” I saw in his hand a long spear of gold, and at the iron’s point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it. The soul is satisfied now with nothing less than God. The pain is not bodily, but spiritual; though the body has its share in it. It is a caressing of love so sweet which now takes place between the soul and God, that I pray God of His goodness to make him experience it who may think that I am lying.”
(St. Teresa of Avila, Autobiography, XXIX, 13)
Transverberation of Saint Teresa
Transverberation of Saint Teresa; The Ecstasy of Santa Teresa (1647-) is the central sculptural group in white marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. It was designed and completed by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the Chapel in marble, stucco and paint. It is generally considered to be one of the sculptural masterpieces if the High Roman Baroque.
Caroline Babcock speaks of Bernini’s melding of sensual and spiritual pleasure in the “orgiastic” grouping as both intentional and influential on artists and writers of the day. Irving Lavin said “The transverbation becomes a point of contact between earth and heaven, between matter and spirit”. As Bernini biographer Franco Mormando points out, although Bernini’s point of departure for his depiction of Teresa’s mystical experience was her own description, there were many details about the experience that she never specifies (e.g., the position of her body) and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: “Certainly no other artist, in rendering the scene before of after Bernini dared as much in transforming the Saint’s appearance”.