa of Avila.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> 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 (in what can only strike the viewer as theatre boxes), portraits in relief of various members of the Cornaro family—the Venetian family memorialized in the chapel, including Cardinal <a href="/wiki/Federico_Baldissera_Bartolomeo_Cornaro" title="Federico Baldissera Bartolomeo Cornaro">Federico Cornaro</a> 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 (a heavenly setting with a hidden source of light) that suggests to viewers the ultimate nature of this miraculous event.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p><p>Nonetheless, during Bernini's lifetime and in the centuries following till this very day, Bernini's <i>Saint Teresa</i> has been accused of crossing a line of decency by sexualizing the visual depiction of the saint's experience, to a degree that no artist, before or after Bernini, dared to do: in depicting her at an impossibly young chronological age, as an idealized delicate beauty, in a semi-prostrate position with her mouth open and her legs splayed-apart, her wimple coming undone, with prominently displayed bare feet (Discalced <a href="/wiki/Carmelites" title="Carmelites">Carmelites</a>, for modesty, always wore sandals with heavy stockings) and with the seraph "undressing" her by (unnecessarily) parting her mantle to penetrate her heart with his arrow.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p><p>Matters of decorum aside, Bernini's <i>Teresa</i> was still 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".<sup id="cite_ref-FOOTNOTEMormando2011159_39-0" class="reference"><a href="#cite_note-FOOTNOTEMormando2011159-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Embellishment_of_Rome_under_Alexander_VII">Embellishment of Rome under Alexander VII</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=6" title="Edit section: Embellishment of Rome under Alexander VII"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Upon his accession to the Chair of St Peter, Pope Alexander VII <a href="/wiki/Chigi_family" title="Chigi family">Chigi</a> (reigned 1655–1667) began to implement his extremely ambitious plan to transform Rome into a magnificent world capital by means of systematic, bold (and costly) urban planning. In so doing, he brought to fruition the long, slow recreation of the urban glory of Rome—the deliberate campaign for the "<i>renovatio Romae</i>"—that had begun in the fifteenth century under the Renaissance popes. Over the course of his pontificate, Alexander commissioned many large-scale architectural changes in the city—indeed, some of the most significant ones in the city's recent history and for years to come—choosing Bernini as his principal collaborator (though other architects, especially <a href="/wiki/Pietro_da_Cortona" title="Pietro da Cortona">Pietro da Cortona</a>, were also involved). Thus did commence another extraordinarily prolific and successful chapter in Bernini's career. </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Bernini,_Gianlorenzo_-_Self-portrait_c1675-1680_-_Royal_Collection_-_Gould_1982_plate1.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/ca/Bernini%2C_Gianlorenzo_-_Self-portrait_c1675-1680_-_Royal_Collection_-_Gould_1982_plate1.jpg/170px-Bernini%2C_Gianlorenzo_-_Self-portrait_c1675-1680_-_Royal_Collection_-_Gould_1982_plate1.jpg" decoding="async" width="170" height="263" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/ca/Bernini%2C_Gianlorenzo_-_Self-portrait_c1675-1680_-_Royal_Collection_-_Gould_1982_plate1.jpg/255px-Bernini%2C_Gianlorenzo_-_Self-portrait_c1675-1680_-_Royal_Collection_-_Gould_1982_plate1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/ca/Bernini%2C_Gianlorenzo_-_Self-portrait_c1675-1680_-_Royal_Collection_-_Gould_1982_plate1.jpg/340px-Bernini%2C_Gianlorenzo_-_Self-portrait_c1675-1680_-_Royal_Collection_-_Gould_1982_plate1.jpg 2x" data-file-width="1508" data-file-height="2335" /></a><figcaption>Bernini self-portrait, c. 1665</figcaption></figure> <p>Bernini's major commissions during this period include <a href="/wiki/St._Peter%27s_Square" title="St. Peter's Square">St. Peter's Square</a>. In a previously broad, irregular, and completely unstructured space, he created two massive semi-circular colonnades, each row of which was formed of four simple white Doric 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 façade of St Peter's or at the traditional window of the neighbouring Palazzo Vaticano, to the right of the square. In addition to being logistically efficient for carriages and crowds, Bernini's design was completely in harmony with the pre-existing buildings and added to the majesty of the basilica. 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 emotionally thrilling and "exhilarating expanse" that was, architecturally, an "unequivocal success".<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> </p><p>Elsewhere within the Vatican, Bernini created systematic rearrangements and majestic embellishment of either empty or aesthetically undistinguished spaces that exist as he designed them to the present day and have become indelible icons of the splendour of the papal precincts. Within the hitherto unadorned apse of the basilica, the <a href="/wiki/Cathedra_Petri" class="mw-redirect" title="Cathedra Petri">Cathedra Petri</a>, 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 <a href="/wiki/Scala_Regia_(Vatican)" title="Scala Regia (Vatican)">Scala Regia</a>, 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 (employing, for example, clever tricks of optical illusion) to create a seemingly uniform, totally functional, but nonetheless regally impressive stairway to connect two irregular buildings within an even more irregular space.<sup id="cite_ref-FOOTNOTEHibbard1965163–67_41-0" class="reference"><a href="#cite_note-FOOTNOTEHibbard1965163–67-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> </p><p>Not all works during this era were on such a large scale. Indeed, the commission Bernini received to build the church of <a href="/wiki/Sant%27Andrea_al_Quirinale" title="Sant'Andrea al Quirinale">Sant'Andrea al Quirinale</a> for the <a href="/wiki/Jesuits" title="Jesuits">Jesuits</a> was relatively modest in physical size (though great in its interior chromatic splendour), which Bernini executed completely free of charge. Sant'Andrea shared with Piazza San Pietro—unlike the complex geometries of his rival <a href="/wiki/Francesco_Borromini" title="Francesco Borromini">Francesco Borromini</a>—a focus on basic geometric shapes, circles, and ovals to create spiritually intense spaces.<sup id="cite_ref-FOOTNOTEHibbard1965144–8_42-0" class="reference"><a href="#cite_note-FOOTNOTEHibbard1965144–8-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> He also designed the church of <a href="/wiki/Santa_Maria_Assunta,_Ariccia" title="Santa Maria Assunta, Ariccia">Santa Maria Assunta</a> (1662–65) in the town of <a href="/wiki/Ariccia" title="Ariccia">Ariccia</a> with its circular outline, rounded dome and three-arched portico, reminiscent of the Pantheon.<sup id="cite_ref-FOOTNOTEHibbard1965149–50_43-0" class="reference"><a href="#cite_note-FOOTNOTEHibbard1965149–50-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> In Santa Maria Assunta, as in his church of St. Thomas of Villanova in Castelgandolfo (1658–61), Bernini completely eschewed the rich polychrome marble decoration dramatically seen in Sant'Andrea and the Cornaro Chapel in Santa Maria della Vittoria, in favour of an essentially white, somewhat stark interior, albeit still much adorned with stucco work and painted altarpieces. </p> <div class="mw-heading mw-heading3"><h3 id="Visit_to_France_and_service_to_King_Louis_XIV">Visit to France and service to King Louis XIV</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=7" title="Edit section: Visit to France and service to King Louis XIV"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ch%C3%A2teau_de_Versailles,_salon_de_Diane,_buste_de_Louis_XIV,_Bernin_(1665)_03_black_bg.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7f/Ch%C3%A2teau_de_Versailles%2C_salon_de_Diane%2C_buste_de_Louis_XIV%2C_Bernin_%281665%29_03_black_bg.jpg/220px-Ch%C3%A2teau_de_Versailles%2C_salon_de_Diane%2C_buste_de_Louis_XIV%2C_Bernin_%281665%29_03_black_bg.jpg" decoding="async" width="220" height="154" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7f/Ch%C3%A2teau_de_Versailles%2C_salon_de_Diane%2C_buste_de_Louis_XIV%2C_Bernin_%281665%29_03_black_bg.jpg/330px-Ch%C3%A2teau_de_Versailles%2C_salon_de_Diane%2C_buste_de_Louis_XIV%2C_Bernin_%281665%29_03_black_bg.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7f/Ch%C3%A2teau_de_Versailles%2C_salon_de_Diane%2C_buste_de_Louis_XIV%2C_Bernin_%281665%29_03_black_bg.jpg/440px-Ch%C3%A2teau_de_Versailles%2C_salon_de_Diane%2C_buste_de_Louis_XIV%2C_Bernin_%281665%29_03_black_bg.jpg 2x" data-file-width="3333" data-file-height="2334" /></a><figcaption><i>Bust of Louis XIV</i>, 1665</figcaption></figure> <p>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 (from both the French court and Pope Alexander VII) to travel to Paris to work for King <a href="/wiki/Louis_XIV" title="Louis XIV">Louis XIV</a>, who required an architect to complete work on the royal palace of the <a href="/wiki/Louvre" title="Louvre">Louvre</a>. 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, <a href="/wiki/Paul_Fr%C3%A9art_de_Chantelou" title="Paul Fréart de Chantelou">Paul Fréart de Chantelou</a>, who kept a <i>Journal</i> of Bernini's visit that records much of Bernini's behaviour and utterances in Paris.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> The writer <a href="/wiki/Charles_Perrault" title="Charles Perrault">Charles Perrault</a>, who was serving at this time as an assistant to the French <a href="/wiki/Controller-General_of_Finances" title="Controller-General of Finances">Controller-General of Finances</a> <a href="/wiki/Jean-Baptiste_Colbert" title="Jean-Baptiste Colbert">Jean-Baptiste Colbert</a>, also provided a first-hand account of Bernini's visit.<sup id="cite_ref-FOOTNOTEZarucchi2013356–70_45-0" class="reference"><a href="#cite_note-FOOTNOTEZarucchi2013356–70-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p>Bernini was popular among the crowds who gathered wherever he stopped, which led him to compare his itinerary to the travelling exhibition of an elephant.<sup id="cite_ref-Poussins_46-0" class="reference"><a href="#cite_note-Poussins-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> On his walks in Paris the streets were lined with admiring crowds too. But things soon turned sour.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> Bernini presented finished designs for the east front (i.e., the all-important principal facade of the entire palace) of the Louvre, which were ultimately rejected, albeit not formally until 1667, well after his departure from Paris (indeed, the already constructed foundations for Bernini's Louvre addition were inaugurated in October 1665 in an elaborate ceremony, with both Bernini and King Louis in attendance). It is often stated in the scholarship on Bernini that his Louvre designs were turned down because Louis and his finance minister Jean-Baptiste Colbert considered them too Italianate or too Baroque in style.<sup id="cite_ref-FOOTNOTEHibbard1990181_48-0" class="reference"><a href="#cite_note-FOOTNOTEHibbard1990181-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> In fact, as <a href="/wiki/Franco_Mormando" title="Franco Mormando">Franco Mormando</a> points out, "aesthetics are <i>never</i> mentioned in any of [the] ... 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 (e.g., location of the latrines).<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEZarucchi200632–38_50-0" class="reference"><a href="#cite_note-FOOTNOTEZarucchi200632–38-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Chatsworth_House" title="Chatsworth House">Chatsworth House</a>, Derbyshire, England, seat of the <a href="/wiki/Duke_of_Devonshire" title="Duke of Devonshire">Dukes of Devonshire</a>. </p><p>Other projects in Paris suffered a similar fate, such as Bernini's plans for the Bourbon funerary chapel in the cathedral of Saint Denis and the main altar of the Church of Val de Grâce (done at the request of its patron the Queen Mother), as well as his idea for a fountain for Saint-Cloud, the estate of King Louis's brother, Philippe.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> 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 (especially Rome); he said that a painting by <a href="/wiki/Guido_Reni" title="Guido Reni">Guido Reni</a>, the <i><a href="/wiki/Annunciation_(Reni)" title="Annunciation (Reni)">Annunciation</a></i> altarpiece (then in the Carmelite convent, now the Louvre Museum), was "alone worth half of Paris."<sup id="cite_ref-FOOTNOTEHibbard1990171,_citing_the_Chantelou_diary,_July_16_entry_52-0" class="reference"><a href="#cite_note-FOOTNOTEHibbard1990171,_citing_the_Chantelou_diary,_July_16_entry-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> The sole work remaining from his time in Paris is the <i><a href="/wiki/Bust_of_Louis_XIV_(Bernini)" title="Bust of Louis XIV (Bernini)">Bust of Louis XIV</a></i> although he also contributed a great deal to the execution of the Christ Child Playing with a Nail marble relief (now in the Louvre) by his son Paolo as a gift to Queen <a href="/wiki/Maria_Theresa_of_Spain" title="Maria Theresa of Spain">Maria Theresa</a>. Back in Rome, Bernini created a monumental <a href="/wiki/Equestrian_Statue_of_King_Louis_XIV_(Bernini)" class="mw-redirect" title="Equestrian Statue of King Louis XIV (Bernini)">equestrian statue of Louis XIV</a>; when it finally reached Paris (in 1685, five years after the artist's death), the French king found it extremely repugnant and wanted it destroyed; it was instead re-carved into a representation of the ancient Roman hero <a href="/wiki/Marcus_Curtius" title="Marcus Curtius">Marcus Curtius</a>.<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Later_years_and_death">Later years and death</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=8" title="Edit section: Later years and death"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Bernini-tomb.jpg" class="mw-file-description"><img alt="Tomb of Gian Lorenzo Bernini in Basilica di Santa Maria Maggiore" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/75/Bernini-tomb.jpg/220px-Bernini-tomb.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/75/Bernini-tomb.jpg/330px-Bernini-tomb.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/75/Bernini-tomb.jpg/440px-Bernini-tomb.jpg 2x" data-file-width="3000" data-file-height="2000" /></a><figcaption>Tomb of Gian Lorenzo Bernini in the <a href="/wiki/Basilica_di_Santa_Maria_Maggiore" class="mw-redirect" title="Basilica di Santa Maria Maggiore">Basilica di Santa Maria Maggiore</a></figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Berninigrave.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Berninigrave.jpg/220px-Berninigrave.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Berninigrave.jpg/330px-Berninigrave.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Berninigrave.jpg/440px-Berninigrave.jpg 2x" data-file-width="864" data-file-height="576" /></a><figcaption>The grave of Bernini in the Basilica di Santa Maria Maggiore</figcaption></figure> <p>Bernini remained physically and mentally vigorous and active in his profession until just two weeks before his death which came as a result of a stroke. The pontificate of his old friend, <a href="/wiki/Clement_IX" class="mw-redirect" title="Clement IX">Clement IX</a>, was too short (barely two years) to accomplish more than the dramatic refurbishment by Bernini of the <a href="/wiki/Ponte_Sant%27Angelo" title="Ponte Sant'Angelo">Ponte Sant'Angelo</a>, while the artist's elaborate plan, under Clement, for a new apse for the basilica of <a href="/wiki/Santa_Maria_Maggiore" title="Santa Maria Maggiore">Santa Maria Maggiore</a> 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, <a href="/wiki/Clement_X" class="mw-redirect" title="Clement X">Clement X</a> and <a href="/wiki/Innocent_XI" class="mw-redirect" title="Innocent XI">Innocent XI</a>, 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 <i><a href="/wiki/Blessed_Ludovica_Albertoni" title="Blessed Ludovica Albertoni">Blessed Ludovica Albertoni</a></i>, another nun-mystic. The work, reminiscent of Bernini's <i>Ecstasy of Saint Teresa,</i> is located in the chapel dedicated to Ludovica remodelled under Bernini's supervision in the <a href="/wiki/Trastevere" title="Trastevere">Trastevere</a> church of <a href="/wiki/San_Francesco_a_Ripa" title="San Francesco a Ripa">San Francesco a Ripa</a>, whose façade was designed by Bernini's disciple, <a href="/wiki/Mattia_de%27_Rossi" class="mw-redirect" title="Mattia de' Rossi">Mattia de' Rossi</a>.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> </p><p>In his last two years, Bernini also carved (supposedly for Queen <a href="/wiki/Christina,_Queen_of_Sweden" title="Christina, Queen of Sweden">Christina</a>) the bust of the Savior (Basilica of <a href="/wiki/San_Sebastiano_fuori_le_Mura" class="mw-redirect" title="San Sebastiano fuori le Mura">San Sebastiano fuori le Mura</a>, Rome) and supervised the restoration of the historic <a href="/wiki/Palazzo_della_Cancelleria" title="Palazzo della Cancelleria">Palazzo della Cancelleria</a>, a direct commission from Pope Innocent XI. The latter commission is an 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."<sup id="cite_ref-FOOTNOTEMormando2011227_55-0" class="reference"><a href="#cite_note-FOOTNOTEMormando2011227-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> </p><p>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 of <a href="/wiki/Santa_Maria_Maggiore" title="Santa Maria Maggiore">Santa Maria Maggiore</a>. Though an elaborate funerary monument had once been planned (documented by a single extant sketch of circa 1670 by disciple <a href="/wiki/Ludovico_Gimignani" title="Ludovico Gimignani">Ludovico Gimignani</a>), 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." </p> <div class="mw-heading mw-heading2"><h2 id="Personal_life">Personal life</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=9" title="Edit section: Personal life"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In the late 1630s, Bernini had an affair with a married woman named <a href="/wiki/Costanza_Piccolomini_Bonarelli" title="Costanza Piccolomini Bonarelli">Costanza</a> (wife of his workshop assistant, Matteo Bonucelli, also called Bonarelli) and <a href="/wiki/Bust_of_Costanza_Bonarelli" title="Bust of Costanza Bonarelli">sculpted a bust of her</a> (now in the Bargello, Florence) during the height of their romance. However, at some point, Costanza began at the same time an affair also with Bernini's younger brother, <a href="/wiki/Luigi_Bernini" title="Luigi Bernini">Luigi</a>, who was Bernini's right-hand man in his studio. When Bernini 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, almost ending 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, while Costanza herself was jailed for adultery. Bernini himself was exonerated by the pope, even though he had committed a crime in ordering the face-slashing.<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> </p><p>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 had eleven children, including youngest son <a href="/wiki/Domenico_Bernini" title="Domenico Bernini">Domenico Bernini</a>, who would later be his father's first biographer.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> After his never-repeated episode of stalking and disfigurement by proxy, in his subsequent marriage Bernini turned more sincerely to the practice of his faith, according to his early official biographers. Luigi, however, once again brought scandal to his family in 1670 by raping a young Bernini workshop assistant at the construction site of the 'Constantine' memorial in St. Peter's Basilica.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Personal_residences">Personal residences</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=10" title="Edit section: Personal residences"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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 died in 1629, Bernini moved the clan to the long-ago-demolished Santa Marta neighbourhood 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 site. In 1639, Bernini bought property on the corner of the Via della Mercede and the Via del <a href="/wiki/Collegio_di_Propaganda_Fide" class="mw-redirect" title="Collegio di Propaganda Fide">Collegio di Propaganda Fide</a> in Rome. This gave him the distinction of being only one of two artists (the other is <a href="/wiki/Pietro_da_Cortona" title="Pietro da Cortona">Pietro da Cortona</a>) to be the proprietor of his own large palatial (though not sumptuous) 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. (The building is sometimes referred to as "Palazzo Bernini", but that title more properly pertains to the Bernini family's later and larger home on Via del Corso, to which they moved in the early nineteenth century, now known as the Palazzo Manfroni-Bernini.) Bernini lived at No. 11 (extensively remodelled in the 19th century), where his working studio was located, as well as a large collection of works of art, his own and those of other artists.<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p><p>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 <a href="/wiki/Sant%27Andrea_delle_Fratte" title="Sant'Andrea delle Fratte">Sant'Andrea delle Fratte</a> by his rival, Borromini and also the demolition of the chapel that he, Bernini, had designed at the Collegio di Propaganda Fide, which was later replaced by Borromini's chapel in 1660 (because the Collegio required a much larger chapel), but there is no documentation of this belief.<sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> The construction of Sant'Andrea, however, was completed by Bernini's close disciple, <a href="/wiki/Mattia_de_Rossi" title="Mattia de Rossi">Mattia de Rossi</a> and it contains (to this day) the marble originals of two of Bernini's own angels executed by the master for the Ponte Sant'Angelo. </p> <div class="mw-heading mw-heading2"><h2 id="Works_of_art,_architecture,_and_mixed_genre"><span id="Works_of_art.2C_architecture.2C_and_mixed_genre"></span>Works of art, architecture, and mixed genre</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=11" title="Edit section: Works of art, architecture, and mixed genre"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Sculpture">Sculpture</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=12" title="Edit section: Sculpture"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Although he proved during his long lifetime to be a <i>uomo universale</i>, truly accomplished in so many areas of artistic production like Michelangelo and Leonardo da Vinci before him, Bernini was first and foremost a sculptor. He was trained from his earliest youth in that profession by his sculptor father, Pietro. The most recent and most comprehensive catalogue raisonné of his works of sculpture compiled by Maria Grazia Bernardini (<i>Bernini: Catalogo delle sculture</i>; Turin: Allemandi, 2022, 2 vols.) comprises 143 entries (not including those of debated attribution): they span Bernini's entire productive life, the first securely attributed work dating to 1610-1612 (the marble portrait bust of Bishop Giovanni Battista Santoni, for his tomb monument in Rome's Santa Prassede) and the last to 1679 (the marble <i>Salvator Mundi</i> bust, Basilica of San Sebastian fuori le Mura, Rome). </p><p>These many works range in size from small garden pieces of his earliest years (e.g., the <i>Boy with a Dragon</i>, 1617, Getty Museum, Los Angeles) to colossal works such as the <i>Saint Longinus</i> (1629–38, St. Peter's Basilica, Rome). The majority are in marble, with other works being in bronze (most notably his various papal portrait busts and the monumental statues adorning his <i>Baldacchino</i> (1624–33) and <i>Cathedra Petri</i> (1656–66) in St. Peter's Basilica. In virtually all cases, Bernini first produced numerous clay models as preparation for the final product; these models are now treasured as works of art in themselves, though, regrettably, only a minuscule percentage have survived from what must have been a great multitude. </p><p>The single largest sub-group of his sculptural production is represented by his portrait busts (either free-standing or incorporated into larger funerary monuments), mostly of his papal patrons or other ecclesiastical personages, as well as those few secular potentates who could afford the extraordinary expense of commissioning a portrait from Bernini (e.g., <i>King Louis XIV</i>, 1665, Palace of Versailles). Other large groups are represented by his religious works – statues of Biblical figures, angels, saints of the church, the crucified Christ, etc. – and his mythological figures either free-standing (such as his earliest masterpieces in the Galleria Borghese, Rome) or serving as ornaments in his complex fountain designs (such as the Fountain of the Four Rivers, 1647–51, Piazza Navona, Rome). </p><p>Bernini's vast sculptural output can also be categorized according to the degree to which Bernini himself contributed to both the design and execution of the final product: to wit, some works are entirely of his own design and execution; others, of his design and partial but still substantial execution; while others of his design but with little or no actual execution by Bernini (such as the <i>Madonna and Child,</i> Carmelite Church of Saint Joseph, Paris). A further category contains those works commissioned from Bernini and fully credited to his workshop, but represent neither his direct design nor execution, only his signature stylistic inspiration (such as several of the angels on the Ponte Sant’ Angelo refurbished by Bernini, and all of the saints atop the two arms of the portico of Saint Peter's Square). In general, the more prestigious the commission, and the earlier the commission in his career, the greater is Bernini's role in both design and execution, though notable exceptions exist to both of these general rules. </p> <div class="mw-heading mw-heading3"><h3 id="Architecture">Architecture</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=13" title="Edit section: Architecture"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Although his formal professional training was as sculptor and his entrance into the field of architecture not of his own volition but that of Pope Urban VIII, Bernini had by the end of his life reached what has proven to be his enduring status as one of the most influential architects of seventeenth-century Europe. He was certainly one of the most prolific over the many decades of his long, active life. Despite the fact that he rarely left the city of Rome and that all of his works of architecture were confined to the limits of the papal capital or to nearby towns, Bernini's influence was indeed European-wide: this is thanks both to the many engravings that disseminated his ideas across the continent and to the many non-Italian students of architecture who made long pilgrimages to Rome from all corners of Europe to study and be inspired by the ancient and modern masters, Bernini among them. </p><p>Bernini's architectural works include sacred and secular buildings and sometimes their urban settings and interiors.<sup id="cite_ref-61" class="reference"><a href="#cite_note-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> He made adjustments to existing buildings and designed new constructions. Among his most well-known works are <a href="/wiki/St._Peter%27s_Square" title="St. Peter's Square">St. Peter's Square</a> (1656–67), the <a href="/wiki/Piazza" class="mw-redirect" title="Piazza">piazza</a> and colonnades in front of <a href="/wiki/St._Peter%27s_Basilica" title="St. Peter's Basilica">St. Peter's Basilica</a> and the interior decoration of the basilica. Among his secular works are a number of Roman palaces: following the death of <a href="/wiki/Carlo_Maderno" title="Carlo Maderno">Carlo Maderno</a>, he took over the supervision of the building works at the <a href="/wiki/Palazzo_Barberini" title="Palazzo Barberini">Palazzo Barberini</a> from 1630 on which he worked with <a href="/wiki/Francesco_Borromini" title="Francesco Borromini">Francesco Borromini</a>; the Palazzo Ludovisi (now <a href="/wiki/Palazzo_Montecitorio" title="Palazzo Montecitorio">Palazzo Montecitorio</a>, started 1650); and the Palazzo Chigi (now <a href="/w/index.php?title=Palazzo_Chigi-Odescalchi&action=edit&redlink=1" class="new" title="Palazzo Chigi-Odescalchi (page does not exist)">Palazzo Chigi-Odescalchi</a>, started 1664). </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Baldachin_petersdom.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/58/Baldachin_petersdom.jpg/220px-Baldachin_petersdom.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/58/Baldachin_petersdom.jpg/330px-Baldachin_petersdom.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/58/Baldachin_petersdom.jpg/440px-Baldachin_petersdom.jpg 2x" data-file-width="1024" data-file-height="768" /></a><figcaption><i>St. Peter's baldachin</i>, 1624–1633</figcaption></figure> <p>His first architectural projects were the creation of the new façade and refurbishment of the interior of the church of <a href="/wiki/Santa_Bibiana" title="Santa Bibiana">Santa Bibiana</a> (1624–26) and the <i><a href="/wiki/St._Peter%27s_Baldachin" title="St. Peter's Baldachin">St. Peter's Baldachin</a></i> (1624–33), the bronze columned canopy over the high altar of St. Peter's basilica. In 1629, and before the baldachin was complete, <a href="/wiki/Urban_VIII" class="mw-redirect" title="Urban VIII">Urban VIII</a> put him in charge of all the ongoing architectural works in the basilica, bestowing upon him the official rank of "Architect of St. Peter's." However, Bernini fell out of favour during the papacy of Innocent X Pamphili because of that pope's already-mentioned animosity towards the Barberini (and hence towards their clients including Bernini) and the above-described failure of the bell towers designed and built by Bernini for St. Peter's Basilica. Never wholly without patronage during the Pamphili years and never losing his status as "Architect of St. Peter's," after Innocent's death in 1655 Bernini regained a major role in the decoration of the basilica with the <a href="/wiki/Pope_Alexander_VII" title="Pope Alexander VII">Pope Alexander VII</a> <a href="/wiki/Chigi_family" title="Chigi family">Chigi</a>, leading to his design of the piazza and <a href="/wiki/Colonnade" title="Colonnade">colonnade</a> in front of St. Peter's. Further significant works by Bernini at the Vatican include the <i><a href="/wiki/Scala_Regia_(Vatican)" title="Scala Regia (Vatican)">Scala Regia</a></i> (1663–66), the monumental grand stairway entrance to the Vatican Palace, and the <i><a href="/wiki/Chair_of_Saint_Peter" title="Chair of Saint Peter">Cathedra Petri</a></i>, the Chair of Saint Peter, in the apse of St. Peter's, in addition to the Chapel of the Blessed Sacrament in the nave. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Sicht_vom_petersdom_roma.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Sicht_vom_petersdom_roma.jpg/260px-Sicht_vom_petersdom_roma.jpg" decoding="async" width="260" height="195" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Sicht_vom_petersdom_roma.jpg/390px-Sicht_vom_petersdom_roma.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Sicht_vom_petersdom_roma.jpg/520px-Sicht_vom_petersdom_roma.jpg 2x" data-file-width="2048" data-file-height="1536" /></a><figcaption>View of the piazza and colonnade in front of St. Peter's</figcaption></figure> <p>Bernini did not build many churches <i>ex novo</i>, from the ground up; rather, his efforts were concentrated on pre-existing structures, such as the restored church of Santa Bibiana 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 <a href="/wiki/Sant%27Andrea_al_Quirinale" title="Sant'Andrea al Quirinale">Sant'Andrea al Quirinale</a>, done (beginning in 1658) 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.<sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> Bernini also designed churches in <a href="/wiki/Castelgandolfo" class="mw-redirect" title="Castelgandolfo">Castelgandolfo</a> (<a href="/w/index.php?title=San_Tommaso_da_Villanova&action=edit&redlink=1" class="new" title="San Tommaso da Villanova (page does not exist)">San Tommaso da Villanova</a>, 1658–1661) and <a href="/wiki/Ariccia" title="Ariccia">Ariccia</a> (<a href="/w/index.php?title=Santa_Maria_Assunta_(Ariccia)&action=edit&redlink=1" class="new" title="Santa Maria Assunta (Ariccia) (page does not exist)">Santa Maria Assunta</a>, 1662–1664), and was responsible for the re-modelling of the <a href="/wiki/Sanctuary_of_Santa_Maria_di_Galloro,_Ariccia" title="Sanctuary of Santa Maria di Galloro, Ariccia">Sanctuary of Santa Maria di Galloro, Ariccia</a>, endowing it with a majestic new façade. </p><p>When Bernini was invited to Paris in 1665 to prepare works for <a href="/wiki/Louis_XIV" title="Louis XIV">Louis XIV</a>, he presented designs for the <a href="/wiki/East_fa%C3%A7ade_of_the_Louvre_Palace" class="mw-redirect" title="East façade of the Louvre Palace">east façade of the Louvre Palace</a>, but his projects were ultimately turned down in favour of the more sober and classic proposals of a committee consisting of three Frenchmen: <a href="/wiki/Louis_Le_Vau" title="Louis Le Vau">Louis Le Vau</a>, <a href="/wiki/Charles_Le_Brun" title="Charles Le Brun">Charles Le Brun</a>, and the doctor and amateur architect <a href="/wiki/Claude_Perrault" title="Claude Perrault">Claude Perrault</a>,<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> signalling 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 <i>piazze</i> or squares. However, by this time, the French absolutist monarchy now preferred the classicizing monumental severity of the Louvre's facade, no doubt with the added political bonus that it had been designed by Frenchmen. The final version did, however, include Bernini's feature of a flat roof behind a <a href="/wiki/Palladian_architecture" title="Palladian architecture">Palladian</a> balustrade. </p> <div class="mw-heading mw-heading3"><h3 id="Fountains">Fountains</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=14" title="Edit section: Fountains"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Lazio_Roma_Navona2_tango7174.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/76/Lazio_Roma_Navona2_tango7174.jpg/220px-Lazio_Roma_Navona2_tango7174.jpg" decoding="async" width="220" height="264" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/76/Lazio_Roma_Navona2_tango7174.jpg/330px-Lazio_Roma_Navona2_tango7174.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/76/Lazio_Roma_Navona2_tango7174.jpg/440px-Lazio_Roma_Navona2_tango7174.jpg 2x" data-file-width="667" data-file-height="800" /></a><figcaption><i><a href="/wiki/Fontana_dei_Quattro_Fiumi" title="Fontana dei Quattro Fiumi">Fontana dei Quattro Fiumi</a></i></figcaption></figure> <p>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 '<a href="/wiki/Fontana_della_Barcaccia" title="Fontana della Barcaccia">Barcaccia</a>' (commissioned in 1627, finished 1629) 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 (Roman fountains were all driven by gravity alone), 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 <a href="/wiki/Janiculum" title="Janiculum">Janiculum</a> Hill overlooking St. Peter's Basilica.<sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> </p><p>His other fountains include the <i><a href="/wiki/Triton_Fountain" class="mw-redirect" title="Triton Fountain">Fountain of the Triton</a></i>, or <i>Fontana del Tritone</i> in <a href="/wiki/Piazza_Barberini" title="Piazza Barberini">Piazza Barberini</a> (celebrated in <a href="/wiki/Ottorino_Respighi" title="Ottorino Respighi">Ottorino Respighi</a>'s <i><a href="/wiki/Fountains_of_Rome_(symphonic_poem)" title="Fountains of Rome (symphonic poem)">Fountains of Rome</a></i>), and the nearby Barberini Fountain of the Bees, the <i><a href="/wiki/Fontana_delle_Api" title="Fontana delle Api">Fontana delle Api</a></i>.<sup id="cite_ref-65" class="reference"><a href="#cite_note-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> The Fountain of the Four Rivers, or <i><a href="/wiki/Fontana_dei_Quattro_Fiumi" title="Fontana dei Quattro Fiumi">Fontana dei Quattro Fiumi</a></i>, in the <a href="/wiki/Piazza_Navona" title="Piazza Navona">Piazza Navona</a> 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 façade of <a href="/wiki/Sant%27Agnese_in_Agone" title="Sant'Agnese in Agone">Sant'Agnese in Agone</a> (designed by the talented, but less politically successful, rival <a href="/wiki/Francesco_Borromini" title="Francesco Borromini">Francesco Borromini</a>), impossible because the fountain was built several years before the façade of the church was completed. Bernini also provided the design for the statue of the Moor in <i><a href="/wiki/La_Fontana_del_Moro" class="mw-redirect" title="La Fontana del Moro">La Fontana del Moro</a></i> in Piazza Navona (1653). </p> <div class="mw-heading mw-heading3"><h3 id="Tomb_monuments_and_other_works">Tomb monuments and other works</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=15" title="Edit section: Tomb monuments and other works"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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 (both in St. Peter's Basilica), Cardinal Domenico Pimentel (Santa Maria sopra Minerva, Rome, design only), and <a href="/wiki/Tomb_of_Countess_Matilda_of_Tuscany" title="Tomb of Countess Matilda of Tuscany">Matilda of Canossa</a> (St. Peter's Basilica). Related to the tomb monument is the funerary memorial, of which Bernini executed several (including that, most notably, of <a href="/wiki/Memorial_to_Maria_Raggi" title="Memorial to Maria Raggi">Maria Raggi</a> (Santa Maria sopra Minerva, Rome) also of greatly innovative style and long enduring influence.<sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> </p><p>Among his smaller commissions, although not mentioned by either of his earliest biographers, Baldinucci or Domenico Bernini, the <a href="/wiki/Elephant_and_Obelisk" title="Elephant and Obelisk">Elephant and Obelisk</a> is a sculpture located near the <a href="/wiki/Pantheon,_Rome" title="Pantheon, Rome">Pantheon</a>, in the <a href="/wiki/Piazza_della_Minerva" title="Piazza della Minerva">Piazza della Minerva</a>, in front of the Dominican church of <a href="/wiki/Santa_Maria_sopra_Minerva" title="Santa Maria sopra Minerva">Santa Maria sopra Minerva</a>. <a href="/wiki/Pope_Alexander_VII" title="Pope Alexander VII">Pope Alexander VII</a> decided that he wanted a small ancient Egyptian <a href="/wiki/Obelisk" title="Obelisk">obelisk</a> (that was discovered beneath the piazza) 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, <a href="/wiki/Ercole_Ferrata" title="Ercole Ferrata">Ercole Ferrata</a>, upon a design by his master, and finished in 1667. An inscription on the base relates the Egyptian goddess <a href="/wiki/Isis" title="Isis">Isis</a> and the Roman goddess <a href="/wiki/Minerva" title="Minerva">Minerva</a> to the Virgin Mary, who supposedly supplanted those pagan goddesses and to whom the church is dedicated.<sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup> Bernini's elephants are highly realistic as Bernini had twice the opportunity to see a live elephant: <a href="/w/index.php?title=Don_Diego_(elephant)&action=edit&redlink=1" class="new" title="Don Diego (elephant) (page does not exist)">Don Diego</a> in 1630 and <a href="/wiki/Hansken" title="Hansken">Hansken</a> in 1655.<sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Dominican_Order" title="Dominican Order">Dominican Order</a>, 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.<sup id="cite_ref-69" class="reference"><a href="#cite_note-69"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Gianlorenzo_Bernini_by_Giovanni_Battista_Gaulli_(National_Galleries_of_Scotland).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Gianlorenzo_Bernini_by_Giovanni_Battista_Gaulli_%28National_Galleries_of_Scotland%29.jpg/220px-Gianlorenzo_Bernini_by_Giovanni_Battista_Gaulli_%28National_Galleries_of_Scotland%29.jpg" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Gianlorenzo_Bernini_by_Giovanni_Battista_Gaulli_%28National_Galleries_of_Scotland%29.jpg/330px-Gianlorenzo_Bernini_by_Giovanni_Battista_Gaulli_%28National_Galleries_of_Scotland%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Gianlorenzo_Bernini_by_Giovanni_Battista_Gaulli_%28National_Galleries_of_Scotland%29.jpg/440px-Gianlorenzo_Bernini_by_Giovanni_Battista_Gaulli_%28National_Galleries_of_Scotland%29.jpg 2x" data-file-width="450" data-file-height="599" /></a><figcaption>Gian Lorenzo Bernini in 1665, painted by <a href="/wiki/Giovanni_Battista_Gaulli" title="Giovanni Battista Gaulli">Giovanni Battista Gaulli</a></figcaption></figure> <p>Among his minor commissions for non-Roman patrons or venues, in 1677 Bernini worked along with <a href="/wiki/Ercole_Ferrata" title="Ercole Ferrata">Ercole Ferrata</a> to create a fountain for the <a href="/wiki/Lisbon" title="Lisbon">Lisbon</a> palace of the Portuguese nobleman, <a href="/wiki/Lu%C3%ADs_de_Meneses,_3rd_Count_of_Ericeira" title="Luís de Meneses, 3rd Count of Ericeira">Luís de Meneses, 3rd Count of Ericeira</a>: 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 <a href="/wiki/Palace_of_Queluz" title="Palace of Queluz">Palace of Queluz</a>, several miles outside of Lisbon.<sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Paintings,_drawings,_and_work_for_the_theater"><span id="Paintings.2C_drawings.2C_and_work_for_the_theater"></span>Paintings, drawings, and work for the theater</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=16" title="Edit section: Paintings, drawings, and work for the theater"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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, <a href="/wiki/Cigoli" title="Cigoli">Cigoli</a>. His earliest activity as a painter was probably no more than a sporadic diversion practised mainly in his youth, until the mid-1620s, that is, the beginning of the pontificate of Pope Urban VIII (reigned 1623–1644) 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.<sup id="cite_ref-71" class="reference"><a href="#cite_note-71"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup> The extant, securely attributed works are mostly portraits, seen close up and set against an empty background, employing a confident, indeed brilliant, painterly brushstroke (similar to that of his Spanish contemporary Velasquez), free from any trace of pedantry, and a very limited palette of mostly warm, subdued colours with deep chiaroscuro. His work was immediately sought after by major collectors. Most noteworthy among these extant works are several, vividly penetrating self-portraits (all dating to the mid-1620s – early 1630s), especially that in the <a href="/wiki/Uffizi" title="Uffizi">Uffizi</a> Gallery, Florence, purchased during Bernini's lifetime by Cardinal <a href="/wiki/Leopoldo_de%27_Medici" title="Leopoldo de' Medici">Leopoldo de' Medici</a>. Bernini's <i>Apostles Andrew and Thomas</i> in London's <a href="/wiki/National_Gallery" title="National Gallery">National Gallery</a> is the sole canvas by the artist whose attribution, approximate date of execution (circa 1625) and provenance (the Barberini Collection, Rome) are securely known.<sup id="cite_ref-72" class="reference"><a href="#cite_note-72"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup> </p><p>As for Bernini's drawings, about 350 still exist; but this represents 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 <a href="/wiki/Agostino_Mascardi" title="Agostino Mascardi">Agostino Mascardi</a> (<a href="/wiki/Ecole_des_Beaux-Arts" class="mw-redirect" title="Ecole des Beaux-Arts">Ecole des Beaux-Arts</a>, Paris) and <a href="/wiki/Scipione_Borghese" title="Scipione Borghese">Scipione Borghese</a> and Sisinio Poli (both in New York's <a href="/wiki/Morgan_Library" class="mw-redirect" title="Morgan Library">Morgan Library</a>).<sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup> </p><p>Another area of artistic endeavour to which Bernini devoted much of his spare time between major commissions and which earned him further popular acclaim was that of the theatre. For many years (especially during the reign of Pope Urban VIII, 1623–44), Bernini created a long series of theatrical productions in which he simultaneously served as scriptwriter, stage director, actor, scenographer, and special-effects technician. These plays were mostly Carnival comedies (held often in his own home) which drew large audiences and much attention and in which the artist satirized contemporary Roman life (especially court life) with his pungent witticisms. At the same time, they also dazzled spectators with daring displays of special effects such as the flooding of the Tiber river or a controlled but very real fiery blaze, as reported by his son Domenico's biography. However, although there is much disparate, scattered documentation showing that all of this theatrical work was not simply a limited or passing diversion for Bernini, the only extant remains of these endeavours are the partial script of one play and a drawing of a sunset (or sunrise) relating to the creation of a special effect on stage.