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Bernini's Revenge? Art, Gynaecology and Theology at St Peter's, Rome
Author(s) -
Richardson Carol M.
Publication year - 2020
Publication title -
art history
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.1
H-Index - 19
eISSN - 1467-8365
pISSN - 0141-6790
DOI - 10.1111/1467-8365.12467
Subject(s) - trope (literature) , altar , modernity , politics , metaphor , representation (politics) , spirituality , sovereignty , art , institution , history , art history , literature , theology , sociology , philosophy , law , medicine , social science , alternative medicine , epistemology , pathology , political science
By the early twentieth century, the representation of a woman giving birth identified on the marble base piers of Bernini's Baldacchino in St Peter's basilica was, for some, emblematic of the Roman Catholic Church as a corrupt, greedy and libidinous institution that had for too long stood in the way of modernity and national sovereignty from South America to Europe. There is, however, no evidence to suggest that when the altar canopy was first revealed in 1634 that it was in any way problematic. The birth metaphor is a biblical trope for joy following pain, and an established cultural reference to both divine and artistic creative impulses. Nevertheless, Bernini's visual language has become increasingly hard to read. This essay considers the gap in understanding between the Baldacchino's original audience and more recent viewers. In doing so, it elucidates Bernini's inventions with reference to early modern spirituality and identifies the historical and political baggage that obstructs current comprehension.