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Bernini: The Magic Art deals with Bernini's involvement with the theater. Influenced by the Jesuits’ embrace of theater as an effective means to advance mankind’s moral and spiritual development, Bernin sought to incorporate devices of the Baroque theater into his artistic creations. Beginning in the 1620s, Bernini was involved in staging the “architecture” of many of church activities—40-hour devotions, the dramatization of the Pope’s ascent to the Pauline Chapel via the Scalia Regia—as theatrical events. As he advanced in his art, moving from sculptor of antiquities for Cardinal Borghese to scenographer of religious scenes for Popes and other religious dignitaries, Bernini began to employ more theatrical concepts and devices in his scenographies. His development of architectural spotlights for his creations, beginning with St. Bibiana in the church of Santa Bibiana, through the lighting for St. Francis in the Raimondi Chapel in S. Pietro in Montorio, the theatrical presentation of St. Teresa in the Cornaro Chapel at Santa Maria della Vittoria, and the Cathedra Petri in S. Peter’s Basilica evidences his awareness of the importance of dramatizing his creations through lighting. In addition, his installation of "The Ecstasy of St Theresa" incorporates the Cloud Machine, used in almost all religious and non-religious Baroque theatrical performances to illustrate heavenly events. His consummate use of theatrical devices, however, and one not previously recognized by scholars, is best seen in the transformation of the ephemeral Baroque theatrical devices--the Glory, the Glory Box, and the Chair for Pharaoh- -into components for the permanently awe-inspiring Cathedra Petri above the main altar in St. Peter’s. |