<sup id="cite_ref-74" class="reference"><a href="#cite_note-74"><span class="cite-bracket">[</span>74<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Influence_and_post-mortem_reputation">Influence and post-mortem reputation</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=17" title="Edit section: Influence and post-mortem reputation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Disciples,_collaborators,_and_rivals"><span id="Disciples.2C_collaborators.2C_and_rivals"></span>Disciples, collaborators, and rivals</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=18" title="Edit section: Disciples, collaborators, and rivals"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Among the many sculptors who worked under his supervision (even though most were accomplished masters in their own right) were <a href="/wiki/Luigi_Bernini" title="Luigi Bernini">Luigi Bernini</a>, Stefano Speranza, <a href="/wiki/Giuliano_Finelli" title="Giuliano Finelli">Giuliano Finelli</a>, <a href="/wiki/Andrea_Bolgi" title="Andrea Bolgi">Andrea Bolgi</a>, <a href="/wiki/Giacomo_Antonio_Fancelli" title="Giacomo Antonio Fancelli">Giacomo Antonio Fancelli</a>, <a href="/wiki/Lazzaro_Morelli" title="Lazzaro Morelli">Lazzaro Morelli</a>, <a href="/wiki/Francesco_Baratta_the_elder" title="Francesco Baratta the elder">Francesco Baratta</a>, <a href="/wiki/Ercole_Ferrata" title="Ercole Ferrata">Ercole Ferrata</a>, the Frenchman Niccolò Sale, Giovanni Antonio Mari, <a href="/wiki/Antonio_Raggi" title="Antonio Raggi">Antonio Raggi</a>, and <a href="/wiki/Fran%C3%A7ois_Duquesnoy" title="François Duquesnoy">François Duquesnoy</a>. But his most trusted right-hand man in sculpture was Giulio Cartari, while in architecture it was <a href="/wiki/Mattia_de_Rossi" title="Mattia de Rossi">Mattia de Rossi</a>, both of whom travelled to Paris with Bernini to assist him in his work there for King Louis XIV. Other architect disciples include <a href="/wiki/Giovanni_Battista_Contini" title="Giovanni Battista Contini">Giovanni Battista Contini</a> and <a href="/wiki/Carlo_Fontana" title="Carlo Fontana">Carlo Fontana</a> while Swedish architect, <a href="/wiki/Nicodemus_Tessin_the_Younger" title="Nicodemus Tessin the Younger">Nicodemus Tessin the Younger</a>, who visited Rome twice after Bernini's death, was also much influenced by him. </p><p>Among his rivals in architecture were, above all, <a href="/wiki/Francesco_Borromini" title="Francesco Borromini">Francesco Borromini</a> and <a href="/wiki/Pietro_da_Cortona" title="Pietro da Cortona">Pietro da Cortona</a>. Early in their careers, they had all worked at the same time at the <a href="/wiki/Palazzo_Barberini" title="Palazzo Barberini">Palazzo Barberini</a>, initially under <a href="/wiki/Carlo_Maderno" title="Carlo Maderno">Carlo Maderno</a> and, following his death, under Bernini. Later on, however, they were in competition for commissions, and fierce rivalries developed, particularly between Bernini and Borromini.<sup id="cite_ref-morrissey_75-0" class="reference"><a href="#cite_note-morrissey-75"><span class="cite-bracket">[</span>75<span class="cite-bracket">]</span></a></sup> In sculpture, Bernini competed with <a href="/wiki/Alessandro_Algardi" title="Alessandro Algardi">Alessandro Algardi</a> and <a href="/wiki/Fran%C3%A7ois_Duquesnoy" title="François Duquesnoy">François Duquesnoy</a>, but they both died decades earlier than Bernini (respectively in 1654 and 1643), leaving Bernini effectively with no sculptor of his same exalted status in Rome. <a href="/wiki/Francesco_Mochi" title="Francesco Mochi">Francesco Mochi</a> can also be included among Bernini's significant rivals, though he was not as accomplished in his art as Bernini, Algardi or Duquesnoy. </p><p>There was also a succession of painters (the so-called 'pittori berniniani') 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, <a href="/wiki/Guido_Ubaldo_Abbatini" title="Guido Ubaldo Abbatini">Guido Ubaldo Abbatini</a>, Frenchman <a href="/wiki/Guillaume_Courtois" title="Guillaume Courtois">Guillaume Courtois</a> (Guglielmo Cortese, known as 'Il Borgognone'), <a href="/wiki/Ludovico_Gimignani" title="Ludovico Gimignani">Ludovico Gimignani</a>, and <a href="/wiki/Giovanni_Battista_Gaulli" title="Giovanni Battista Gaulli">Giovanni Battista Gaulli</a> (who, thanks to Bernini, was granted the prized commission to fresco the vault of the Jesuit mother <a href="/wiki/Church_of_the_Ges%C3%B9" title="Church of the Gesù">Church of the Gesù</a> by Bernini's friend, Jesuit Superior General, <a href="/wiki/Giovanni_Paolo_Oliva" title="Giovanni Paolo Oliva">Giovanni Paolo Oliva</a>). </p><p>As far as <a href="/wiki/Caravaggio" title="Caravaggio">Caravaggio</a> is concerned, in all the voluminous Bernini sources, his name appears only once: this occurs in the Chantelou Diary in which the French diarist claims that Bernini agreed with his disparaging remark about Caravaggio (specifically his <i>Fortune Teller</i> that had just arrived from Italy as a Pamphilj gift to King Louis XIV). Yet, how much Bernini really scorned Caravaggio's art is a matter of debate whereas arguments have been made in favour 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 favourable attention of Bernini's own early patrons, both the <a href="/wiki/Borghese_family" title="Borghese family">Borghese</a> and the Barberini. Indeed, much like Caravaggio, Bernini often devised strikingly bold compositions, akin to theatrical tableaux that arrest the scene at its dramatic key moment (such as in his <i>Ecstasy of Saint Teresa</i> in Santa Maria della Vittoria). And again much like Caravaggio, he made full and skillful use of theatrical lighting as an important aesthetic and metaphorical device in his religious settings, often employing hidden light sources that could intensify the focus of religious worship or enhance the dramatic moment of a sculptural narrative.<sup id="cite_ref-76" class="reference"><a href="#cite_note-76"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="First_biographies">First biographies</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=19" title="Edit section: First biographies"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The most important primary source for the life of Bernini is the biography written by his youngest son, Domenico, entitled <i>Vita del Cavalier Gio. Lorenzo Bernino,</i> published in 1713 though first compiled in the last years of his father's life (c. 1675–80).<sup id="cite_ref-77" class="reference"><a href="#cite_note-77"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Filippo_Baldinucci" title="Filippo Baldinucci">Filippo Baldinucci</a>'s <i>Life of Bernini</i> was published in 1682, and a meticulous private journal, the <i>Diary of the Cavaliere Bernini's Visit to France,</i> was kept by the Frenchman <a href="/wiki/Paul_Fr%C3%A9art_de_Chantelou" title="Paul Fréart de Chantelou">Paul Fréart de Chantelou</a> 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, <i>The Vita Brevis of Gian Lorenzo Bernini</i>, written by his eldest son, Monsignor Pietro Filippo Bernini, in the mid-1670s.<sup id="cite_ref-78" class="reference"><a href="#cite_note-78"><span class="cite-bracket">[</span>78<span class="cite-bracket">]</span></a></sup> </p><p>Until the late 20th century, it was generally believed that two years after Bernini's death, Queen <a href="/wiki/Christina_of_Sweden" class="mw-redirect" title="Christina of Sweden">Christina of Sweden</a>, then living in Rome, commissioned Filippo Baldinucci to write his biography, which was published in Florence in 1682.<sup id="cite_ref-79" class="reference"><a href="#cite_note-79"><span class="cite-bracket">[</span>79<span class="cite-bracket">]</span></a></sup> However, recent research now strongly suggests that it was in fact Bernini's sons (and specifically the eldest son, Mons. Pietro Filippo) 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 (in order to hide the fact that the biography was coming directly from the family) 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 (there is no other explanation, otherwise, for the massive amount of verbatim repetition, and it is known that Baldinucci routinely copied verbatim material for his artists' biographies supplied by family and friends of his subjects).<sup id="cite_ref-80" class="reference"><a href="#cite_note-80"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> 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. </p> <div class="mw-heading mw-heading3"><h3 id="Legacy">Legacy</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=20" title="Edit section: Legacy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Lire_50000_(Bernini).JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Lire_50000_%28Bernini%29.JPG/300px-Lire_50000_%28Bernini%29.JPG" decoding="async" width="300" height="292" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Lire_50000_%28Bernini%29.JPG/450px-Lire_50000_%28Bernini%29.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Lire_50000_%28Bernini%29.JPG/600px-Lire_50000_%28Bernini%29.JPG 2x" data-file-width="734" data-file-height="714" /></a><figcaption>Bernini as depicted on the <a href="/wiki/Bank_of_Italy" title="Bank of Italy">Banca d'Italia</a> 50,000 <a href="/wiki/Italian_lira" title="Italian lira">lire banknote</a> in the 1980s and 90s.</figcaption></figure><p>As one Bernini scholar has summarized, "Perhaps the most important result of all of the [Bernini] 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 [artistic] language of the times."<sup id="cite_ref-81" class="reference"><a href="#cite_note-81"><span class="cite-bracket">[</span>81<span class="cite-bracket">]</span></a></sup> 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<sup id="cite_ref-82" class="reference"><a href="#cite_note-82"><span class="cite-bracket">[</span>82<span class="cite-bracket">]</span></a></sup> 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 (<a href="/wiki/Nicola_Salvi" title="Nicola Salvi">Nicola Salvi</a>'s later <a href="/wiki/Trevi_Fountain" title="Trevi Fountain">Trevi Fountain</a> [inaugurated in 1735] is a prime example of the enduring post-mortem influence of Bernini on the city's landscape).<sup id="cite_ref-83" class="reference"><a href="#cite_note-83"><span class="cite-bracket">[</span>83<span class="cite-bracket">]</span></a></sup> </p><p>In the eighteenth century, Bernini and virtually all Baroque artists fell from favor in the <a href="/wiki/Neoclassicism" title="Neoclassicism">neoclassical</a> criticism of the <a href="/wiki/Baroque" title="Baroque">Baroque</a>, that criticism aimed above all at the latter's supposedly extravagant (and thus illegitimate) 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 to restore his artistic reputation. However, the reaction against Bernini and the too-sensual (and therefore "decadent"), too-emotionally charged Baroque in the larger culture (especially in non-Catholic countries of northern Europe, and particularly in Victorian England) remained in effect until well into the twentieth century (most notable are the public disparagement of Bernini by Francesco Milizia, <a href="/wiki/Joshua_Reynolds" title="Joshua Reynolds">Joshua Reynolds</a>, and <a href="/wiki/Jacob_Burkhardt" class="mw-redirect" title="Jacob Burkhardt">Jacob Burkhardt</a>). </p><p>Among the influential 18th- and 19th-century figures who despised Bernini's art was also and most prominently <a href="/wiki/Johann_Joachim_Winckelmann" title="Johann Joachim Winckelmann">Johann Joachim Winckelmann</a> (1717–68), considered by many the father of the modern discipline of art history. For the neo-classicist Winkelmann, the one true, laudable "high style" of art was characterized by noble simplicity joined with a quiet grandeur that eschewed any exuberance of emotion, whether positive or negative, as exemplified by ancient Greek sculpture. The Baroque Bernini, instead, represented the opposite of this ideal and, moreover, according to Winkelmann, had been “utterly corrupted...by a vulgar flattery of the coarse and uncultivated, in attempting to render everything more intelligible to them.”<sup id="cite_ref-84" class="reference"><a href="#cite_note-84"><span class="cite-bracket">[</span>84<span class="cite-bracket">]</span></a></sup> Another major condemning voice is that of <a href="/wiki/Colen_Campbell" title="Colen Campbell">Colen Campbell</a> (1676–1729), who on the very first page of his monumental and influential <i>Vitruvius Britannicus</i> (London, 1715, Introduction, vol. 1, p. 1) singles out Bernini and Borromini as examples of the utter degradation of post-Palladian architecture in Italy: "With (the great <a href="/wiki/Andrea_Palladio" title="Andrea Palladio">Palladio</a>) the great Manner and exquisite Taste of Building is lost; for the Italians can no more now relish the Antique Simplicity, but are entirely employed in capricious Ornaments, which must at last end in the <a href="/wiki/Gothic_Revival" class="mw-redirect" title="Gothic Revival">Gothick</a>. For Proof of this Assertion, I appeal to the Productions of the last Century: How affected and licentious are the Works of Bernini and Fontana? How wildly Extravagant are the Designs of Boromini, who has endeavoured to debauch Mankind with his odd and chimerical Beauties…?" Accordingly, most of the popular eighteenth- and nineteenth-century tourist guides to Rome all but ignore Bernini and his work, or treat it with disdain, as in the case of the best-selling <i>Walks in Rome</i> (22 editions between 1871 and 1925) by Augustus J.C. Hare, who describes the angels on the Ponte Sant'Angelo as 'Bernini's Breezy Maniacs.' </p><p>But now in the twenty-first century, Bernini and his Baroque have been fully and enthusiastically restored to favour, both critical and popular. Since the anniversary year of his birth in 1998, there have been numerous Bernini exhibitions throughout the world, especially in 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 <a href="/wiki/Bank_of_Italy" title="Bank of Italy">Bank of Italy</a>'s 50,000 lire banknote in the 1980s and 90s (before Italy switched to the euro) with the back showing his <a href="/wiki/The_Vision_of_Constantine_(Bernini)" title="The Vision of Constantine (Bernini)">equestrian statue of Constantine</a>. Another outstanding sign of Bernini's enduring reputation came in the decision by architect <a href="/wiki/I.M._Pei" class="mw-redirect" title="I.M. Pei">I.M. Pei</a> 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 <a href="/wiki/Louvre_Pyramid" title="Louvre Pyramid">Louvre Pyramid</a> in glass. In 2000 best-selling novelist, <a href="/wiki/Dan_Brown" title="Dan Brown">Dan Brown</a>, made Bernini and several of his Roman works, the centrepiece of his political thriller, <i><a href="/wiki/Angels_%26_Demons" title="Angels & Demons">Angels & Demons</a></i>, while British novelist <a href="/wiki/Iain_Pears" title="Iain Pears">Iain Pears</a> made a missing Bernini bust the centrepiece of his best-selling murder mystery, <i>The Bernini Bust</i> (2003).<sup id="cite_ref-85" class="reference"><a href="#cite_note-85"><span class="cite-bracket">[</span>85<span class="cite-bracket">]</span></a></sup> There is even a <a href="/wiki/Bernini_(crater)" title="Bernini (crater)">crater</a> near the south pole of <a href="/wiki/Mercury_(planet)" title="Mercury (planet)">Mercury</a> named after Bernini (in 1976).<sup id="cite_ref-86" class="reference"><a href="#cite_note-86"><span class="cite-bracket">[</span>86<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Gallery">Gallery</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=21" title="Edit section: Gallery"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul class="gallery mw-gallery-packed"> <li class="gallerybox" style="width: 122.66666666667px"> <div class="thumb" style="width: 120.66666666667px;"><span typeof="mw:File"><a href="/wiki/File:Bernini_-_Damned_Soul.jpg" class="mw-file-description" title="Damned Soul"><img alt="Damned Soul" src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Bernini_-_Damned_Soul.jpg/181px-Bernini_-_Damned_Soul.jpg" decoding="async" width="121" height="180" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Bernini_-_Damned_Soul.jpg/272px-Bernini_-_Damned_Soul.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Bernini_-_Damned_Soul.jpg/362px-Bernini_-_Damned_Soul.jpg 2x" data-file-width="537" data-file-height="800" /></a></span></div> <div class="gallerytext"><i>Damned Soul</i></div> </li> <li class="gallerybox" style="width: 109.33333333333px"> <div class="thumb" style="width: 107.33333333333px;"><span typeof="mw:File"><a href="/wiki/File:Blessed_Soul_by_Bernini.jpg" class="mw-file-description" title="Blessed Soul"><img alt="Blessed Soul" src="//upload.wikimedia.org/wikipedia/commons/thumb/1/15/Blessed_Soul_by_Bernini.jpg/161px-Blessed_Soul_by_Bernini.jpg" decoding="async" width="108" height="180" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/15/Blessed_Soul_by_Bernini.jpg/241px-Blessed_Soul_by_Bernini.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/15/Blessed_Soul_by_Bernini.jpg/321px-Blessed_Soul_by_Bernini.jpg 2x" data-file-width="576" data-file-height="967" /></a></span></div> <div class="gallerytext"><i>Blessed Soul</i></div> </li> <li class="gallerybox" style="width: 116.66666666667px"> <div class="thumb" style="width: 114.66666666667px;"><span typeof="mw:File"><a href="/wiki/File:Gian_lorenzo_bernini,_ritratto_di_antonio_cepparelli,_1622,_museo_di_san_giovanni_dei_fiorentini.JPG" class="mw-file-description" title="Bust of Antonio Cepparelli"><img alt="Bust of Antonio Cepparelli" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7a/Gian_lorenzo_bernini%2C_ritratto_di_antonio_cepparelli%2C_1622%2C_museo_di_san_giovanni_dei_fiorentini.JPG/172px-Gian_lorenzo_bernini%2C_ritratto_di_antonio_cepparelli%2C_1622%2C_museo_di_san_giovanni_dei_fiorentini.JPG" decoding="async" width="115" height="180" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7a/Gian_lorenzo_bernini%2C_ritratto_di_antonio_cepparelli%2C_1622%2C_museo_di_san_giovanni_dei_fiorentini.JPG/258px-Gian_lorenzo_bernini%2C_ritratto_di_antonio_cepparelli%2C_1622%2C_museo_di_san_giovanni_dei_fiorentini.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7a/Gian_lorenzo_bernini%2C_ritratto_di_antonio_cepparelli%2C_1622%2C_museo_di_san_giovanni_dei_fiorentini.JPG/344px-Gian_lorenzo_bernini%2C_ritratto_di_antonio_cepparelli%2C_1622%2C_museo_di_san_giovanni_dei_fiorentini.JPG 2x" data-file-width="2172" data-file-height="3408" /></a></span></div> <div class="gallerytext"><i>Bust of Antonio Cepparelli</i></div> </li> <li class="gallerybox" style="width: 127.33333333333px"> <div class="thumb" style="width: 125.33333333333px;"><span typeof="mw:File"><a href="/wiki/File:Bust_of_Pope_Urban_VIII_by_Bernini.jpg" class="mw-file-description" title="Bust of Pope Urban VIII"><img alt="Bust of Pope Urban VIII" src="//upload.wikimedia.org/wikipedia/commons/thumb/6/68/Bust_of_Pope_Urban_VIII_by_Bernini.jpg/188px-Bust_of_Pope_Urban_VIII_by_Bernini.jpg" decoding="async" width="126" height="180" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/68/Bust_of_Pope_Urban_VIII_by_Bernini.jpg/282px-Bust_of_Pope_Urban_VIII_by_Bernini.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/68/Bust_of_Pope_Urban_VIII_by_Bernini.jpg/376px-Bust_of_Pope_Urban_VIII_by_Bernini.jpg 2x" data-file-width="1728" data-file-height="2479" /></a></span></div> <div class="gallerytext"><i>Bust of Pope Urban VIII</i></div> </li> <li class="gallerybox" style="width: 122px"> <div class="thumb" style="width: 120px;"><span typeof="mw:File"><a href="/wiki/File:Bernini%27s_bust_of_Monsignor_Carlo_Antonio_Pozzo,_NGS.jpg" class="mw-file-description" title="Bust of Monsignor Carlo Antonio dal Pozzo"><img alt="Bust of Monsignor Carlo Antonio dal Pozzo" src="//upload.wikimedia.org/wikipedia/commons/thumb/5/53/Bernini%27s_bust_of_Monsignor_Carlo_Antonio_Pozzo%2C_NGS.jpg/180px-Bernini%27s_bust_of_Monsignor_Carlo_Antonio_Pozzo%2C_NGS.jpg" decoding="async" width="120" height="180" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/53/Bernini%27s_bust_of_Monsignor_Carlo_Antonio_Pozzo%2C_NGS.jpg/269px-Bernini%27s_bust_of_Monsignor_Carlo_Antonio_Pozzo%2C_NGS.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/53/Bernini%27s_bust_of_Monsignor_Carlo_Antonio_Pozzo%2C_NGS.jpg/359px-Bernini%27s_bust_of_Monsignor_Carlo_Antonio_Pozzo%2C_NGS.jpg 2x" data-file-width="2056" data-file-height="3088" /></a></span></div> <div class="gallerytext"><i>Bust of Monsignor Carlo Antonio dal Pozzo</i></div> </li> <li class="gallerybox" style="width: 146.66666666667px"> <div class="thumb" style="width: 144.66666666667px;"><span typeof="mw:File"><a href="/wiki/File:Gianlorenzo_Bernini_-_Self-Portrait_-_WGA01973.jpg" class="mw-file-description" title="Self-portrait"><img alt="Self-portrait" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Gianlorenzo_Bernini_-_Self-Portrait_-_WGA01973.jpg/217px-Gianlorenzo_Bernini_-_Self-Portrait_-_WGA01973.jpg" decoding="async" width="145" height="180" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Gianlorenzo_Bernini_-_Self-Portrait_-_WGA01973.jpg/325px-Gianlorenzo_Bernini_-_Self-Portrait_-_WGA01973.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Gianlorenzo_Bernini_-_Self-Portrait_-_WGA01973.jpg/433px-Gianlorenzo_Bernini_-_Self-Portrait_-_WGA01973.jpg 2x" data-file-width="900" data-file-height="1121" /></a></span></div> <div class="gallerytext"><i>Self-portrait</i></div> </li> <li class="gallerybox" style="width: 136.66666666667px"> <div class="thumb" style="width: 134.66666666667px;"><span typeof="mw:File"><a href="/wiki/File:Giovanni_Lorenzo_Bernini-Neptune_and_Triton-Victoria_and_Albert_Museum.jpg" class="mw-file-description" title="Neptune and Triton"><img alt="Neptune and Triton" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Giovanni_Lorenzo_Bernini-Neptune_and_Triton-Victoria_and_Albert_Museum.jpg/202px-Giovanni_Lorenzo_Bernini-Neptune_and_Triton-Victoria_and_Albert_Museum.jpg" decoding="async" width="135" height="180" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Giovanni_Lorenzo_Bernini-Neptune_and_Triton-Victoria_and_Albert_Museum.jpg/304px-Giovanni_Lorenzo_Bernini-Neptune_and_Triton-Victoria_and_Albert_Museum.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/87/Giovanni_Lorenzo_Bernini-Neptune_and_Triton-Victoria_and_Albert_Museum.jpg/405px-Giovanni_Lorenzo_Bernini-Neptune_and_Triton-Victoria_and_Albert_Museum.jpg 2x" data-file-width="2448" data-file-height="3264" /></a></span></div> <div class="gallerytext"><i>Neptune and Triton</i></div> </li> <li class="gallerybox" style="width: 136.66666666667px"> <div class="thumb" style="width: 134.66666666667px;"><span typeof="mw:File"><a href="/wiki/File:Bernini_Ecstasy_of_St_Teresa_Terracotta_Model_Hermitage.jpg" class="mw-file-description" title="Ecstasy of St. Teresa. Terracotta Modello[87]"><img alt="Ecstasy of St. Teresa. Terracotta Modello[87]" src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Bernini_Ecstasy_of_St_Teresa_Terracotta_Model_Hermitage.jpg/202px-Bernini_Ecstasy_of_St_Teresa_Terracotta_Model_Hermitage.jpg" decoding="async" width="135" height="180" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Bernini_Ecstasy_of_St_Teresa_Terracotta_Model_Hermitage.jpg/304px-Bernini_Ecstasy_of_St_Teresa_Terracotta_Model_Hermitage.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Bernini_Ecstasy_of_St_Teresa_Terracotta_Model_Hermitage.jpg/405px-Bernini_Ecstasy_of_St_Teresa_Terracotta_Model_Hermitage.jpg 2x" data-file-width="1500" data-file-height="1999" /></a></span></div> <div class="gallerytext"><i>Ecstasy of St. Teresa</i>. Terracotta <i>Modello</i><sup id="cite_ref-87" class="reference"><a href="#cite_note-87"><span class="cite-bracket">[</span>87<span class="cite-bracket">]</span></a></sup></div> </li> </ul> <ul class="gallery mw-gallery-packed"> <li class="gallerybox" style="width: 162px"> <div class="thumb" style="width: 160px;"><span typeof="mw:File"><a href="/wiki/File:St._Peter%27s_Square_3.jpg" class="mw-file-description" title="St. Peter's colonnade"><img alt="St. Peter's colonnade" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/91/St._Peter%27s_Square_3.jpg/240px-St._Peter%27s_Square_3.jpg" decoding="async" width="160" height="120" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/91/St._Peter%27s_Square_3.jpg/360px-St._Peter%27s_Square_3.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/91/St._Peter%27s_Square_3.jpg/480px-St._Peter%27s_Square_3.jpg 2x" data-file-width="3072" data-file-height="2304" /></a></span></div> <div class="gallerytext"><i>St. Peter's colonnade</i></div> </li> <li class="gallerybox" style="width: 222.66666666667px"> <div class="thumb" style="width: 220.66666666667px;"><span typeof="mw:File"><a href="/wiki/File:Vatican_Altar_2.jpg" class="mw-file-description" title="St. Peter's baldachin"><img alt="St. Peter's baldachin" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Vatican_Altar_2.jpg/331px-Vatican_Altar_2.jpg" decoding="async" width="221" height="120" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Vatican_Altar_2.jpg/496px-Vatican_Altar_2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Vatican_Altar_2.jpg/662px-Vatican_Altar_2.jpg 2x" data-file-width="9485" data-file-height="5163" /></a></span></div> <div class="gallerytext"><i>St. Peter's baldachin</i></div> </li> <li class="gallerybox" style="width: 162px"> <div class="thumb" style="width: 160px;"><span typeof="mw:File"><a href="/wiki/File:Ponte_St._Angelo.jpg" class="mw-file-description" title="Ponte St. Angelo angels"><img alt="Ponte St. Angelo angels" src="//upload.wikimedia.org/wikipedia/commons/thumb/5/58/Ponte_St._Angelo.jpg/240px-Ponte_St._Angelo.jpg" decoding="async" width="160" height="120" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/58/Ponte_St._Angelo.jpg/360px-Ponte_St._Angelo.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/58/Ponte_St._Angelo.jpg/480px-Ponte_St._Angelo.jpg 2x" data-file-width="1280" data-file-height="960" /></a></span></div> <div class="gallerytext"><i>Ponte St. Angelo angels</i></div> </li> <li class="gallerybox" style="width: 82.666666666667px"> <div class="thumb" style="width: 80.666666666667px;"><span typeof="mw:File"><a href="/wiki/File:BERNINI_fuente_de_los_cuatro_r%C3%ADos_modelo_bronce.jpg" class="mw-file-description" title="Fontana dei Quattro fiumi. Bronze."><img alt="Fontana dei Quattro fiumi. Bronze." src="//upload.wikimedia.org/wikipedia/commons/thumb/7/72/BERNINI_fuente_de_los_cuatro_r%C3%ADos_modelo_bronce.jpg/121px-BERNINI_fuente_de_los_cuatro_r%C3%ADos_modelo_bronce.jpg" decoding="async" width="81" height="120" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/72/BERNINI_fuente_de_los_cuatro_r%C3%ADos_modelo_bronce.jpg/182px-BERNINI_fuente_de_los_cuatro_r%C3%ADos_modelo_bronce.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/72/BERNINI_fuente_de_los_cuatro_r%C3%ADos_modelo_bronce.jpg/243px-BERNINI_fuente_de_los_cuatro_r%C3%ADos_modelo_bronce.jpg 2x" data-file-width="1400" data-file-height="2073" /></a></span></div> <div class="gallerytext"><i>Fontana dei Quattro fiumi</i>. Bronze.</div> </li> </ul> <div class="mw-heading mw-heading2"><h2 id="Selected_works">Selected works</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=22" title="Edit section: Selected works"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/List_of_works_by_Gian_Lorenzo_Bernini" title="List of works by Gian Lorenzo Bernini">List of works by Gian Lorenzo Bernini</a></div> <div class="mw-heading mw-heading3"><h3 id="Sculpture_2">Sculpture</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=23" title="Edit section: Sculpture"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Bust_of_Jesus_Christ_by_Gianlorenzo_Bernini.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Bust_of_Jesus_Christ_by_Gianlorenzo_Bernini.jpg/220px-Bust_of_Jesus_Christ_by_Gianlorenzo_Bernini.jpg" decoding="async" width="220" height="223" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Bust_of_Jesus_Christ_by_Gianlorenzo_Bernini.jpg/330px-Bust_of_Jesus_Christ_by_Gianlorenzo_Bernini.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Bust_of_Jesus_Christ_by_Gianlorenzo_Bernini.jpg/440px-Bust_of_Jesus_Christ_by_Gianlorenzo_Bernini.jpg 2x" data-file-width="3729" data-file-height="3773" /></a><figcaption>Bust of Jesus Christ by Gianlorenzo Bernini</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Cappella_palluzzi-albertoni_di_giacomo_mola_(1622-25),_con_beata_ludovica_alberoni_di_bernini_(1671-75)_e_pala_del_baciccio_(s._anna_e_la_vergine)_05.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Cappella_palluzzi-albertoni_di_giacomo_mola_%281622-25%29%2C_con_beata_ludovica_alberoni_di_bernini_%281671-75%29_e_pala_del_baciccio_%28s._anna_e_la_vergine%29_05.jpg/220px-Cappella_palluzzi-albertoni_di_giacomo_mola_%281622-25%29%2C_con_beata_ludovica_alberoni_di_bernini_%281671-75%29_e_pala_del_baciccio_%28s._anna_e_la_vergine%29_05.jpg" decoding="async" width="220" height="160" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Cappella_palluzzi-albertoni_di_giacomo_mola_%281622-25%29%2C_con_beata_ludovica_alberoni_di_bernini_%281671-75%29_e_pala_del_baciccio_%28s._anna_e_la_vergine%29_05.jpg/330px-Cappella_palluzzi-albertoni_di_giacomo_mola_%281622-25%29%2C_con_beata_ludovica_alberoni_di_bernini_%281671-75%29_e_pala_del_baciccio_%28s._anna_e_la_vergine%29_05.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Cappella_palluzzi-albertoni_di_giacomo_mola_%281622-25%29%2C_con_beata_ludovica_alberoni_di_bernini_%281671-75%29_e_pala_del_baciccio_%28s._anna_e_la_vergine%29_05.jpg/440px-Cappella_palluzzi-albertoni_di_giacomo_mola_%281622-25%29%2C_con_beata_ludovica_alberoni_di_bernini_%281671-75%29_e_pala_del_baciccio_%28s._anna_e_la_vergine%29_05.jpg 2x" data-file-width="2744" data-file-height="1992" /></a><figcaption><i><a href="/wiki/Blessed_Ludovica_Albertoni" title="Blessed Ludovica Albertoni">Blessed Ludovica Albertoni</a></i>, 1671–1675</figcaption></figure> <ul><li><i><a href="/wiki/The_Goat_Amalthea_with_the_Infant_Jupiter_and_a_Faun" title="The Goat Amalthea with the Infant Jupiter and a Faun">The Goat Amalthea with the Infant Jupiter and a Faun</a></i> (c. 1609–1615) Marble, height 44 cm (17 in), <a href="/wiki/Galleria_Borghese" title="Galleria Borghese">Galleria Borghese</a>, Rome</li> <li><i><a href="/wiki/Bust_of_Giovanni_Battista_Santoni" title="Bust of Giovanni Battista Santoni">Bust of Giovanni Battista Santoni</a></i> (c. 1613–1616) Marble, life-size, <a href="/wiki/Santa_Prassede" title="Santa Prassede">Santa Prassede</a>, Rome</li> <li><i><a href="/wiki/A_Faun_Teased_by_Children" title="A Faun Teased by Children">A Faun Teased by Children</a></i> (1616–17) Marble, height 132 cm (52 in), <a href="/wiki/Metropolitan_Museum_of_Art" title="Metropolitan Museum of Art">Metropolitan Museum of Art</a>, New York</li> <li><i><a href="/wiki/The_Martyrdom_of_Saint_Lawrence_(Bernini)" title="The Martyrdom of Saint Lawrence (Bernini)">The Martyrdom of Saint Lawrence</a></i> (1617) Marble, 66 cm x 108 cm (26 in x 43 in), <a href="/wiki/Uffizi" title="Uffizi">Uffizi</a>, Florence</li> <li><i><a href="/wiki/Saint_Sebastian_(Bernini)" title="Saint Sebastian (Bernini)">Saint Sebastian</a></i> (1617–18) Marble, life-size, <a href="/wiki/Thyssen-Bornemisza_Museum" title="Thyssen-Bornemisza Museum">Thyssen-Bornemisza Museum</a>, Madrid</li> <li><i><a href="/wiki/Bust_of_Giovanni_Vigevano" title="Bust of Giovanni Vigevano">Bust of Giovanni Vigevano</a></i> (1617–18) Marble tomb, life-size, <a href="/wiki/Santa_Maria_sopra_Minerva" title="Santa Maria sopra Minerva">Santa Maria sopra Minerva</a>, Rome</li> <li><i><a href="/wiki/Bust_of_Pope_Paul_V" title="Bust of Pope Paul V">Bust of Pope Paul V</a></i> (1618) Marble, 35 cm (14 in), Galleria Borghese, Rome</li> <li><i><a href="/wiki/Aeneas,_Anchises,_and_Ascanius" title="Aeneas, Anchises, and Ascanius">Aeneas, Anchises, and Ascanius</a></i> (1618–19) Marble, height 220 cm (87 in), [Galleria Borghese, Rome</li> <li><i><a href="/wiki/Damned_Soul_(Bernini)" title="Damned Soul (Bernini)">Damned Soul</a></i> (1619) Marble, life-size, <a href="/wiki/Palace_of_Spain" class="mw-redirect" title="Palace of Spain">Palazzo di Spagna</a>, Rome</li> <li><i><a href="/wiki/Blessed_Soul_(Bernini)" title="Blessed Soul (Bernini)">Blessed Soul</a></i> (1619) Marble, life-size, Palazzo di Spagna, Rome</li> <li><i><a href="/wiki/Neptune_and_Triton" title="Neptune and Triton">Neptune and Triton</a></i> (1620) Marble, height 182 cm (72 in), <a href="/wiki/Victoria_and_Albert_Museum" title="Victoria and Albert Museum">Victoria and Albert Museum</a>, London</li> <li><i><a href="/wiki/The_Rape_of_Proserpina" title="The Rape of Proserpina">The Rape of Proserpina</a></i> (1621–22) Marble, height 225 cm (89 in), Galleria Borghese, Rome</li> <li><i><a href="/wiki/Bust_of_Pope_Gregory_XV" title="Bust of Pope Gregory XV">Bust of Pope Gregory XV</a></i> (1621) Marble, height 64 cm (25 in), <a href="/wiki/Art_Gallery_of_Ontario" title="Art Gallery of Ontario">Art Gallery of Ontario</a>, Toronto</li> <li><i><a href="/wiki/Bust_of_Monsignor_Pedro_de_Foix_Montoya" title="Bust of Monsignor Pedro de Foix Montoya">Bust of Monsignor Pedro de Foix Montoya</a></i> (c. 1621) Marble, life-size, <a href="/wiki/Santa_Maria_di_Monserrato" class="mw-redirect" title="Santa Maria di Monserrato">Santa Maria di Monserrato</a>, Rome</li> <li><i><a href="/wiki/Bust_of_Cardinal_Escoubleau_de_Sourdis" title="Bust of Cardinal Escoubleau de Sourdis">Bust of Cardinal Escoubleau de Sourdis</a></i> (1622) Marble, life-size, <a href="/wiki/Mus%C3%A9e_d%27Aquitaine" title="Musée d'Aquitaine">Musée d'Aquitaine</a>, Bordeaux</li> <li><i><a href="/wiki/Apollo_and_Daphne_(Bernini)" title="Apollo and Daphne (Bernini)">Apollo and Daphne</a></i> (1622–1625) Marble, height 243 cm (96 in), Galleria Borghese, Rome</li> <li><i><a href="/wiki/Bust_of_Antonio_Cepparelli" title="Bust of Antonio Cepparelli">Bust of Antonio Cepparelli</a></i> (1622) Marble, Museo di <a href="/wiki/San_Giovanni_dei_Fiorentini" title="San Giovanni dei Fiorentini">San Giovanni dei Fiorentini</a>, Rome</li> <li><i><a href="/wiki/David_(Bernini)" title="David (Bernini)">David</a></i> (1623–24) Marble, height 170 cm (67 in), Galleria Borghese, Rome</li> <li><i><a href="/wiki/Saint_Bibiana_(Bernini)" title="Saint Bibiana (Bernini)">Saint Bibiana</a></i> (1624–1626) Marble, life-size, <a href="/wiki/Santa_Bibiana" title="Santa Bibiana">Santa Bibiana</a>, Rome</li> <li><i><a href="/wiki/St._Peter%27s_Baldachin" title="St. Peter's Baldachin">St. Peter's Baldachin</a></i> (1623–1634) Bronze, partly gilt, 20 m (66 ft), <a href="/wiki/St._Peter%27s_Basilica" title="St. Peter's Basilica">St. Peter's Basilica</a>, Vatican City</li> <li><i><a href="/wiki/Bust_of_Francesco_Barberini" title="Bust of Francesco Barberini">Bust of Francesco Barberini</a></i> (1626) Marble, height 80 cm (31 in), <a href="/wiki/National_Gallery_of_Art" title="National Gallery of Art">National Gallery of Art</a>, Washington, D.C.</li> <li><i><a href="/wiki/Charity_with_Four_Children" title="Charity with Four Children">Charity with Four Children</a></i> (1627–28) Terracotta, height 39 cm (15 in), <a href="/wiki/Vatican_Museums" title="Vatican Museums">Vatican Museums</a>, Vatican City</li> <li><i><a href="/wiki/Tomb_of_Pope_Urban_VIII" class="mw-redirect" title="Tomb of Pope Urban VIII">Tomb of Pope Urban VIII</a></i> (1627–1647) Bronze and marble, larger than life-size, St. Peter's Basilica, Vatican City</li> <li><i><a href="/wiki/Saint_Longinus_(Bernini)" title="Saint Longinus (Bernini)">Saint Longinus</a></i> (1631–1638) Marble, height 440 cm (174 in), St. Peter's Basilica, Vatican City</li> <li><i><a href="/wiki/Two_Busts_of_Scipione_Borghese" class="mw-redirect" title="Two Busts of Scipione Borghese">Two Busts of Scipione Borghese</a></i> (1632) Marble, height 78 cm (31 in), Galleria Borghese, Rome</li> <li><i><a href="/wiki/Bust_of_Costanza_Bonarelli" title="Bust of Costanza Bonarelli">Bust of Costanza Bonarelli</a></i> (1635) Marble, height 72 cm (28 in), <a href="/wiki/Bargello" title="Bargello">Bargello</a>, Florence</li> <li><i><a href="/wiki/Bust_of_Thomas_Baker" title="Bust of Thomas Baker">Bust of Thomas Baker</a></i> (1638) Marble, height 82 cm (32 in), <a href="/wiki/Victoria_and_Albert_Museum" title="Victoria and Albert Museum">Victoria and Albert Museum</a>, London</li> <li><i><a href="/wiki/Bust_of_Cardinal_Richelieu" title="Bust of Cardinal Richelieu">Bust of Cardinal Richelieu</a></i> (1640–41) Marble, life-size, <a href="/wiki/Louvre" title="Louvre">Louvre</a>, Paris</li> <li><i><a href="/wiki/Truth_Unveiled_by_Time_(Bernini)" title="Truth Unveiled by Time (Bernini)">Truth Unveiled by Time</a></i> (1645–1652) Marble, height 280 cm (110 in), Galleria Borghese, Rome</li> <li><i><a href="/wiki/Memorial_to_Maria_Raggi" title="Memorial to Maria Raggi">Memorial to Maria Raggi</a></i> (1647–1653) Gilt bronze and coloured marble, life-size Santa Maria sopra Minerva, Rome</li> <li><i><a href="/wiki/Ecstasy_of_Saint_Teresa" title="Ecstasy of Saint Teresa">Ecstasy of Saint Teresa</a></i> (1647–1652) Marble, life-size, Cappella Cornaro, <a href="/wiki/Santa_Maria_della_Vittoria,_Rome" title="Santa Maria della Vittoria, Rome">Santa Maria della Vittoria, Rome</a></li> <li><i><a href="/wiki/Santa_Maria_della_Vittoria,_Rome" title="Santa Maria della Vittoria, Rome">Loggia of the Founders</a></i> (1647–1652) Marble, life-size, Cappella Cornaro, <a href="/wiki/Santa_Maria_della_Vittoria,_Rome" title="Santa Maria della Vittoria, Rome">Santa Maria della Vittoria, Rome</a></li> <li><i><a href="/wiki/Corpus_(sculpture)" class="mw-redirect" title="Corpus (sculpture)">Corpus</a></i> (1650) Bronze, life-size, Art Gallery of Ontario, Toronto</li> <li><i><a href="/wiki/Bust_of_Francesco_I_d%27Este" title="Bust of Francesco I d'Este">Bust of Francesco I d'Este</a></i> (1650–51) Marble, height 107 cm, <a href="/wiki/Galleria_Estense" title="Galleria Estense">Galleria Estense</a>, Modena</li> <li><i><a href="/wiki/The_Vision_of_Constantine_(Bernini)" title="The Vision of Constantine (Bernini)">The Vision of Constantine</a></i> (1654–1670) Marble, <a href="/wiki/Vatican_Museums" title="Vatican Museums">Vatican Museums</a>, <a href="/wiki/Apostolic_Palace" title="Apostolic Palace">Apostolic Palace</a>, Vatican City</li> <li><i>Daniel and the Lion</i> (1655) Terracotta, height 41.6 cm, Vatican Museums, Vatican City</li> <li><i><a href="/wiki/Daniel_and_the_Lion_(Bernini)" title="Daniel and the Lion (Bernini)">Daniel and the Lion</a></i> (1655–56) Marble, <a href="/wiki/Santa_Maria_del_Popolo" title="Santa Maria del Popolo">Santa Maria del Popolo</a>, Rome</li> <li><i>Habakkuk and the Angel</i> (1655) Terracotta, height 52 cm, Vatican Museums, Vatican City</li> <li><i><a href="/wiki/Habakkuk_and_the_Angel_(Bernini)" title="Habakkuk and the Angel (Bernini)">Habakkuk and the Angel</a></i> (1656–1661) Marble, Santa Maria del Popolo, Rome</li> <li><i><a href="/w/index.php?title=Altar_Cross_(Bernini)&action=edit&redlink=1" class="new" title="Altar Cross (Bernini) (page does not exist)">Altar Cross</a></i> (1657–1661) Gilt bronze corpus on bronze cross, height 45 cm (18 in), St. Peter's Basilica, Vatican City</li> <li><i><a href="/wiki/Chair_of_Saint_Peter" title="Chair of Saint Peter">Chair of Saint Peter</a></i> (1657–1666) Marble, bronze, white and golden stucco, St. Peter's Basilica, Vatican City</li> <li><i><a href="/w/index.php?title=Statue_of_Saint_Augustine_(Bernini)&action=edit&redlink=1" class="new" title="Statue of Saint Augustine (Bernini) (page does not exist)">Statue of Saint Augustine</a></i> (1657–1666) Bronze, St. Peter's Basilica, Vatican City</li> <li><i><a href="/wiki/Saints_Jerome_and_Mary_Magdalen_(Bernini)" title="Saints Jerome and Mary Magdalen (Bernini)">Saints Jerome and Mary Magdalen</a></i> (1661–1663) Marble, height 180 cm, Cappella Chigi, <a href="/wiki/Siena_Cathedral" title="Siena Cathedral">Siena Cathedral</a>, Siena</li> <li><i><a href="/w/index.php?title=Constantine,_Scala_Regia_(Bernini)&action=edit&redlink=1" class="new" title="Constantine, Scala Regia (Bernini) (page does not exist)">Constantine, Scala Regia</a></i> (1663–1670) Marble with painted stucco drapery, <a href="/wiki/Scala_Regia_(Vatican)" title="Scala Regia (Vatican)">Scala Regia</a>, Apostolic Palace, Vatican City</li> <li><i><a href="/wiki/Bust_of_Louis_XIV_(Bernini)" title="Bust of Louis XIV (Bernini)">Bust of Louis XIV</a></i> (1665) White marble, height 105 cm, Salon de Diane, <a href="/wiki/Palace_of_Versailles" title="Palace of Versailles">Palace of Versailles</a>, Versailles</li> <li><i><a href="/wiki/Elephant_and_Obelisk" title="Elephant and Obelisk">Elephant and Obelisk</a></i> (erected 1667) Marble, <a href="/wiki/Piazza_della_Minerva" title="Piazza della Minerva">Piazza della Minerva</a>, Rome</li> <li><i><a href="/w/index.php?title=Standing_Angel_with_Scroll&action=edit&redlink=1" class="new" title="Standing Angel with Scroll (page does not exist)">Standing Angel with Scroll</a></i> (1667–68) Clay, terracotta, height: 29.2 cm, <a href="/wiki/Fogg_Museum" class="mw-redirect" title="Fogg Museum">Fogg Museum</a>, Cambridge</li> <li><i><a href="/wiki/Ponte_Sant%27Angelo#List_of_angels" title="Ponte Sant'Angelo">List of angels of Ponte Sant'Angelo</a></i> (1667–1669) Marble, <a href="/wiki/Ponte_Sant%27Angelo" title="Ponte Sant'Angelo">Ponte Sant'Angelo</a>, Rome</li> <li><i><a href="/wiki/Angel_with_the_Crown_of_Thorns" title="Angel with the Crown of Thorns">Angel with the Crown of Thorns</a></i> (1667–1669) Marble, over life-size, <a href="/wiki/Sant%27Andrea_delle_Fratte" title="Sant'Andrea delle Fratte">Sant'Andrea delle Fratte</a>, Rome</li> <li><i><a href="/wiki/Angel_with_the_Superscription" title="Angel with the Superscription">Angel with the Superscription</a></i> (1667–1669) Marble, over life-size, Sant'Andrea delle Fratte, Rome</li> <li><i><a href="/wiki/Bust_of_Gabriele_Fonseca" title="Bust of Gabriele Fonseca">Bust of Gabriele Fonseca</a></i> (1668–1675) Marble, over life-size, <a href="/wiki/San_Lorenzo_in_Lucina" title="San Lorenzo in Lucina">San Lorenzo in Lucina</a>, Rome</li> <li><i><a href="/wiki/Equestrian_Statue_of_King_Louis_XIV_(Bernini)" class="mw-redirect" title="Equestrian Statue of King Louis XIV (Bernini)">Equestrian Statue of King Louis XIV</a></i> (1669–1684) Marble, height 76 cm, Palace of Versailles, Versailles</li> <li><i><a href="/wiki/Blessed_Ludovica_Albertoni" title="Blessed Ludovica Albertoni">Blessed Ludovica Albertoni</a></i> (1671–1674) Marble, Cappella Altieri-Albertoni, <a href="/wiki/San_Francesco_a_Ripa" title="San Francesco a Ripa">San Francesco a Ripa</a>, Rome</li> <li><i><a href="/wiki/Tomb_of_Pope_Alexander_VII" title="Tomb of Pope Alexander VII">Tomb of Pope Alexander VII</a></i> (1671–1678) Marble and gilded bronze, over life-size, St. Peter's Basilica, Vatican City</li></ul> <div class="mw-heading mw-heading3"><h3 id="Architecture_and_fountains">Architecture and fountains</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=24" title="Edit section: Architecture and fountains"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/St._Peter%27s_Square" title="St. Peter's Square">St. Peter's Square</a> (1656–1667) Marble, granite, travertine, stone, Vatican City</li> <li><a href="/wiki/Sant%27Andrea_al_Quirinale" title="Sant'Andrea al Quirinale">Sant'Andrea al Quirinale</a>, Via XX Settembre</li> <li><i><a href="/wiki/Fontana_della_Barcaccia" title="Fontana della Barcaccia">Fontana della Barcaccia</a></i> (1627) Marble, <a href="/wiki/Piazza_di_Spagna" title="Piazza di Spagna">Piazza di Spagna</a>, Rome</li> <li><i><a href="/wiki/Fontana_del_Tritone" class="mw-redirect" title="Fontana del Tritone">Fontana del Tritone</a></i> (1624–1643) Travertine, over life-size, <a href="/wiki/Piazza_Barberini" title="Piazza Barberini">Piazza Barberini</a>, Rome</li> <li><i><a href="/wiki/Fontana_delle_Api" title="Fontana delle Api">Fontana delle Api</a></i> (1644) Travertine, Piazza Barberini, Rome</li> <li><i><a href="/wiki/Fontana_dei_Quattro_Fiumi" title="Fontana dei Quattro Fiumi">Fontana dei Quattro Fiumi</a></i> (1648–1651) Travertine and marble, <a href="/wiki/Piazza_Navona" title="Piazza Navona">Piazza Navona</a>, Rome</li> <li><i><a href="/wiki/Fontana_del_Moro" title="Fontana del Moro">Fontana del Moro</a></i> (1653–54) Marble, Piazza Navona, Rome</li></ul> <div class="mw-heading mw-heading3"><h3 id="Paintings">Paintings</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=25" title="Edit section: Paintings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><i><a href="/w/index.php?title=Self-Portrait_as_a_Young_Man_(Bernini)&action=edit&redlink=1" class="new" title="Self-Portrait as a Young Man (Bernini) (page does not exist)">Self-Portrait as a Young Man</a></i> (<abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1623</span>) Oil on canvas, <a href="/wiki/Galleria_Borghese" title="Galleria Borghese">Galleria Borghese</a>, Rome</li> <li><i><a href="/w/index.php?title=Portrait_of_Pope_Urban_VIII&action=edit&redlink=1" class="new" title="Portrait of Pope Urban VIII (page does not exist)">Portrait of Pope Urban VIII</a></i> (<abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1625</span>) Oil on canvas, <a href="/wiki/Galleria_Nazionale_d%27Arte_Antica" title="Galleria Nazionale d'Arte Antica">Galleria Nazionale d'Arte Antica</a>, Rome</li> <li><i><a href="/w/index.php?title=Saint_Andrew_and_Saint_Thomas_(Bernini)&action=edit&redlink=1" class="new" title="Saint Andrew and Saint Thomas (Bernini) (page does not exist)">Saint Andrew and Saint Thomas</a></i> (<abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1627</span>) Oil on canvas, 59 x 76 cm, <a href="/wiki/National_Gallery" title="National Gallery">National Gallery</a>, London</li> <li><i><a href="/w/index.php?title=Self-Portrait_as_a_Mature_Man_(Bernini)&action=edit&redlink=1" class="new" title="Self-Portrait as a Mature Man (Bernini) (page does not exist)">Self-Portrait as a Mature Man</a></i> (1630–35) Oil on canvas, Galleria Borghese, Rome</li> <li><i>Self-Portrait as a Mature Man</i> (1635–1638) Oil on canvas, <a href="/wiki/Museo_del_Prado" title="Museo del Prado">Museo del Prado</a>, Madrid<sup id="cite_ref-88" class="reference"><a href="#cite_note-88"><span class="cite-bracket">[</span>88<span class="cite-bracket">]</span></a></sup></li> <li><i><a href="/w/index.php?title=Portrait_of_a_Boy_(Bernini)&action=edit&redlink=1" class="new" title="Portrait of a Boy (Bernini) (page does not exist)">Portrait of a Boy</a></i> (c. 1638) Oil on canvas, Galleria Borghese, Rome</li> <li><i>Christ Mocked</i> (c. 1644–55) Oil on canvas, Private Collection, London</li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=26" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 22em;"> <ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Katherine Eustace, Editorial, <i>Sculpture Journal</i>, vol. 20, n. 2, 2011, p. 109.</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">I. Lavin, <i>Bernini and the Unity of the Visual Arts,</i> New York: Morgan Library and Oxford University Press, 1980.</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.gallery.ca/files/Bernini_Biography_ENG.pdf">Gallery.ca</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100331234043/http://www.gallery.ca/files/Bernini_Biography_ENG.pdf">Archived</a> 31 March 2010 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>. <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFGale2004" class="citation book cs1">Gale, Thomson (2004). "Gian Lorenzo Bernini". <i>Encyclopedia of World Biography</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Gian+Lorenzo+Bernini&rft.btitle=Encyclopedia+of+World+Biography&rft.date=2004&rft.aulast=Gale&rft.aufirst=Thomson&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span> For a list of Bernini's siblings, see <a href="/wiki/Franco_Mormando" title="Franco Mormando">Franco Mormando</a>, <i>Bernini: His Life and His Rome</i> (Chicago: University of Chicago Press, 2011), pp. 2–3. Note that the primary source for much of the information about Bernini's life comes from the biography written by his youngest son Domenico. For a scholarly, annotated English translation of the latter, see <a href="/wiki/Franco_Mormando" title="Franco Mormando">Franco Mormando</a>, ed. and trans., Domenico Bernini, <i>Life of Gian Lorenzo Bernini</i>, University Park, Penn State Univ. Press, 2011.</span> </li> <li id="cite_note-FOOTNOTEPosèq2006161–190-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPosèq2006161–190_4-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPosèq2006">Posèq 2006</a>, pp. 161–190.</span> </li> <li id="cite_note-FOOTNOTEMormando201198,_100-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMormando201198,_100_5-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMormando2011">Mormando 2011</a>, pp. 98, 100.</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">For the newly rediscovered bust of the Savior, see <i>Pietro and Gian Lorenzo Bernini: Bust of the Savior.</i> With an essay by Andrea Bacchi, New York: Andrew Butterfield Fine Arts, 2016. For the other collaborative works, see the 2017 Galleria Borghese exhibition catalogue, <i>Bernini</i> (eds. Andrea Bacchi and Anna Coliva [Milan): Officina Libraria, 2017), respectively pp. 38–41, 68–71, 48–53 and 28.</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><a href="/wiki/Franco_Mormando" title="Franco Mormando">Franco Mormando</a>, ed. and trans., Domenico Bernini, <i>Life of Gian Lorenzo Bernini</i>, University Park, Penn State Univ. Press, 2011, p. 98.</span> </li> <li id="cite_note-FOOTNOTEBriggs1915197–202-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEBriggs1915197–202_8-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBriggs1915">Briggs 1915</a>, pp. 197–202.</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">For a more nuanced, cautious discussion of the traditional hagiographic view of Bernini as "fervent Catholic" and of his art as simply a direct manifestation of his personal faith, see Mormando, "Bernini's Religion: Myth and Reality", pp. 60–66 of the Introduction to his critical, annotated edition, <i>Domenico Bernini, The Life of Gian Lorenzo Bernini</i>, University Park, Penn State U Press, 2011. See also the same author's article, 'Breaking Through the Bernini Myth' in the online journal, <i>Berfrois</i>, 11 October 2012: <a rel="nofollow" class="external autonumber" href="http://www.berfrois.com/2012/10/franco-mormando-on-bernini/">[1]</a></span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Regarding Hibbard's classic book on Bernini (<i>Bernini</i> [New York: Penguin, 1965]), often cited as a leading authority, though still a valuable resource, it has never been updated since its original publication and the author's premature death; a vast amount of new information about Bernini has surfaced since then. It also accepts too readily the whitewashed, hagiographic depictions of Bernini, his patrons, and of Baroque Rome as supplied by the first, official biographies by Baldinucci and Domenico Bernini. Similar criticism regarding an insufficiently critical reading of contemporary sources (especially ecclesiastical ones) and a simplistic reductionism in the description of Bernini's true mindset and artistic vision could also be made of the scholarship of Wittkower and Lavin.</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">The most up-to-date and most comprehensive catalogue raisonné of all of Bernini's sculptures is Maria Grazia Bernardini's monumental <i>Catalogo delle sculture</i>, with an extensive bibliography (Turin: Allemandi Edizioni, 2022). It supersedes Rudolph Wittkower's catalogue, <i>Bernini: The Sculptor of the Roman Baroque</i>, first published in 1955, but re-published in revised form even after the author's death (in 1971), the last edition being the 4th, London: Phaidon, 1997.</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">F. Mormando, <i>Domenico Bernini's Life of Gian Lorenzo Bernini</i> (University Park: Penn State University Press, 2011), p. 282, n. 23. Scholars, however, are still in debate as to which of the four 'putti' came from the hand of Gian Lorenzo.</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">I. Lavin, 'Five New Youthful Sculptures by Gianlorenzo Bernini and a Revised Chronology of His Early Works,' <i>Art Bulletin</i> 50 (1968): 223–48, here 236–237. There is no scholarly consensus as to which unfinished Michelangelo statue the Maffeo letter was referring, but evidence all points strongly in the direction of the <i>Palestrina Pietà</i> (now in the Accademia, Florence): see Irving Lavin (†) and Marilyn Aronberg Lavin, "The <i>Palestrina Pietà:</i> Gatherings on the History of 'a Statue Begun by Michelangelo,'" <i>Artibus et Historiae,</i> no. 82, XLI, 2020: 249–65.</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Maurizio Fagiolo dell'Arco and Marcello Fagiolo, <i>Bernini. Una introduzione al gran teatro barocco</i> (Rome: Bulzoni, 1967), cat. entries #11 (Hermaphrodite) and #25 (Ares). Contrary to what the Fagiolo dell'Arco brothers claim in their cat. #31, there is no documentation at all proving or even suggesting that Bernini was responsible for the restoration of the so-called <i><a href="/wiki/Barberini_Faun" title="Barberini Faun">Barberini Faun</a></i> (now in the <a href="/wiki/Glyptothek" title="Glyptothek">Glyptothek</a> of Munich), as Francis Haskell and Nicholas Penny have demonstrated in their <i>Taste and the Antique</i> (New Haven: Yale University Press, 1981), cat. 33, pp. 202–05.</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">For the Jode / Mallery prints, see Leuschner, 2016, 135–46. For newly discovered archival documentation about the provenance and original identity of the subjects of the two busts, see Garcia Cueto, 2015, 37–53.</span> </li> <li id="cite_note-FOOTNOTEWittkower195514-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWittkower195514_16-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWittkower1955">Wittkower 1955</a>, p. 14.</span> </li> <li id="cite_note-FOOTNOTEHibbard196521-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHibbard196521_17-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHibbard1965">Hibbard 1965</a>, p. 21.</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Timothy Clifford and Michael Clarke, Foreword, <i>Effigies and Ecstasies: Roman Baroque Sculpture and Design in the Age of Bernini</i>, Edinburgh: National Gallery of Scotland, 1998, p. 7</span> </li> <li id="cite_note-FOOTNOTEWittkower195513-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWittkower195513_19-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWittkower1955">Wittkower 1955</a>, p. 13.</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><a href="#CITEREFWittkower1955">Wittkower 1955</a>, p. 15; <a href="#CITEREFHibbard1965">Hibbard 1965</a>, pp. 53–54</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDewald2004" class="citation book cs1">Dewald, Jonathan (2004). <a rel="nofollow" class="external text" href="http://worldcat.org/oclc/773533350"><i>Europe 1450 to 1789 : encyclopedia of the early modern world</i></a>. Charles Scribner's Sons. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-684-31201-8" title="Special:BookSources/0-684-31201-8"><bdi>0-684-31201-8</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/773533350">773533350</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Europe+1450+to+1789+%3A+encyclopedia+of+the+early+modern+world&rft.pub=Charles+Scribner%27s+Sons&rft.date=2004&rft_id=info%3Aoclcnum%2F773533350&rft.isbn=0-684-31201-8&rft.aulast=Dewald&rft.aufirst=Jonathan&rft_id=http%3A%2F%2Fworldcat.org%2Foclc%2F773533350&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><a href="#CITEREFWittkower1955">Wittkower 1955</a>, pp. 14–15; <a href="#CITEREFHibbard1965">Hibbard 1965</a>, pp. 48–61</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><a href="/wiki/Franco_Mormando" title="Franco Mormando">Franco Mormando</a>, ed. and trans., Domenico Bernini, <i>Life of Gian Lorenzo Bernini,</i> University Park, Penn State Univ. Press, 2011, p. 111.</span> </li> <li id="cite_note-FOOTNOTEHibbard196568-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHibbard196568_24-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHibbard1965">Hibbard 1965</a>, p. 68.</span> </li> <li id="cite_note-FOOTNOTEMormando201172-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMormando201172_25-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMormando2011">Mormando 2011</a>, p. 72.</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">For the conversion of 17th-century Roman scudi into 21st-century U.S. dollars, see F. Mormando, <i>Bernini: His Life and His Rome</i> (Chicago: University of Chicago Press, 2011), p. xix.</span> </li> <li id="cite_note-FOOTNOTEMormando201184-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMormando201184_27-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMormando2011">Mormando 2011</a>, p. 84.</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Erwin Panofsky, <i>Tomb Sculpture: Four Lectures on Its Changing Aspect From Ancient Egypt to Bernini,</i> New York: Abrams, 1992, p. 96.</span> </li> <li id="cite_note-FOOTNOTEWittkower195588-29"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEWittkower195588_29-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWittkower195588_29-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFWittkower1955">Wittkower 1955</a>, p. 88.</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">During her lifetime, Costanza was called most often by her maiden name, Piccolomini (she belonged to a minor branch of the papal family that had produced Pope Pius II). Sarah McPhee's archival research has definitively corrected the long-standing mistake regarding her married name: it was Bonucelli, not Bonarelli. For about her and this affair, see below, "Personal Life."</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Cust, 2007, p. 94. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20131120043243/http://www.royalcollection.org.uk/eGallery/object.asp?object=404420&row=2062&detail=about">Triple Portrait of Charles I</a>.</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text">For a brief but comprehensive summary of this entire, long and complicated episode in Bernini's life that takes into account the latest archival discoveries, see|Mormando|2011|pp=332–34, nn. 17–23, pp. 342–45, nn. 4–21. For a meticulous, exhaustive investigation of the case, see McPhee, Sarah, <i>Bernini and the Bell Towers: Architecture and Politics at the Vatican</i>, Yale University Press, 2002.</span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">For Bernini's work on nave and the Alexander VII quotation, see F. Mormando, <i>Bernini: His Life and His Rome,</i> respectively pp. 149–50 and 328.</span> </li> <li id="cite_note-FOOTNOTEMormando2011150-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMormando2011150_34-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMormando2011">Mormando 2011</a>, p. 150.</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">For Bernini's successful behind-the-scenes manoeuvring to secure the fountain commission, see F. Mormando, <i>Bernini: His Life and His Rome,</i> pp. 170-74.</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">Irving Lavin, <i>Bernini and the Unity of the Visual Arts</i> (New York: Morgan Library and Oxford University Press, 1980), p. 107.</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Irving Lavin, <i>Bernini and the Unity of the Visual Arts</i> (New York: Morgan Library and Oxford University Press, 1980), pp. 104–06.</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">For these visual details of the statue and an examination of the charge of indecency, see Franco Mormando, 'Did Bernini's <i>Ecstasy of St. Teresa</i> Cross a 17th-century Line of Decorum?,' <i>Word and Image,</i> 39:4, 2023: 351-83 (Mormando's answer is yes.)<a rel="nofollow" class="external autonumber" href="https://www.tandfonline.com/loi/twim20">[2]</a></span> </li> <li id="cite_note-FOOTNOTEMormando2011159-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMormando2011159_39-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMormando2011">Mormando 2011</a>, p. 159.</span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Hibbard, p. 156; Mormando, <i>Bernini: His Life and His Rome,</i> 2011, p. 204. The long, broad, straight avenue (<a href="/wiki/Via_della_Conciliazione" title="Via della Conciliazione">Via della Conciliazione</a>) to the River <a href="/wiki/Tiber" title="Tiber">Tiber</a> was an early 20th-century addition, when <a href="/wiki/Benito_Mussolini" title="Benito Mussolini">Benito Mussolini</a> ordered the clearing of housing that led up to Bernini's piazza in order to afford a more commodious access to the Vatican.</span> </li> <li id="cite_note-FOOTNOTEHibbard1965163–67-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHibbard1965163–67_41-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHibbard1965">Hibbard 1965</a>, pp. 163–67.</span> </li> <li id="cite_note-FOOTNOTEHibbard1965144–8-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHibbard1965144–8_42-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHibbard1965">Hibbard 1965</a>, pp. 144–8.</span> </li> <li id="cite_note-FOOTNOTEHibbard1965149–50-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHibbard1965149–50_43-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHibbard1965">Hibbard 1965</a>, pp. 149–50.</span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text">See Cecil Gould, <i>Bernini in France: An Episode in Seventeenth-Century History</i>, Princeton, NJ: Princeton University Press, 1982.</span> </li> <li id="cite_note-FOOTNOTEZarucchi2013356–70-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEZarucchi2013356–70_45-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFZarucchi2013">Zarucchi 2013</a>, pp. 356–70.</span> </li> <li id="cite_note-Poussins-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-Poussins_46-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRice2017" class="citation journal cs1">Rice, Louise (2017). <a rel="nofollow" class="external text" href="https://www.cambridge.org/core/journals/renaissance-quarterly/article/abs/poussins-elephant/884CA35266EC95189550E0754AE9BFDD">"Poussin's Elephant"</a>. <i>Renaissance Quarterly</i>. <b>70</b> (2): 548–593. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1086%2F693181">10.1086/693181</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Renaissance+Quarterly&rft.atitle=Poussin%27s+Elephant&rft.volume=70&rft.issue=2&rft.pages=548-593&rft.date=2017&rft_id=info%3Adoi%2F10.1086%2F693181&rft.aulast=Rice&rft.aufirst=Louise&rft_id=https%3A%2F%2Fwww.cambridge.org%2Fcore%2Fjournals%2Frenaissance-quarterly%2Farticle%2Fabs%2Fpoussins-elephant%2F884CA35266EC95189550E0754AE9BFDD&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span> The primary source for this information is Chapter 17 of Domenico Bernini's biography of his father: see Mormando, 2011, p. 192.</span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text">Cecil Gould, <i>Bernini in France: An Episode in Seventeenth-century History</i>, Princeton, NJ: Princeton University Press, 1982. For more recent treatments of the same episode in Bernini's life, incorporating the most recent <a href="/wiki/Documentary_research" title="Documentary research">documentary research</a> since Gould's book of 1982, see Mormando, <i>Bernini: His Life and His Rome,</i> 2011, chap. 5, A Roman Artist in King Louis's Court; see also Mormando's many documentary footnotes to Domenico Bernini's account of his father's dealings with the French: Domenico Bernini, <i>Life of Gian Lorenzo Bernini</i>, notes to chapters 16–20.</span> </li> <li id="cite_note-FOOTNOTEHibbard1990181-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHibbard1990181_48-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHibbard1990">Hibbard 1990</a>, p. 181.</span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">Mormando, <i>Bernini: His Life and His Rome,</i> pp. 255–56, emphasis added. Another issue of concern was the fact that Bernini's plan would have called for the demolition of older portions of the Louvre contrary to royal wishes.</span> </li> <li id="cite_note-FOOTNOTEZarucchi200632–38-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEZarucchi200632–38_50-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFZarucchi2006">Zarucchi 2006</a>, pp. 32–38.</span> </li> <li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text">Marcello Fagiolo, "Bernini a Parigi: le Colonne d'Ercole, l'Anfiteatro per il Louvre e i progetti per la Cappella Bourbon", in <i>Confronto</i>, 10–11 (2010), pp. 104–22.</span> </li> <li id="cite_note-FOOTNOTEHibbard1990171,_citing_the_Chantelou_diary,_July_16_entry-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHibbard1990171,_citing_the_Chantelou_diary,_July_16_entry_52-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHibbard1990">Hibbard 1990</a>, p. 171, citing the Chantelou diary, July 16 entry.</span> </li> <li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text">The most thorough study of Bernini's <i>King Louis XIV Equestrian</i> statue, including its ultimate fate in France, remains Rudolf Wittkower, 'The Vicissitudes of a Dynastic Monument: Bernini's Equestrian Statue of Louis XIV.' In <i>De artibus Opuscula XL: Essays in Honors of Erwin Panofsky,</i> ed. Millard Meiss (New York: New York University Press, 1961), pp. 497–531. For much additional, new data about the work that has surfaced since Wittkower's 1961 work, see the many notes pertinent to the statue in Franco Mormando, <i>Domenico Bernini's Life of Gian Lorenzo Bernini</i> (University Park, PA: Penn State University Press, 2011), pp. 396–402.</span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">For the Albertoni commission, see F. Mormando, <i>Domenico Bernini's Life of Gian Lorenzo Bernini</i> (University Park: Penn State Univ. Press, 2011), pp. 411–412, nn. 33–35.</span> </li> <li id="cite_note-FOOTNOTEMormando2011227-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMormando2011227_55-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMormando2011">Mormando 2011</a>, p. 227.</span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text"><a href="#CITEREFMormando2011">Mormando 2011</a>, pp. 99–106 See also F. Mormando, ed. and trans., <i>Domenico Bernini, Life of Gian Lorenzo Bernini,</i> University Park, Penn State Univ. Press, 2011, p. 113 and accompanying notes. For further information about Costanza (before and after her affair with Bernini), see the comprehensive and fully documented biography by Sarah McPhee, <i>Bernini's Beloved: A Portrait of Costanza Piccolomini</i> (New Haven: Yale University Press, 2012); McPhee found no indication whatsoever of any further interaction between Bernini and Costanza after the explosive conclusion to their affair, and no indication of any children born as a result of that relationship.</span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text">For Bernini's marriage to Caterina, and a list of Bernini's children, see Franco Mormando, <i>Bernini: His Life and His Rome,</i> University of Chicago Press, 2011, pp. 109–16. See also <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.geni.com/people/Caterina-Tezio-Bernini/6000000022423433463">"Caterina Tezio Bernini"</a>. <i><a href="/wiki/Geni.com" title="Geni.com">Geni.com</a></i>. 27 October 1617.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Geni.com&rft.atitle=Caterina+Tezio+Bernini&rft.date=1617-10-27&rft_id=https%3A%2F%2Fwww.geni.com%2Fpeople%2FCaterina-Tezio-Bernini%2F6000000022423433463&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text">As Bernini scholar, Franco Mormando, underscores (<i>Domenico Bernini: Life of Gian Lorenzo Bernini</i> Intro., pp. 60–61): "Any discussion of Bernini's religion, that is, his personal faith and the practice of his devotional life, must open with a word of caution: we have absolutely no reliable, nonpartisan (that is, not coming from Bernini, his family, or apologetic biographers) documentation on the topic until 1665, when Chantelou began writing his diary" (at which time Bernini was 67 years old). For Luigi's 1670 crime, see <a href="#CITEREFMormando2011">Mormando 2011</a>, pp. 307–312.</span> </li> <li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">For the artists on display in Casa Bernini according to the post-mortem inventory of his household possessions, complied January 1681, see Franco Mormando, "Bernini's painting collection: A reconstructed catalogue raisonné, <i>Journal of the History of Collections,</i> 34.1 (March 2022): 33–50.</span> </li> <li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text">Blunt, Anthony. <i>Guide to Baroque Rome</i>, Granada, 1982, p. 166 for this legend. For circumstances requiring the demolition of Bernini's chapel, see Domenico Bernini, <i>Life of Gian Lorenzo Bernini</i>, 2011, Mormando's n. 16, p. 332.</span> </li> <li id="cite_note-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-61">^</a></b></span> <span class="reference-text">The most recent and comprehensive study of Bernini's architecture in English is Tod A. Marder, <i>Bernini and the Art of Architecture,</i> Abbeville Press, New York and London, 1998.</span> </li> <li id="cite_note-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-62">^</a></b></span> <span class="reference-text">See Domenico Bernini, <i>The Life of Gian Lorenzo Bernini</i>, trans. and ed. <a href="/wiki/Franco_Mormando" title="Franco Mormando">Franco Mormando</a>, University Park: Penn State University Press, 2011, pp. 178–179.</span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text"><a href="/wiki/Anthony_Blunt" title="Anthony Blunt">Anthony Blunt</a>, <i>Architecture in France 1500–1700</i>, Pelican History of Art, 1953, p. 190.</span> </li> <li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text">For these two fountains and Bernini's other fountains, see F. Mormando, <i>Domenico Bernini: The Life of Gian Lorenzo Bernini</i> (Penn State Univ. Press, 2011), pp. 136–139 with accompanying extensive notes; for the Fountain of the Four Rivers, see pp.161–165 and notes.</span> </li> <li id="cite_note-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-65">^</a></b></span> <span class="reference-text">This fountain was dismantled in the nineteenth century and reassembled (incorrectly) in the twentieth in the <a href="/wiki/Via_Veneto" title="Via Veneto">Via Veneto</a>. A second <i>Fontana delle Api</i> in the Vatican has sometimes been attributed to Bernini of which Blunt has written, "Borromini is documented as having carved the fountain in 1626, but it is not certain whether he made the design for it, and it has also been attributed—not very plausibly—to Bernini" (Blunt, <i>Borromini</i>, Cambridge, MA: Harvard University Press, 1979, 17).</span> </li> <li id="cite_note-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-66">^</a></b></span> <span class="reference-text">For his tomb monuments and funerary memorials, see the relative pages in Mormando, <i>Domenico Bernini's 'Life of Gian Lorenzo Bernini,</i> University Park, 2011; see also Mormando's 'A Bernini workshop drawing for a tomb monument,' <i>The Burlington Magazine</i>, n. 1376, vol. 159, November 2017: 886–92.</span> </li> <li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHeckscher1947" class="citation journal cs1">Heckscher, W. (1947). "Bernini's Elephant and Obelisk". <i>Art Bulletin</i>. <b>XXIX</b> (3): 155. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F00043079.1947.11407785">10.1080/00043079.1947.11407785</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Art+Bulletin&rft.atitle=Bernini%27s+Elephant+and+Obelisk&rft.volume=XXIX&rft.issue=3&rft.pages=155&rft.date=1947&rft_id=info%3Adoi%2F10.1080%2F00043079.1947.11407785&rft.aulast=Heckscher&rft.aufirst=W.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></span> </li> <li id="cite_note-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-68">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAbbing" class="citation news cs1 cs1-prop-foreign-lang-source">Abbing, M. Roscam. <a rel="nofollow" class="external text" href="https://www.elephanthansken.com/berninis-beeld-van-een-olifant-in-het-rijksmuseum/">"Bernini's beeld van een olifant in het Rijksmuseum"</a> [Bernini's Sculpture of an Elephant at the Rijksmuseum] (in Dutch)<span class="reference-accessdate">. Retrieved <span class="nowrap">12 September</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Bernini%27s+beeld+van+een+olifant+in+het+Rijksmuseum&rft.aulast=Abbing&rft.aufirst=M.+Roscam&rft_id=https%3A%2F%2Fwww.elephanthansken.com%2Fberninis-beeld-van-een-olifant-in-het-rijksmuseum%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></span> </li> <li id="cite_note-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-69">^</a></b></span> <span class="reference-text">This anecdote regarding the Elephant and Obelisk monument (more formally, it is a monument to Divine Wisdom and a tribute to Pope Alexander VII) is one of the many undocumented popular legends circulating about Bernini. The elephant, in fact, is not smiling, and even less so, in the act of defecating. As for Bernini, although he may have had professional reasons to resent Paglia, the conservative, pious and utterly orthodox artist personally had no grudges against the Dominican Order or the Inquisition: neither he nor his family nor his friends were ever given trouble by the Dominicans. Moreover, Giuseppe Paglia was director of the overall project to reconstruct the piazza in front of Santa Maria Minerva, appointed by Pope Alexander VII himself and, as such, had supervisory authority over Bernini and the design of his Elephant and Obelisk monument. The final design of that monument, in fact, owes much to Paglia's direct intervention. Hence, it is unlikely that Paglia (or Pope Alexander) would have allowed this supposed insult to him or his Dominican order. Finally, if Bernini did intend to deliver this visual insult, he failed totally, for there is no contemporary documentation indicating that visitors to the piazza during the artist's lifetime ever noticed the supposed insult: see Franco Mormando, ed. and trans., <i>Domenico Bernini's Life of Gian Lorenzo Bernini</i> (University Park: Penn State University Press, 2011), p. 369, n. 33. Instead, the origins of this anecdote can be traced to the very end of the 17th century, when the satirist <a href="/wiki/Lodovico_Sergardi" title="Lodovico Sergardi">Lodovico Sergardi</a> circulated a two-line epigram in which the elephant tells the Dominicans that the position of his rear end is meant to announce "where I hold you in my esteem" (see Ingrid Rowland, 'The Friendship of Alexander VII and Athanasius Kircher, 1637-1667' in <i>Early Modern Rome: Proceedings of a Conference Held on 13–15 May 2010 in Rome,</i> ed. Portia Prebys [Ferrara: Edisai, 2011], pp. 669–78, here p. 670; see also p. 671 where Rowland absolves Bernini of any satiric intent: 'The Dominicans, who followed the evolution of Bernini's design for this monument with meticulous care from beginning to end, must have realized that the only reasonable placement for this remarkable creation was the placement that we see today.')</span> </li> <li id="cite_note-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-70">^</a></b></span> <span class="reference-text">Angela Delaforce et al., 'A Fountain by Gianlorenzo Bernini and Ercole Ferrata in Portugal,' <i>Burlington,</i> vol. 140, issue 1149, pp. 804–811.</span> </li> <li id="cite_note-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-71">^</a></b></span> <span class="reference-text">The most recent and thorough studies of Bernini's paintings (both containing catalogues raisonnés of all his known canvases, whether extant or lost) are Francesco Petrucci, <i>Bernini pittore,</i> Rome: Bozzi, 2006; and Tomaso Montanari, <i>Bernini pittore,</i> Cinisello Balsamo: Silvana, 2007.</span> </li> <li id="cite_note-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-72">^</a></b></span> <span class="reference-text">For a concise summary statement about Bernini's training and production as a painter, see Franco Mormando, ed. and trans., <i>Domenico Bernini: The Life of Gian Lorenzo Bernini</i> (University Park: Penn State U Press, 2011), pp. 294–296, nn. 4–12; see also p. 128, n. 2 for Mormando's conjecture about the reason for the non-execution of the Benediction Loggia commission (which Domenico Bernini apologetically attributes to a serious illness on his father's part).</span> </li> <li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text">Unfortunately there is currently no complete catalogue raisonné of all of the known Bernini drawings. The most thorough edition of his drawings still remains Heinrich Brauer and Rudolf Wittkower, <i>Die Ziechnungen des Gianlorenzo Bernini,</i> Berlin: Verlag Heinrich Keller, 1931, reprinted New York: Collectors Edition, 1970. Also very useful is Ann Sutherland Harris, <i>Selected Drawings of Gian Lorenzo Bernini,</i> New York: Dover, 1977; see also her article, 'Three Proposals for Gian Lorenzo Bernini' in <i>Master Drawings,</i> vol. 41, no.2 (Summer 2003), pp. 119–127. More recent is the catalogue of the exhibition of Bernini drawings in <a href="/wiki/Leipzig" title="Leipzig">Leipzig</a>'s <a href="/wiki/Museum_der_bildenden_K%C3%BCnste" title="Museum der bildenden Künste">Museum der bildenden Künste</a> (which boasts one of the largest collections of Bernini drawings in the world): Hans-Werner Schmidt et al., <i>Bernini: Erfinder des barocken Rom,</i> Bielefeld: Kerber Art, 2014. For the drawings by Bernini and his workshop in the <a href="/wiki/Vatican_Museums" title="Vatican Museums">Vatican collection</a>, see the comprehensive, detailed, illustrated catalog: Manuela Gobbi, and <a href="/wiki/Barbara_Jatta" title="Barbara Jatta">Barbara Jatta</a>, eds., <i>I disegni di Bernini e della sua scuola nella Biblioteca Apostolica Vaticana. Drawings by Bernini and His School at the Vatican Apostolic Library.</i> Vatican City: Biblioteca Apostolica Vaticana, 2015.</span> </li> <li id="cite_note-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-74">^</a></b></span> <span class="reference-text">For Bernini and the theatre, see Franco Mormando ed. and trans., <i>Domenico Bernini: The Life of Gian Lorenzo Bernini</i> (University Park: Penn State U Press, 2011), Chap. 7, pp. 132-35 with accompanying notes. The most recent and punctiliously exhaustive account of Bernini's theatrical work, analyzed especially within the larger context of the theatre world of his age, is Elena Tamburini, <i>Gian Lorenzo Bernini e il teatro dell'arte</i> (Florence: Le Lettere, 2012).</span> </li> <li id="cite_note-morrissey-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-morrissey_75-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMorrissey2005" class="citation book cs1">Morrissey, Jake (2005). <i>Genius in the Design: Bernini, Borromini and the rivalry that transformed Rome</i>. New York: Harper Perennial.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Genius+in+the+Design%3A+Bernini%2C+Borromini+and+the+rivalry+that+transformed+Rome&rft.place=New+York&rft.pub=Harper+Perennial&rft.date=2005&rft.aulast=Morrissey&rft.aufirst=Jake&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span> The rivalry between Borromini and Bernini, though very much real, tends to be over-dramatized in popular works like that of Morrissey and in self-published non-scholarly works like that of Mileti. For a more careful, considered summary by a Bernini scholar, see Franco Mormando, <i>Bernini: His Life and His Rome,</i> Chicago: University of Chicago Press, 2011, pp. 80–83.</span> </li> <li id="cite_note-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-76">^</a></b></span> <span class="reference-text">All of the men mentioned in this section as disciples, collaborators, or rivals are discussed in the notes to <a href="/wiki/Franco_Mormando" title="Franco Mormando">Franco Mormando</a>, <i>Domenico Bernini's Life of Gian Lorenzo Bernini</i> (University Park: Penn State Univ. Press, 2011), passim, but especially pp. 372–74; for Bernini and Caravaggio, see 285 n. 39, as well as Tomaso Montanari, <i>La libertà di Bernini</i> (Turin: Einaudi, 2016), pp. 154–84, 'L'eredità di Caravaggio,' who makes an even stronger case for the influence of Caravaggio on Bernini, one that had long been ignored or denied in Bernini scholarship. For Gaulli, Bernini, Gian Paolo Oliva and the decoration of the Jesuit mother church, see the essays by Franco Mormando, Christopher M.S. Johns, and Betsy Rosasco in <i>The Holy Name. The Art of the Gesù: Bernini and His Age,</i> ed. Linda Wolk-Simon (Philadelphia: St. Joseph's University Press, 2018.).</span> </li> <li id="cite_note-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-77">^</a></b></span> <span class="reference-text">For a list and discussion of important sources for Bernini's life, see <a href="/wiki/Franco_Mormando" title="Franco Mormando">Franco Mormando</a>, <i>Bernini: His Life and His Rome</i> (Chicago: University of Chicago Press, 2011), pp. 7–11.</span> </li> <li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text">For an unabridged translation and analysis of <i>The Vita Brevis,</i> see <i>Domenico Bernini's Life of Gian Lorenzo Bernini</i> in Mormando, ed., 201 Appendix 1, pp. 237–41.</span> </li> <li id="cite_note-79"><span class="mw-cite-backlink"><b><a href="#cite_ref-79">^</a></b></span> <span class="reference-text">Baldinucci, Filippo, <i>Life of Bernini</i>. Translated from the Italian by Enggass, C. University Park, Penn State University Press, 2006. Unfortunately, the Enggass edition of Baldinucci contains many translation errors; readers should always consult the text of the original 1682 edition.</span> </li> <li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text">See Mormando, <i>Domenico Bernini's Life of Gian Lorenzo Bernini,</i> 2011, pp. 14–34. It is significant that Christina's extant financial records nowhere report the queen's having monetarily subsidized the publication of Baldinucci's biography, which would have been her responsibility as patron. As Mormando further explains, we also know (from his extant personal notes and correspondence with his sources) that in compiling his famous collection of artists' lives, Baldinucci routinely copied material, word for word, from texts supplied to him by family members and close friends and associates of his subjects. Also significant is the fact that in Domenico's biography of his father, the author is completely silent about the queen's supposed patronage of the Baldinucci biography, a strange omission since he devotes much space to the friendship between Gian Lorenzo and Queen Christina, recording the queen's many signs of favouritism, protection, and adulation towards the artist.</span> </li> <li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text">Maria Grazia Bernardini, 'Le radici del barocco,' in <i>Barocco a Roma: La meraviglia dell'arte,</i> ed. M. G. Bernardini and M. Bussagli [Milan: Skira, 2015], p. 32.</span> </li> <li id="cite_note-82"><span class="mw-cite-backlink"><b><a href="#cite_ref-82">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.nga.gov/collection/artist-info.2025.html">"Gian Lorenzo Bernini"</a>. <i>National Gallery of Art</i><span class="reference-accessdate">. Retrieved <span class="nowrap">6 April</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=National+Gallery+of+Art&rft.atitle=Gian+Lorenzo+Bernini&rft_id=https%3A%2F%2Fwww.nga.gov%2Fcollection%2Fartist-info.2025.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></span> </li> <li id="cite_note-83"><span class="mw-cite-backlink"><b><a href="#cite_ref-83">^</a></b></span> <span class="reference-text">Livio Pestilli, "On Bernini's Reputed Unpopularity in Late Baroque Rome,' <i>Artibus et historiae,</i> 32.63: 119–42</span> </li> <li id="cite_note-84"><span class="mw-cite-backlink"><b><a href="#cite_ref-84">^</a></b></span> <span class="reference-text">Johann Joachim Winckelmann, <i>History of Ancient Art Among the Greeks.</i> Translated and edited by Giles Henry Lodge (Boston: J. Chapman, 1850): 76, quoted by Melissa L. Gustin, “'Two Styles More Opposed': Harriet Hosmer's Classicisms between Winckelmann and Bernini,” <i>JOLCEL</i> 6 (2021): pp. 1–31, here 14, see also 22.</span> </li> <li id="cite_note-85"><span class="mw-cite-backlink"><b><a href="#cite_ref-85">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.foxnews.com/story/touring-rome-through-the-eyes-of-angels-and-demons">"Touring Rome Through the Eyes of 'Angels and Demons'<span class="cs1-kern-right"></span>"</a>. <i>Associated Press</i>. 25 March 2015<span class="reference-accessdate">. Retrieved <span class="nowrap">31 May</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Associated+Press&rft.atitle=Touring+Rome+Through+the+Eyes+of+%27Angels+and+Demons%27&rft.date=2015-03-25&rft_id=https%3A%2F%2Fwww.foxnews.com%2Fstory%2Ftouring-rome-through-the-eyes-of-angels-and-demons&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></span> </li> <li id="cite_note-86"><span class="mw-cite-backlink"><b><a href="#cite_ref-86">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://planetarynames.wr.usgs.gov/Feature/708">"Bernini"</a>. <i>Gazetteer of Planetary Nomenclature</i>. <a href="/wiki/NASA" title="NASA">NASA</a><span class="reference-accessdate">. Retrieved <span class="nowrap">9 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Gazetteer+of+Planetary+Nomenclature&rft.atitle=Bernini&rft_id=http%3A%2F%2Fplanetarynames.wr.usgs.gov%2FFeature%2F708&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></span> </li> <li id="cite_note-87"><span class="mw-cite-backlink"><b><a href="#cite_ref-87">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHermitage_Museum" class="citation web cs1">Hermitage Museum, The State. <a rel="nofollow" class="external text" href="https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/!ut/p/z0/Zc1Bb4IwGMbxr8IOHLf3ZbSN16ZLJmzIQqayXkjHgBW6FqFO46dXj8bjkzz5_UFCCdKqf90pr51V5rK_JKtyzlkUC0xzQV-Q58UHLcTqFSMCKcibA2UcORYxYZsMSUKuwvOUiawDOSr_-6ht66BcLaOiS95OtP9cL4Up0_fqoH-2whnT1Nf2HXxXvsC63-0kB1k765ujh3JQf3quGhviwU3DHLg2UJMPEdlTMNd7M_r91IRIyYIxGAf5TU33cAbdb63o/">"Ecstasy of St. Teresa"</a>. <i>Hermitage Museum</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Hermitage+Museum&rft.atitle=Ecstasy+of+St.+Teresa&rft.aulast=Hermitage+Museum&rft.aufirst=The+State&rft_id=https%3A%2F%2Fwww.hermitagemuseum.org%2Fwps%2Fportal%2Fhermitage%2Fdigital-collection%2F%21ut%2Fp%2Fz0%2FZc1Bb4IwGMbxr8IOHLf3ZbSN16ZLJmzIQqayXkjHgBW6FqFO46dXj8bjkzz5_UFCCdKqf90pr51V5rK_JKtyzlkUC0xzQV-Q58UHLcTqFSMCKcibA2UcORYxYZsMSUKuwvOUiawDOSr_-6ht66BcLaOiS95OtP9cL4Up0_fqoH-2whnT1Nf2HXxXvsC63-0kB1k765ujh3JQf3quGhviwU3DHLg2UJMPEdlTMNd7M_r91IRIyYIxGAf5TU33cAbdb63o%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></span> </li> <li id="cite_note-88"><span class="mw-cite-backlink"><b><a href="#cite_ref-88">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.museodelprado.es/en/the-collection/art-work/self-portrait/622ade63-8b86-4594-9add-9b4b2199c10e">"Self-portrait - The Collection - Museo Nacional del Prado"</a>. <i>www.museodelprado.es</i><span class="reference-accessdate">. Retrieved <span class="nowrap">24 March</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.museodelprado.es&rft.atitle=Self-portrait+-+The+Collection+-+Museo+Nacional+del+Prado&rft_id=https%3A%2F%2Fwww.museodelprado.es%2Fen%2Fthe-collection%2Fart-work%2Fself-portrait%2F622ade63-8b86-4594-9add-9b4b2199c10e&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading3"><h3 id="Bibliography">Bibliography</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=27" title="Edit section: Bibliography"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin refbegin-columns references-column-width" style="column-width: 30em"> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAvery1997" class="citation book cs1">Avery, Charles (1997). <i>Bernini: Genius of the Baroque</i>. London: Thames and Hudson. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-500-28633-3" title="Special:BookSources/978-0-500-28633-3"><bdi>978-0-500-28633-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini%3A+Genius+of+the+Baroque&rft.place=London&rft.pub=Thames+and+Hudson&rft.date=1997&rft.isbn=978-0-500-28633-3&rft.aulast=Avery&rft.aufirst=Charles&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBacchi,_Andrea2009" class="citation book cs1">Bacchi, Andrea, ed. (2009). <i>I marmi vivi: Bernini e la nascita del ritratto barocco</i>. Firenze: Firenze musei. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-8-809-74236-9" title="Special:BookSources/978-8-809-74236-9"><bdi>978-8-809-74236-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=I+marmi+vivi%3A+Bernini+e+la+nascita+del+ritratto+barocco&rft.place=Firenze&rft.pub=Firenze+musei&rft.date=2009&rft.isbn=978-8-809-74236-9&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBacchi,_AndreaCatherine_Hess,_Jennifer_Montagu2008" class="citation book cs1">Bacchi, Andrea; Catherine Hess, <a href="/wiki/Jennifer_Montagu" title="Jennifer Montagu">Jennifer Montagu</a>, eds. (2008). <i>Bernini and the Birth of Baroque Portrait Sculpture</i>. Los Angeles: J. Paul Getty Museum. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-892-36932-4" title="Special:BookSources/978-0-892-36932-4"><bdi>978-0-892-36932-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini+and+the+Birth+of+Baroque+Portrait+Sculpture&rft.place=Los+Angeles&rft.pub=J.+Paul+Getty+Museum&rft.date=2008&rft.isbn=978-0-892-36932-4&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBaldinucci2006" class="citation book cs1">Baldinucci, Filippo (2006) [1682]. <i>The Life of Bernini</i>. University Park: Pennsylvania State University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-271-73076-9" title="Special:BookSources/978-0-271-73076-9"><bdi>978-0-271-73076-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Life+of+Bernini&rft.place=University+Park&rft.pub=Pennsylvania+State+University+Press&rft.date=2006&rft.isbn=978-0-271-73076-9&rft.aulast=Baldinucci&rft.aufirst=Filippo&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBernini2011" class="citation book cs1">Bernini, Domenico (2011) [1713]. Franco Mormando (ed.). <i>The Life of Gian Lorenzo Bernini</i>. University Park: Penn State University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-271-03748-6" title="Special:BookSources/978-0-271-03748-6"><bdi>978-0-271-03748-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Life+of+Gian+Lorenzo+Bernini&rft.place=University+Park&rft.pub=Penn+State+University+Press&rft.date=2011&rft.isbn=978-0-271-03748-6&rft.aulast=Bernini&rft.aufirst=Domenico&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBorsi2005" class="citation book cs1">Borsi, Franco (2005). <i>Bernini</i>. Milano: Rizzoli. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-847-80509-9" title="Special:BookSources/978-0-847-80509-9"><bdi>978-0-847-80509-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini&rft.place=Milano&rft.pub=Rizzoli&rft.date=2005&rft.isbn=978-0-847-80509-9&rft.aulast=Borsi&rft.aufirst=Franco&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBoucher1998" class="citation book cs1">Boucher, Bruce (1998). <i>Italian Baroque Sculpture</i>. Thames & Hudson (World of Art). pp. 134–42. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0500203075" title="Special:BookSources/0500203075"><bdi>0500203075</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Italian+Baroque+Sculpture&rft.pages=134-42&rft.pub=Thames+%26+Hudson+%28World+of+Art%29&rft.date=1998&rft.isbn=0500203075&rft.aulast=Boucher&rft.aufirst=Bruce&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBriggs1915" class="citation journal cs1">Briggs, Martin S. (1915). "The Genius of Bernini". <i><a href="/wiki/The_Burlington_Magazine" title="The Burlington Magazine">The Burlington Magazine</a></i>. <b>26</b> (143). <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0951-0788">0951-0788</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Burlington+Magazine&rft.atitle=The+Genius+of+Bernini&rft.volume=26&rft.issue=143&rft.date=1915&rft.issn=0951-0788&rft.aulast=Briggs&rft.aufirst=Martin+S.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCareri1995" class="citation book cs1">Careri, Giovanni (1995). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/berniniflightsof0000care"><i>Bernini: Flights of Love, the Art of Devotion</i></a></span>. Chicago: The University of Chicago Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-226-09273-7" title="Special:BookSources/978-0-226-09273-7"><bdi>978-0-226-09273-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini%3A+Flights+of+Love%2C+the+Art+of+Devotion&rft.place=Chicago&rft.pub=The+University+of+Chicago+Press&rft.date=1995&rft.isbn=978-0-226-09273-7&rft.aulast=Careri&rft.aufirst=Giovanni&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fberniniflightsof0000care&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChantelou1985" class="citation book cs1">Chantelou, Paul Fréart de (1985). Anthony Blunt (ed.). <i>Journal du voyage en France du cavalier Bernin</i>. Princeton: Princeton University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-833-70531-0" title="Special:BookSources/978-0-833-70531-0"><bdi>978-0-833-70531-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Journal+du+voyage+en+France+du+cavalier+Bernin&rft.place=Princeton&rft.pub=Princeton+University+Press&rft.date=1985&rft.isbn=978-0-833-70531-0&rft.aulast=Chantelou&rft.aufirst=Paul+Fr%C3%A9art+de&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCueto2015" class="citation journal cs1">Cueto, David García (2015). <a rel="nofollow" class="external text" href="https://online.liverpooluniversitypress.co.uk/doi/10.3828/sj.2015.24.1.4">"On the original meanings of Gian Lorenzo Bernini's Anima beata and Anima dannata: Nymph and Satyr?"</a>. <i>Sculpture Journal</i>. <b>24</b> (1): 37–53. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.3828%2Fsj.2015.24.1.4">10.3828/sj.2015.24.1.4</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1366-2724">1366-2724</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Sculpture+Journal&rft.atitle=On+the+original+meanings+of+Gian+Lorenzo+Bernini%27s+Anima+beata+and+Anima+dannata%3A+Nymph+and+Satyr%3F&rft.volume=24&rft.issue=1&rft.pages=37-53&rft.date=2015&rft_id=info%3Adoi%2F10.3828%2Fsj.2015.24.1.4&rft.issn=1366-2724&rft.aulast=Cueto&rft.aufirst=David+Garc%C3%ADa&rft_id=https%3A%2F%2Fonline.liverpooluniversitypress.co.uk%2Fdoi%2F10.3828%2Fsj.2015.24.1.4&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span><sup class="noprint Inline-Template"><span style="white-space: nowrap;">[<i><a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot"><span title=" Dead link tagged June 2024">permanent dead link</span></a></i><span style="visibility:hidden; color:transparent; padding-left:2px">‍</span>]</span></sup></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLionel_Cust2007" class="citation book cs1"><a href="/wiki/Lionel_Cust" title="Lionel Cust">Lionel Cust</a> (2007). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Ay9zMlAZG9cC"><i>Van Dyck</i></a>. Wellhausen Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4067-7452-8" title="Special:BookSources/978-1-4067-7452-8"><bdi>978-1-4067-7452-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Van+Dyck&rft.pub=Wellhausen+Press&rft.date=2007&rft.isbn=978-1-4067-7452-8&rft.au=Lionel+Cust&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DAy9zMlAZG9cC&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDavies2006" class="citation book cs1 cs1-prop-foreign-lang-source">Davies, Norman (2006). <i>Storia d'Europa</i> (in Italian). Milano: Mondadori B. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/88-424-9964-1" title="Special:BookSources/88-424-9964-1"><bdi>88-424-9964-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Storia+d%27Europa&rft.place=Milano&rft.pub=Mondadori+B&rft.date=2006&rft.isbn=88-424-9964-1&rft.aulast=Davies&rft.aufirst=Norman&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDelbeke,_MaartenEvonne_LevySteven_F._Ostrow2006" class="citation book cs1">Delbeke, Maarten; Evonne Levy; Steven F. Ostrow, eds. (2006). <i>Bernini's Biographies: Critical Essays</i>. University Park: Pennsylvania State University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-271-02901-6" title="Special:BookSources/978-0-271-02901-6"><bdi>978-0-271-02901-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini%27s+Biographies%3A+Critical+Essays&rft.place=University+Park&rft.pub=Pennsylvania+State+University+Press&rft.date=2006&rft.isbn=978-0-271-02901-6&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDickerson_IIISigelWardropper2012" class="citation book cs1">Dickerson III, C. D.; Sigel, Anthony; Wardropper, Ian (2012). <i>Bernini: Sculpting in Clay</i>. New York: The Metropolitan Museum of Art. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-18500-3" title="Special:BookSources/978-0-300-18500-3"><bdi>978-0-300-18500-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini%3A+Sculpting+in+Clay&rft.place=New+York&rft.pub=The+Metropolitan+Museum+of+Art&rft.date=2012&rft.isbn=978-0-300-18500-3&rft.aulast=Dickerson+III&rft.aufirst=C.+D.&rft.au=Sigel%2C+Anthony&rft.au=Wardropper%2C+Ian&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEustace2011" class="citation journal cs1">Eustace, Katharine (2011). <a rel="nofollow" class="external text" href="http://www.liverpooluniversitypress.co.uk/journals/article/27483">"Editorial"</a>. <i>Sculpture Journal</i>. <b>20</b> (2). p. 109. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.3828%2Fsj.2011.10">10.3828/sj.2011.10</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Sculpture+Journal&rft.atitle=Editorial&rft.volume=20&rft.issue=2&rft.pages=p.+109&rft.date=2011&rft_id=info%3Adoi%2F10.3828%2Fsj.2011.10&rft.aulast=Eustace&rft.aufirst=Katharine&rft_id=http%3A%2F%2Fwww.liverpooluniversitypress.co.uk%2Fjournals%2Farticle%2F27483&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFagioloCipriani1981" class="citation book cs1">Fagiolo, Maurizio; Cipriani, Angela (1981). <i>Bernini</i>. Florence: Scala. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-8-881-17223-8" title="Special:BookSources/978-8-881-17223-8"><bdi>978-8-881-17223-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini&rft.place=Florence&rft.pub=Scala&rft.date=1981&rft.isbn=978-8-881-17223-8&rft.aulast=Fagiolo&rft.aufirst=Maurizio&rft.au=Cipriani%2C+Angela&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFerrari1991" class="citation book cs1">Ferrari, Oreste (1991). <i>Bernini</i>. Firenze: Giunti Gruppo. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-8-809-76153-7" title="Special:BookSources/978-8-809-76153-7"><bdi>978-8-809-76153-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini&rft.place=Firenze&rft.pub=Giunti+Gruppo&rft.date=1991&rft.isbn=978-8-809-76153-7&rft.aulast=Ferrari&rft.aufirst=Oreste&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFraschetti1900" class="citation book cs1">Fraschetti, Stanislao (1900). <a rel="nofollow" class="external text" href="https://archive.org/details/ilberninilasuavi00fras"><i>Il Bernini: La sua vita, la sua opera, il suo tempo</i></a>. Milano: U.Hoepli. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-248-32889-7" title="Special:BookSources/978-1-248-32889-7"><bdi>978-1-248-32889-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Il+Bernini%3A+La+sua+vita%2C+la+sua+opera%2C+il+suo+tempo&rft.place=Milano&rft.pub=U.Hoepli&rft.date=1900&rft.isbn=978-1-248-32889-7&rft.aulast=Fraschetti&rft.aufirst=Stanislao&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Filberninilasuavi00fras&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGould1981" class="citation book cs1">Gould, Cecil (1981). <i>Bernini in France: An Episode in Seventeenth Century History</i>. London: Weidenfeld and Nicolson. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-297-77944-5" title="Special:BookSources/978-0-297-77944-5"><bdi>978-0-297-77944-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini+in+France%3A+An+Episode+in+Seventeenth+Century+History&rft.place=London&rft.pub=Weidenfeld+and+Nicolson&rft.date=1981&rft.isbn=978-0-297-77944-5&rft.aulast=Gould&rft.aufirst=Cecil&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHarris2003" class="citation journal cs1">Harris, Ann Sutherland (Summer 2003). "Drawings by Sculptors". <i>Master Drawings</i>. <b>41</b> (2): 119–127. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/1554582">1554582</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Master+Drawings&rft.atitle=Drawings+by+Sculptors&rft.ssn=summer&rft.volume=41&rft.issue=2&rft.pages=119-127&rft.date=2003&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F1554582%23id-name%3DJSTOR&rft.aulast=Harris&rft.aufirst=Ann+Sutherland&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHibbard1965" class="citation book cs1">Hibbard, Howard (1965). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/bernini00hibb"><i>Bernini</i></a></span>. London: Penguin. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-140-13598-5" title="Special:BookSources/978-0-140-13598-5"><bdi>978-0-140-13598-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini&rft.place=London&rft.pub=Penguin&rft.date=1965&rft.isbn=978-0-140-13598-5&rft.aulast=Hibbard&rft.aufirst=Howard&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fbernini00hibb&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHibbard1990" class="citation book cs1">Hibbard, Howard (1990). <i>Bernini</i>. Penguin.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini&rft.pub=Penguin&rft.date=1990&rft.aulast=Hibbard&rft.aufirst=Howard&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLavin1980" class="citation book cs1">Lavin, Irving (1980). <i>Bernini and the Unity of the Visual Arts</i>. New York: Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-195-20184-0" title="Special:BookSources/978-0-195-20184-0"><bdi>978-0-195-20184-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini+and+the+Unity+of+the+Visual+Arts&rft.place=New+York&rft.pub=Oxford+University+Press&rft.date=1980&rft.isbn=978-0-195-20184-0&rft.aulast=Lavin&rft.aufirst=Irving&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLavin,_Irving1985" class="citation book cs1">Lavin, Irving, ed. (1985). <i>Gianlorenzo Bernini: New Aspects of his Art and Thought</i>. University Park: Pennsylvania State University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-271-00387-0" title="Special:BookSources/978-0-271-00387-0"><bdi>978-0-271-00387-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Gianlorenzo+Bernini%3A+New+Aspects+of+his+Art+and+Thought&rft.place=University+Park&rft.pub=Pennsylvania+State+University+Press&rft.date=1985&rft.isbn=978-0-271-00387-0&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLavin2007" class="citation book cs1">Lavin, Irving (2007). <i>Visible Spirit: The Art of Gianlorenzo Bernini</i>. London: Pindar Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-899-82839-5" title="Special:BookSources/978-1-899-82839-5"><bdi>978-1-899-82839-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Visible+Spirit%3A+The+Art+of+Gianlorenzo+Bernini&rft.place=London&rft.pub=Pindar+Press&rft.date=2007&rft.isbn=978-1-899-82839-5&rft.aulast=Lavin&rft.aufirst=Irving&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLeuschner2016" class="citation journal cs1">Leuschner, Eckhard (2016). <a rel="nofollow" class="external text" href="http://archiv.ub.uni-heidelberg.de/artdok/6300/1/Leuschner_The_role_of_prints_in_the_artistic_genealogy_of_Berninis_Anima_2016.pdf">"The role of prints in the artistic genealogy of Bernini's Anima beata and Anima damnata"</a> <span class="cs1-format">(PDF)</span>. <i><a href="/wiki/Print_Quarterly" title="Print Quarterly">Print Quarterly</a></i>. <b>33</b>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.11588%2FARTDOK.00006300">10.11588/ARTDOK.00006300</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200221045142/http://archiv.ub.uni-heidelberg.de/artdok/6300/1/Leuschner_The_role_of_prints_in_the_artistic_genealogy_of_Berninis_Anima_2016.pdf">Archived</a> <span class="cs1-format">(PDF)</span> from the original on 21 February 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Print+Quarterly&rft.atitle=The+role+of+prints+in+the+artistic+genealogy+of+Bernini%27s+Anima+beata+and+Anima+damnata&rft.volume=33&rft.date=2016&rft_id=info%3Adoi%2F10.11588%2FARTDOK.00006300&rft.aulast=Leuschner&rft.aufirst=Eckhard&rft_id=http%3A%2F%2Farchiv.ub.uni-heidelberg.de%2Fartdok%2F6300%2F1%2FLeuschner_The_role_of_prints_in_the_artistic_genealogy_of_Berninis_Anima_2016.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMartinelli,_Valentino1996" class="citation book cs1">Martinelli, Valentino, ed. (1996). <i>L'ultimo Bernini (1665–1680): nuovi argomenti, documenti e immagini</i>. Roma: Quasar. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-8-871-40095-2" title="Special:BookSources/978-8-871-40095-2"><bdi>978-8-871-40095-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=L%27ultimo+Bernini+%281665%E2%80%931680%29%3A+nuovi+argomenti%2C+documenti+e+immagini&rft.place=Roma&rft.pub=Quasar&rft.date=1996&rft.isbn=978-8-871-40095-2&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcPhee2012" class="citation book cs1">McPhee, Sarah (2012). <i>Bernini's Beloved: A Portrait of Costanza Piccolomini</i>. New Haven: Yale University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-17527-1" title="Special:BookSources/978-0-300-17527-1"><bdi>978-0-300-17527-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini%27s+Beloved%3A+A+Portrait+of+Costanza+Piccolomini&rft.place=New+Haven&rft.pub=Yale+University+Press&rft.date=2012&rft.isbn=978-0-300-17527-1&rft.aulast=McPhee&rft.aufirst=Sarah&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMormando2011" class="citation book cs1">Mormando, Franco (2011). <i>Bernini: His Life and His Rome</i>. Chicago: University of Chicago Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-226-53852-5" title="Special:BookSources/978-0-226-53852-5"><bdi>978-0-226-53852-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini%3A+His+Life+and+His+Rome&rft.place=Chicago&rft.pub=University+of+Chicago+Press&rft.date=2011&rft.isbn=978-0-226-53852-5&rft.aulast=Mormando&rft.aufirst=Franco&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMorrissey2005" class="citation book cs1">Morrissey, Jake (2005). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/geniusindesignbe00morr"><i>The Genius in the Design</i></a></span>. New York: William Morrow. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-060-52533-0" title="Special:BookSources/978-0-060-52533-0"><bdi>978-0-060-52533-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Genius+in+the+Design&rft.place=New+York&rft.pub=William+Morrow&rft.date=2005&rft.isbn=978-0-060-52533-0&rft.aulast=Morrissey&rft.aufirst=Jake&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fgeniusindesignbe00morr&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPerlove1990" class="citation book cs1">Perlove, Shelley Karen (1990). <i>Bernini and the Idealization of Death</i>. University Park: The Pennsylvania State University. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-271-01477-7" title="Special:BookSources/978-0-271-01477-7"><bdi>978-0-271-01477-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini+and+the+Idealization+of+Death&rft.place=University+Park&rft.pub=The+Pennsylvania+State+University&rft.date=1990&rft.isbn=978-0-271-01477-7&rft.aulast=Perlove&rft.aufirst=Shelley+Karen&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPetersson1970" class="citation book cs1">Petersson, Robert T. (1970). <i>The Art of Ecstasy: Teresa, Bernini, and Crashaw</i>. London: Routledge & K. Paul. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-689-70515-1" title="Special:BookSources/978-0-689-70515-1"><bdi>978-0-689-70515-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Art+of+Ecstasy%3A+Teresa%2C+Bernini%2C+and+Crashaw&rft.place=London&rft.pub=Routledge+%26+K.+Paul&rft.date=1970&rft.isbn=978-0-689-70515-1&rft.aulast=Petersson&rft.aufirst=Robert+T.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPetersson2002" class="citation book cs1">Petersson, Robert T. (2002). <i>Bernini and the Excesses of Art</i>. Florence: Maschietto editore. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-8-887-70083-1" title="Special:BookSources/978-8-887-70083-1"><bdi>978-8-887-70083-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini+and+the+Excesses+of+Art&rft.place=Florence&rft.pub=Maschietto+editore&rft.date=2002&rft.isbn=978-8-887-70083-1&rft.aulast=Petersson&rft.aufirst=Robert+T.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPetrucci2007" class="citation book cs1">Petrucci, Francesco (2007). <i>Bernini pittore / dal disegno al "maraviglioso composto". Ediz. Italiano</i>. Rome: Ugo Bozzi Editore. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-88-7003-042-6" title="Special:BookSources/978-88-7003-042-6"><bdi>978-88-7003-042-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini+pittore+%2F+dal+disegno+al+%22maraviglioso+composto%22.+Ediz.+Italiano&rft.place=Rome&rft.pub=Ugo+Bozzi+Editore&rft.date=2007&rft.isbn=978-88-7003-042-6&rft.aulast=Petrucci&rft.aufirst=Francesco&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPetrucci2007" class="citation book cs1">Petrucci, Francesco; et al., eds. (2007). <i>La Passione di Cristo secondo Bernini. Ediz. Italiano</i>. Rome: Ugo Bozzi Editore. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-88-7003-059-4" title="Special:BookSources/978-88-7003-059-4"><bdi>978-88-7003-059-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=La+Passione+di+Cristo+secondo+Bernini.+Ediz.+Italiano&rft.place=Rome&rft.pub=Ugo+Bozzi+Editore&rft.date=2007&rft.isbn=978-88-7003-059-4&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPinton2009" class="citation book cs1">Pinton, Daniel (2009). <i>Bernini. I Percorsi Nell'arte. Ediz. Inglese</i>. ATS Italia Editrice. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-8-875-71777-3" title="Special:BookSources/978-8-875-71777-3"><bdi>978-8-875-71777-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini.+I+Percorsi+Nell%27arte.+Ediz.+Inglese&rft.pub=ATS+Italia+Editrice&rft.date=2009&rft.isbn=978-8-875-71777-3&rft.aulast=Pinton&rft.aufirst=Daniel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPosèq2006" class="citation journal cs1">Posèq, Avigdor W. G. (2006). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/20067127">"On Physiognomic Communication in Bernini"</a>. <i>Artibus et Historiae</i>. <b>27</b> (54): 161–190. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F20067127">10.2307/20067127</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/20067127">20067127</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Artibus+et+Historiae&rft.atitle=On+Physiognomic+Communication+in+Bernini&rft.volume=27&rft.issue=54&rft.pages=161-190&rft.date=2006&rft_id=info%3Adoi%2F10.2307%2F20067127&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F20067127%23id-name%3DJSTOR&rft.aulast=Pos%C3%A8q&rft.aufirst=Avigdor+W.+G.&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F20067127&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSchama2006" class="citation book cs1">Schama, Simon (2006). <i>Simon Schama's Power of Art</i>. London: BBC – via Print.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Simon+Schama%27s+Power+of+Art&rft.place=London&rft.pub=BBC&rft.date=2006&rft.aulast=Schama&rft.aufirst=Simon&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFScribner_III2014" class="citation book cs1">Scribner III, Charles (2014) [1991]. <i>Gianlorenzo Bernini: Impresario of the Baroque</i> (Revised ed.). New York: Carolus Editions. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-503-01633-0" title="Special:BookSources/978-1-503-01633-0"><bdi>978-1-503-01633-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Gianlorenzo+Bernini%3A+Impresario+of+the+Baroque&rft.place=New+York&rft.edition=Revised&rft.pub=Carolus+Editions&rft.date=2014&rft.isbn=978-1-503-01633-0&rft.aulast=Scribner+III&rft.aufirst=Charles&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWarwick2012" class="citation book cs1">Warwick, Genevieve (2012). <i>Bernini: Art as Theatre</i>. New Haven: Yale University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-18706-9" title="Special:BookSources/978-0-300-18706-9"><bdi>978-0-300-18706-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bernini%3A+Art+as+Theatre&rft.place=New+Haven&rft.pub=Yale+University+Press&rft.date=2012&rft.isbn=978-0-300-18706-9&rft.aulast=Warwick&rft.aufirst=Genevieve&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWittkower1955" class="citation book cs1">Wittkower, Rudolf (1955). <i>Gian Lorenzo Bernini: The Sculptor of the Roman Baroque</i>. London: Phaidon Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-801-41430-5" title="Special:BookSources/978-0-801-41430-5"><bdi>978-0-801-41430-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Gian+Lorenzo+Bernini%3A+The+Sculptor+of+the+Roman+Baroque&rft.place=London&rft.pub=Phaidon+Press&rft.date=1955&rft.isbn=978-0-801-41430-5&rft.aulast=Wittkower&rft.aufirst=Rudolf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFZarucchi2006" class="citation journal cs1">Zarucchi, Jeanne Morgan (2006). "Bernini and Louis XIV: A Duel of Egos". <i>Source: Notes in the History of Art</i>. <b>25</b> (2): 32–38. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1086%2Fsou.25.2.23208102">10.1086/sou.25.2.23208102</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:191405674">191405674</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Source%3A+Notes+in+the+History+of+Art&rft.atitle=Bernini+and+Louis+XIV%3A+A+Duel+of+Egos&rft.volume=25&rft.issue=2&rft.pages=32-38&rft.date=2006&rft_id=info%3Adoi%2F10.1086%2Fsou.25.2.23208102&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A191405674%23id-name%3DS2CID&rft.aulast=Zarucchi&rft.aufirst=Jeanne+Morgan&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFZarucchi2013" class="citation journal cs1">Zarucchi, Jeanne Morgan (2013). "Perrault's Memoirs and Bernini: A Reconsideration". <i>Renaissance Studies</i>. <b>27</b> (3): 356–370. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1111%2Fj.1477-4658.2012.00814.x">10.1111/j.1477-4658.2012.00814.x</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:194114654">194114654</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Renaissance+Studies&rft.atitle=Perrault%27s+Memoirs+and+Bernini%3A+A+Reconsideration&rft.volume=27&rft.issue=3&rft.pages=356-370&rft.date=2013&rft_id=info%3Adoi%2F10.1111%2Fj.1477-4658.2012.00814.x&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A194114654%23id-name%3DS2CID&rft.aulast=Zarucchi&rft.aufirst=Jeanne+Morgan&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGian+Lorenzo+Bernini" class="Z3988"></span></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Gian_Lorenzo_Bernini&action=edit&section=28" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 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//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></span></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Gianlorenzo_Bernini" class="extiw" title="commons:Category:Gianlorenzo Bernini">Gianlorenzo Bernini</a></span>.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="http://dondougan.homestead.com/theprocess3_history.html">Tools and techniques used by Bernini</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20160308082734/http://slowtrav.com/italy/rome/es_bernini.htm">Checklist of Bernini's architecture and sculpture in Rome</a></li> <li><a rel="nofollow" class="external text" href="http://www.artble.com/artists/gian_lorenzo_bernini">Gian Lorenzo Bernini - Biography, Style and Artworks</a></li> <li><a rel="nofollow" class="external text" href="https://www.theguardian.com/artanddesign/2006/sep/16/art">Extract on Bernini from</a> <a href="/wiki/Simon_Schama" title="Simon Schama">Simon Schama</a>'s <i>The Power of Art</i></li> <li><a rel="nofollow" class="external text" href="http://www.fredcamper.com/A/Accretions/AC001/index.html">Photographs of Bernini's Santa Maria Assunta</a></li> <li><a rel="nofollow" class="external text" href="https://smarthistory.khanacademy.org/blog/63/berninis-ecstasy-of-st-theresa-cornaro-chapel-rome-c-1650/">smARThistory: <i>Ecstasy of Saint Teresa</i>, Cornaro Chapel, Santa Maria della Vittoria, Rome</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20140413143134/http://smarthistory.khanacademy.org/blog/63/berninis-ecstasy-of-st-theresa-cornaro-chapel-rome-c-1650/">Archived</a> 13 April 2014 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li> <li><a rel="nofollow" class="external text" href="http://www.francomormando.com/bernini-updates-2/">Constantly updated list and discussion of the most recent archival discoveries regarding Bernini's biography and works</a></li> <li><a rel="nofollow" class="external text" href="http://cdm16028.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/107497"><i>The Vatican: spirit and art of Christian Rome</i></a>, a book from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains a good deal of material on Bernini</li> <li><a rel="nofollow" class="external text" href="https://archive.org/details/sim_boston-phoenix_1982-08-24_11_34/page/n72/mode/1up">Report on exhibition "Drawings by Gian Lorenzo Bernini from the Museum der Bildenden Kiinste, Leipzig"</a> <a href="/wiki/Museum_of_Fine_Arts,_Boston" title="Museum of Fine Arts, Boston">Museum of Fine Arts, Boston</a>, 1982</li></ul> <div class="navbox-styles"><style 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class="navbox-abovebelow" colspan="2"><div><a href="/wiki/List_of_works_by_Gian_Lorenzo_Bernini" title="List of works by Gian Lorenzo Bernini">List of works</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Sculpture</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">1610s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/The_Goat_Amalthea_with_the_Infant_Jupiter_and_a_Faun" title="The Goat Amalthea with the Infant Jupiter and a Faun">The Goat Amalthea with the Infant Jupiter and a Faun</a></i></li> <li><i><a href="/wiki/Bust_of_Giovanni_Battista_Santoni" title="Bust of Giovanni Battista Santoni">Bust of Giovanni Battista Santoni</a></i></li> <li><i><a href="/wiki/A_Faun_Teased_by_Children" title="A Faun Teased by Children">A Faun Teased by Children</a></i></li> <li><i><a href="/wiki/Boy_with_a_Dragon" title="Boy with a Dragon">Boy with a Dragon</a></i></li> <li><i><a href="/wiki/The_Martyrdom_of_Saint_Lawrence_(Bernini)" title="The Martyrdom of Saint Lawrence (Bernini)">The Martyrdom of Saint Lawrence</a></i></li> <li><i><a href="/wiki/Saint_Sebastian_(Bernini)" title="Saint Sebastian (Bernini)">Saint Sebastian</a></i></li> <li><i><a href="/wiki/Bust_of_Pope_Paul_V" title="Bust of Pope Paul V">Bust of Pope Paul V</a></i></li> <li><i><a href="/wiki/Aeneas,_Anchises,_and_Ascanius" title="Aeneas, Anchises, and Ascanius">Aeneas, Anchises, and Ascanius</a></i></li> <li><i><a href="/wiki/Bust_of_Giovanni_Vigevano" title="Bust of Giovanni Vigevano">Bust of Giovanni Vigevano</a></i></li> <li><i><a href="/wiki/Damned_Soul_(Bernini)" title="Damned Soul (Bernini)">Damned Soul</a></i></li> <li><i><a href="/wiki/Blessed_Soul_(Bernini)" title="Blessed Soul (Bernini)">Blessed Soul</a></i></li> <li><i><a href="/wiki/Bust_of_Camilla_Barbadoni" title="Bust of Camilla Barbadoni">Bust of Camilla Barbadoni</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1620s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Bust_of_Carlo_Antonio_del_Pozzo" title="Bust of Carlo Antonio del Pozzo">Bust of Carlo Antonio del Pozzo</a></i></li> <li><i><a href="/wiki/Neptune_and_Triton" title="Neptune and Triton">Neptune and Triton</a></i></li> <li><i><a href="/wiki/The_Rape_of_Proserpina" title="The Rape of Proserpina">The Rape of Proserpina</a></i></li> <li><i><a href="/wiki/Apollo_and_Daphne_(Bernini)" title="Apollo and Daphne (Bernini)">Apollo and Daphne</a></i></li> <li><i><a href="/wiki/Bust_of_Pope_Gregory_XV" title="Bust of Pope Gregory XV">Bust of Pope Gregory XV</a></i></li> <li><i><a href="/wiki/St._Peter%27s_Baldachin" title="St. Peter's Baldachin">St. Peter's Baldachin</a></i></li> <li><i><a href="/wiki/Charity_with_Four_Children" title="Charity with Four Children">Charity with Four Children</a></i></li> <li><i><a href="/wiki/David_(Bernini)" title="David (Bernini)">David</a></i></li> <li><i><a href="/wiki/Bust_of_Alessandro_Peretti_di_Montalto" title="Bust of Alessandro Peretti di Montalto">Bust of Alessandro Peretti di Montalto</a></i></li> <li><i><a href="/wiki/Saint_Bibiana_(Bernini)" title="Saint Bibiana (Bernini)">Saint Bibiana</a></i></li> <li><i><a href="/wiki/Busts_of_Pope_Urban_VIII" title="Busts of Pope Urban VIII">Busts of Pope Urban VIII</a></i></li> <li><i><a href="/wiki/Bust_of_Monsignor_Pedro_de_Foix_Montoya" title="Bust of Monsignor Pedro de Foix Montoya">Bust of Monsignor Pedro de Foix Montoya</a></i></li> <li><i><a href="/wiki/Bust_of_Cardinal_Roberto_Bellarmine" title="Bust of Cardinal Roberto Bellarmine">Bust of Cardinal Roberto Bellarmine</a></i></li> <li><i><a href="/wiki/Bust_of_Cardinal_Giovanni_Dolfin" title="Bust of Cardinal Giovanni Dolfin">Bust of Cardinal Giovanni Dolfin</a></i></li> <li><i><a href="/wiki/Bust_of_Cardinal_Escoubleau_de_Sourdis" title="Bust of Cardinal Escoubleau de Sourdis">Bust of Cardinal Escoubleau de Sourdis</a></i></li> <li><i><a href="/wiki/Bust_of_Antonio_Cepparelli" title="Bust of Antonio Cepparelli">Bust of Antonio Cepparelli</a></i></li> <li><i><a href="/wiki/Bust_of_Cardinal_Melchior_Klesl" title="Bust of Cardinal Melchior Klesl">Bust of Cardinal Melchior Klesl</a></i></li> <li><i><a href="/wiki/Two_Angels_in_Sant%27Agostino" title="Two Angels in Sant'Agostino">Two Angels in Sant'Agostino</a></i></li> <li><i><a href="/wiki/Bust_of_Francesco_Barberini" title="Bust of Francesco Barberini">Bust of Francesco Barberini</a></i></li> <li><i><a href="/wiki/Bust_of_Antonio_Barberini_(Bernini)" title="Bust of Antonio Barberini (Bernini)">Bust of Antonio Barberini</a></i></li> <li><i><a href="/wiki/Busts_of_Cardinals_Agostino_and_Pietro_Valier_(Bernini)" title="Busts of Cardinals Agostino and Pietro Valier (Bernini)">Busts of Cardinals Agostino and Pietro Valier</a></i></li> <li><i><a href="/wiki/Memorial_to_Carlo_Barberini" title="Memorial to Carlo Barberini">Memorial to Carlo Barberini</a></i></li> <li><i><a href="/wiki/Tomb_of_Pope_Urban_VIII" class="mw-redirect" title="Tomb of Pope Urban VIII">Tomb of Pope Urban VIII</a></i></li> <li><i><a href="/wiki/Saint_Longinus_(Bernini)" title="Saint Longinus (Bernini)">Saint Longinus</a></i></li> <li><i><a href="/wiki/Sleeping_Hermaphroditus" title="Sleeping Hermaphroditus">Sleeping Hermaphroditus</a></i> <small>(mattress)</small></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1630s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Statue_of_Carlo_Barberini" title="Statue of Carlo Barberini">Statue of Carlo Barberini</a></i></li> <li><i><a href="/wiki/Two_Busts_of_Cardinal_Scipione_Borghese" title="Two Busts of Cardinal Scipione Borghese">Two Busts of Cardinal Scipione Borghese</a></i></li> <li><i><a href="/wiki/Tomb_of_Countess_Matilda_of_Tuscany" title="Tomb of Countess Matilda of Tuscany">Tomb of Countess Matilda of Tuscany</a></i></li> <li><i><a href="/wiki/Pasce_Oves_Meas" title="Pasce Oves Meas">Pasce Oves Meas</a></i></li> <li><i><a href="/wiki/Bust_of_Costanza_Bonarelli" title="Bust of Costanza Bonarelli">Bust of Costanza Bonarelli</a></i></li> <li><i><a href="/wiki/Busts_of_Paolo_Giordano_and_Isabella_Orsini" title="Busts of Paolo Giordano and Isabella Orsini">Busts of Paolo Giordano and Isabella Orsini</a></i></li> <li><i><a href="/wiki/Statue_of_Pope_Urban_VIII" title="Statue of Pope Urban VIII">Statue of Pope Urban VIII</a></i></li> <li><i><a href="/wiki/Bust_of_King_Charles_I_(Bernini)" title="Bust of King Charles I (Bernini)">Bust of King Charles I</a></i></li> <li><i><a href="/wiki/Bust_of_Thomas_Baker" title="Bust of Thomas Baker">Bust of Thomas Baker</a></i></li> <li><i><a href="/wiki/Medusa_(Bernini)" title="Medusa (Bernini)">Medusa</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1640s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Bust_of_Cardinal_Richilieu" class="mw-redirect" title="Bust of Cardinal Richilieu">Bust of Cardinal Richilieu</a></i></li> <li><i><a href="/wiki/Memorial_to_Alessandro_Valtrini" title="Memorial to Alessandro Valtrini">Memorial to Alessandro Valtrini</a></i></li> <li><i><a href="/wiki/Memorial_to_Ippolito_Merenda" title="Memorial to Ippolito Merenda">Memorial to Ippolito Merenda</a></i></li> <li><i><a href="/wiki/Memorial_to_Maria_Raggi" title="Memorial to Maria Raggi">Memorial to Maria Raggi</a></i></li> <li><i><a href="/wiki/Confessio_of_Santa_Francesca_Romana" class="mw-redirect" title="Confessio of Santa Francesca Romana">Confessio of Santa Francesca Romana</a></i></li> <li><i><a href="/wiki/Raimondi_Chapel" title="Raimondi Chapel">Raimondi Chapel</a></i></li> <li><i><a href="/wiki/Truth_Unveiled_by_Time_(Bernini)" title="Truth Unveiled by Time (Bernini)">Truth Unveiled by Time</a></i></li> <li><i><a href="/w/index.php?title=Bust_of_Pope_Leo_X&action=edit&redlink=1" class="new" title="Bust of Pope Leo X (page does not exist)">Bust of Pope Leo X</a></i></li> <li><i><a href="/wiki/Ecstasy_of_Saint_Teresa" title="Ecstasy of Saint Teresa">Ecstasy of Saint Teresa</a></i></li> <li><i><a href="/wiki/Noli_Me_Tangere_(Bernini)" title="Noli Me Tangere (Bernini)">Noli Me Tangere</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1650s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Busts_of_Pope_Innocent_X" title="Busts of Pope Innocent X">Busts of Pope Innocent X</a></i></li> <li><i><a href="/wiki/Bust_of_Francesco_I_d%27Este" title="Bust of Francesco I d'Este">Bust of Francesco I d'Este</a></i></li> <li><i><a href="/wiki/Corpus_(Bernini)" title="Corpus (Bernini)">Corpus</a></i></li> <li><i><a href="/wiki/The_Vision_of_Constantine_(Bernini)" title="The Vision of Constantine (Bernini)">The Vision of Constantine</a></i></li> <li><i><a href="/wiki/Daniel_and_the_Lion_(Bernini)" title="Daniel and the Lion (Bernini)">Daniel and the Lion</a></i></li> <li><i><a href="/wiki/Habakkuk_and_the_Angel_(Bernini)" title="Habakkuk and the Angel (Bernini)">Habakkuk and the Angel</a></i></li> <li><i><a href="/wiki/Chair_of_Saint_Peter" title="Chair of Saint Peter">Chair of Saint Peter</a></i></li> <li><i><a href="/wiki/Saints_Jerome_and_Mary_Magdalen_(Bernini)" title="Saints Jerome and Mary Magdalen (Bernini)">Saints Jerome and Mary Magdalen</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1660s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Statue_of_Alexander_VII_(Bernini)" title="Statue of Alexander VII (Bernini)">Statue of Alexander VII</a></i></li> <li><i><a href="/w/index.php?title=Busts_of_Alexander_VII_(Bernini)&action=edit&redlink=1" class="new" title="Busts of Alexander VII (Bernini) (page does not exist)">Busts of Alexander VII</a></i></li> <li><i><a href="/wiki/Statue_of_King_Philip_IV_of_Spain_(Bernini)" title="Statue of King Philip IV of Spain (Bernini)">Statue of King Philip IV of Spain</a></i></li> <li><i><a href="/wiki/Elephant_and_Obelisk" title="Elephant and Obelisk">Elephant and Obelisk</a></i></li> <li><i><a href="/wiki/Angel_with_the_Crown_of_Thorns" title="Angel with the Crown of Thorns">Angel with the Crown of Thorns</a></i></li> <li><i><a href="/wiki/Angel_with_the_Superscription" title="Angel with the Superscription">Angel with the Superscription</a></i></li> <li><i><a href="/wiki/Bust_of_Gabriele_Fonseca" title="Bust of Gabriele Fonseca">Bust of Gabriele Fonseca</a></i></li> <li><i><a href="/wiki/Bust_of_Louis_XIV_(Bernini)" title="Bust of Louis XIV (Bernini)">Bust of Louis XIV</a></i></li> <li><i><a href="/wiki/Equestrian_statue_of_Louis_XIV_(Bernini)" title="Equestrian statue of Louis XIV (Bernini)">Equestrian Statue of King Louis XIV</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1670s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Blessed_Ludovica_Albertoni" title="Blessed Ludovica Albertoni">Blessed Ludovica Albertoni</a></i></li> <li><i><a href="/wiki/Tomb_of_Pope_Alexander_VII" title="Tomb of Pope Alexander VII">Tomb of Pope Alexander VII</a></i></li> <li><i><a href="/wiki/Statue_of_Pope_Clement_X" title="Statue of Pope Clement X">Statue of Pope Clement X</a></i></li> <li><i><a href="/wiki/Bust_of_the_Saviour" title="Bust of the Saviour">Bust of the Saviour</a></i></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Architecture<br />and fountains</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><td colspan="2" class="navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/St._Peter%27s_Square" title="St. Peter's Square">St. Peter's Square</a></li> <li><a href="/wiki/Sant%27Andrea_al_Quirinale" title="Sant'Andrea al Quirinale">Sant'Andrea al Quirinale</a></li> <li><a href="/wiki/Lateran_Baptistery" title="Lateran Baptistery">Lateran Baptistery</a></li> <li><a href="/wiki/Palazzo_Barberini" title="Palazzo Barberini">Palazzo Barberini</a></li> <li><a href="/wiki/Palazzo_di_Propaganda_Fide" title="Palazzo di Propaganda Fide">Palazzo di Propaganda Fide</a></li> <li><a href="/wiki/Santa_Bibiana" title="Santa Bibiana">Santa Bibiana</a></li> <li><a href="/wiki/Fountains_of_St._Peter%27s_Square" title="Fountains of St. Peter's Square">Fountains of St. Peter's Square</a></li> <li><a href="/wiki/Fontana_della_Barcaccia" title="Fontana della Barcaccia">Fontana della Barcaccia</a></li> <li><a href="/wiki/Fontana_del_Tritone,_Rome" title="Fontana del Tritone, Rome">Fontana del Tritone</a></li> <li><a href="/wiki/Fontana_delle_Api" title="Fontana delle Api">Fontana delle Api</a></li> <li><a href="/wiki/Fontana_dei_Quattro_Fiumi" title="Fontana dei Quattro Fiumi">Fontana dei Quattro Fiumi</a></li> <li><a href="/wiki/Fontana_del_Moro" title="Fontana del Moro">Fontana del Moro</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Paintings</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><td colspan="2" class="navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/w/index.php?title=Self-Portrait_as_a_Young_Man_(Bernini)&action=edit&redlink=1" class="new" title="Self-Portrait as a Young Man (Bernini) (page does not exist)">Self-Portrait as a Young Man</a></i></li> <li><i><a href="/w/index.php?title=Portrait_of_Pope_Urban_VIII&action=edit&redlink=1" class="new" title="Portrait of Pope Urban VIII (page does not exist)">Portrait of Pope Urban VIII</a></i></li> <li><i><a href="/w/index.php?title=Saint_Andrew_and_Saint_Thomas_(Bernini)&action=edit&redlink=1" class="new" title="Saint Andrew and Saint Thomas (Bernini) (page does not exist)">Saint Andrew and Saint Thomas</a></i></li> <li><i><a href="/w/index.php?title=Self-Portrait_as_a_Mature_Man_(Bernini)&action=edit&redlink=1" class="new" title="Self-Portrait as a Mature Man (Bernini) (page does not exist)">Self-Portrait as a Mature Man</a></i></li> <li><i><a href="/w/index.php?title=Portrait_of_a_Boy_(Bernini)&action=edit&redlink=1" class="new" title="Portrait of a Boy (Bernini) (page does not exist)">Portrait of a Boy</a></i></li> <li><i><a href="/w/index.php?title=Christ_Mocked_(Bernini)&action=edit&redlink=1" class="new" title="Christ Mocked (Bernini) (page does not exist)">Christ Mocked</a></i></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><td colspan="2" class="navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Domenico_Bernini" title="Domenico Bernini">Domenico Bernini (son)</a></li> <li><a href="/wiki/Pietro_Bernini" title="Pietro Bernini">Pietro Bernini (father)</a></li> <li><a href="/wiki/Luigi_Bernini" title="Luigi Bernini">Luigi Bernini (brother)</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1038841319"></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q160538#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q160538#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a> <span class="mw-valign-text-top noprint" typeof="mw:File/Frameless"><a href="https://www.wikidata.org/wiki/Q160538#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></span></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">International</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://isni.org/isni/0000000121023349">ISNI</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://viaf.org/viaf/73850000">VIAF</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://id.worldcat.org/fast/45169/">FAST</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.oclc.org/worldcat/entity/E39PBJhhr83GJ7vTbdpbxm7rbd">WorldCat</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/118509926">Germany</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/n79127068">United States</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb118915810">France</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb118915810">BnF data</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.ndl.go.jp/auth/ndlna/00433117">Japan</a></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Bernini, Gian Lorenzo"><a rel="nofollow" class="external text" href="https://opac.sbn.it/nome/CFIV025580">Italy</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://nla.gov.au/anbd.aut-an35017958">Australia</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=jn20010525227&CON_LNG=ENG">Czech Republic</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX1041583">Spain</a></span><ul><li><span class="uid"><a rel="nofollow" class="external text" href="http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX4972790">2</a></span></li></ul></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://id.bnportugal.gov.pt/aut/catbnp/251722">Portugal</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://data.bibliotheken.nl/id/thes/p068900708">Netherlands</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://authority.bibsys.no/authority/rest/authorities/html/90183565">Norway</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000197023&P_CON_LNG=ENG">Latvia</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://katalog.nsk.hr/F/?func=direct&doc_number=000102934&local_base=nsk10">Croatia</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.nlg.gr/cgi-bin/koha/opac-authoritiesdetail.pl?authid=99331">Greece</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://lod.nl.go.kr/resource/KAC202305532">Korea</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://libris.kb.se/wt79908f5sksthf">Sweden</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://dbn.bn.org.pl/descriptor-details/9810589630005606">Poland</a></span></li><li><span class="uid"><a class="external text" href="https://wikidata-externalid-url.toolforge.org/?p=8034&url_prefix=https://opac.vatlib.it/auth/detail/&id=495/14719">Vatican</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007276056705171">Israel</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://cantic.bnc.cat/registre/981058516664706706">Catalonia</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://opac.kbr.be/LIBRARY/doc/AUTHORITY/14450343">Belgium</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Academics</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://ci.nii.ac.jp/author/DA02070120?l=en">CiNii</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500032022">ULAN</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://musicbrainz.org/artist/8e981ff6-f56e-4a48-a48b-3842371f3eea">MusicBrainz</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://rkd.nl/en/explore/artists/7527">RKD Artists</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://kulturnav.org/d21ccca0-4347-43ed-8e75-b00fc7288a05">KulturNav</a></span><ul><li><span class="uid"><a rel="nofollow" class="external text" href="http://kulturnav.org/822c302f-6579-4335-b0bc-4e1a459cc5d3">2</a></span></li></ul></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.ngv.vic.gov.au/explore/collection/artist/638/">Victoria</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.moma.org/artists/10620">Museum of Modern Art</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.museodelprado.es/en/the-collection/artist/wd/5029929a-dbfd-4b91-9d03-3c5eb7ed70c8">Prado</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.gallery.ca/collection/artist/gian-lorenzo-bernini">National Gallery of Canada</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://trove.nla.gov.au/people/792466">Trove</a></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="BERNINI, Gian Lorenzo"><a rel="nofollow" class="external text" href="https://www.treccani.it/enciclopedia/gian-lorenzo-bernini_(Dizionario-Biografico)">Italian People</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://structurae.net/persons/1004185">Structurae</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.deutsche-biographie.de/pnd118509926.html?language=en">Deutsche Biographie</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.deutsche-digitale-bibliothek.de/person/gnd/118509926">DDB</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.idref.fr/026722992">IdRef</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://snaccooperative.org/ark:/99166/w64b4q2m">SNAC</a></span><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://snaccooperative.org/ark:/99166/w61s0b97">2</a></span></li></ul></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Gian_Lorenzo_Bernini&oldid=1251886814">https://en.wikipedia.org/w/index.php?title=Gian_Lorenzo_Bernini&oldid=1251886814</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Gian_Lorenzo_Bernini" title="Category:Gian Lorenzo Bernini">Gian Lorenzo Bernini</a></li><li><a href="/wiki/Category:1598_births" title="Category:1598 births">1598 births</a></li><li><a href="/wiki/Category:1680_deaths" 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