Bernini, Gian Lorenzo (1598-1680)

Gian Lorenzo
Bernini

birth7Dec. 1598, Napoli (Italy)
death28 Nov. 1680, Rome (Italy)

Italian architect, sculptor and painter

Early life
Giovanni Lorenzo Bernini (December 7, 1598 – November 28, 1680) was a pre-eminent Baroque sculptor
and architect of 17th Century Rome.

Bernini was born in Naples to a Mannerist sculptor, Pietro Bernini, originally from Florence. At the age of seven
he accompanied his father to Rome, where his father was involved in several high profile projects. There as a
boy, his skill was soon noticed by the painter Annibale Carracci and by Pope Paul V, and Bernini gained the
patronage exclusively under Cardinal Scipione Borghese, the pope's nephew. His first works were inspired by
antique Hellenistic sculpture.

Rise to master sculptor
• Under the patronage of the Cardinal Borghese, young Bernini rapidly rose to prominence as a
sculptor. Among the early works for the cardinal were decorative pieces for the garden such as
The Goat Amalthea with the Infant Zeus and a Faun, and several allegorical busts such as the
Damned Soul and Blessed Soul. By the age of twenty-two years, he completed the bust of Pope
Paul V. Scipione'scollection in situ at the Borghese gallery chronicles his secular sculptures, with
a series of masterpieces:

- Aeneas, Anchises, and Ascanius(1619)
- The Rape of Proserpina, (1621-22)
- Apollo and Daphne (1622-25)
- David (1623-24)

The Goat Amalthea with the
Infant Jupiter and a Faun
(1615)

an early sculpture by Gian Lorenzo
Bernini. Produced in 1615, it is now
in the Borghese Collection at the
Galleria Borghese. It shows
Amalthea as a goat, the infant god
Jupiter and an infant Faun.

Blessed Soul
(1619)

Damned Soul
(1619)

Bust of Pope Paul V
(c. 1617)

Aeneas, Anchises, and Ascanius
(1618-19)
white marble
height 86 5/8quot; (220 cm)
Galleria Borghese, Rome

The group sculpture represents Aeneas fleeing
from the burning city of Troy bearing his elderly
father Anchises on his shoulders, and his son
Ascanius carrying the sacred fire of the
hearth, while Anchises holds the penates family
household gods. The twenty-one-year old
Bernini, still influenced by his father Pietro's late
16th century tower-shaped
compositions, executed this group around 1618
and 1620, though many experts believe that this
is mainly his father's work.

The Rape of Proserpina
(1621-22)

It depicts Proserpina being seized and taken to the
underworld by Pluto.
The twisted contrapposto or figuraserpentinata pose
is reminiscent of Mannerism, and allows the
simultaneous depiction of the abduction (as seen
from the left, with Pluto striding to grasp her), the
arrival in the underworld (as seen from the front, he
appears triumphantly bearing his trophy in his arms)
and her prayer to her mother Ceres to return to the
real world 6 months a year (as seen from the right
one, with Proserpina's tears, the wind blowing her
hair, and Cerberus barking). Pushing against Pluto's
face Proserpina's hand creases his skin, while his
fingers sink into the flesh of his victim. Proserpina’s
lips are slightly opened, as if she were screaming
and begging for help. Upon closer examination, one
would notice the delicately crafted marble tears that
look as though they are literally dripping down her
face.

Bernini's principal patron Scipione Borghese
funded it but then gave it to Cardinal Ludovisi in
1622, who took it to his villa. It remained there until
1908, when the Italian state purchased it and
returned it to the Galleria Borghese.

Apollo and Daphne
(1622-25)
has been widely admired since Bernini's time; along
with the subsequent sculpture of David it represents
the introduction of a new sculptural aesthetic. It
depicts the most dramatic and dynamic moment in
one of Ovid's stories in his Metamorphoses. In the
story, Apollo, the god of light, scolded Eros, the god
of love, for playing with adult weapons. In
retribution, Eros wounded Apollo with a golden
arrow that induced him to fall madly in love at the
sight of Daphne, a water nymph sworn to perpetual
virginity, who, in addition, had been struck by Eros
with a lead arrow which immunized her from
Apollo's advances. The sculpture depicts the
moment when Apollo finally captures Daphne, yet
she has implored her father, the river god, to destroy
her beauty and repel Apollo's advances by
transforming her into a laurel tree. This statue
succeeds at various levels: it depicts the event and
also represents an elaborate conceit of sculpture.
This sculpture tracks the metamorphoses as a
representation in stone of a person changing into
lifeless vegetation; in other words, while a sculptor's
art is to change inanimate stone into animated
narrative, this sculpture narrates the opposite, the
moment a woman becomes a tree.

David
(1623-24)

Life-size marble sculpture (170 cm)

The sculpture was part of a commission to
decorate the villa of Bernini's patron Cardinal
Scipione Borghese – the Galleria Borghese –
where it still resides. It was completed in the
course of seven months from 1623 to 1624.

The subject of the work is the biblical
David, about to throw the stone that will bring
down Goliath, which will allow David to behead
him. Relating to earlier works on the same
theme, it is also revolutionary in its implied
movement and its psychological depth.

Mature sculptural output
Bernini's sculptural output was immense and varied. Among his other well-known sculptures: the Ecstasy of St
Theresa, in the Cornaro Chapel (see Bernini's Cornaro chapel: the complete work of art found in the Baroque
section), Santa Maria dellaVittoria, and the now-hidden Constantine, at the base of the ScalaRegia(which he
designed). He helped design the Ponte Sant'Angelo, sculpting two of the angels, soon replaced by copies by his
own hand, while the others were made by his pupils based on his designs.

Ecstasy of Saint Theresa
(1647-52)
Central marble group of a sculpture complex in
the Cornaro Chapel of Santa Maria dellaVittoria in
Rome. It is one of the sculptural masterpieces of
High Roman Baroque.

Equestrian Statue of Constantine
(1670)

In 1669 Pope Clement IX was succeeded by
Clement CostantinoXAltieri. During his
pontificate the ScalaRegia(Royal Staircase)
was inaugurated; at the foot of the staircase is
a statue of Constantine, in the moment he
had the vision of the Cross: he is marvelled
and surprised and his feelings are mirrored
and expanded by the position of the horse he
is riding. In the background fabric blown by
the wind gives spatial depth to the whole
picture.

ScalaRegia, Vatican City
(1663-66)

A flight of steps in the Vatican City which is part of the
formal entrance to the Vatican. It was built by Antonio
da Sangallo the Younger in the early 16th century, to
connect the Vatican Palace to St. Peter's Basilica, and
restored by Gian Lorenzo Bernini from 1663 to 1666.

The site for the stairs, a comparatively narrow slither of
land between church and palace, is awkwardly shaped
with irregular converging walls. Bernini used a number
of typically theatrical, baroque effects in order to exalt
this entry point into Vatican. The staircase proper
takes the form of a barrel-vaulted colonnade that
necessarily becomes narrower at the end of the
vista, exaggerating the distance. Above the arch at the
beginning of this vista is the coat of arms of Alexander
VII, flanked by two sculpted angels.

Finally at the base of the stairs, he placed his equestrian
statue of the Roman emperor Constantine the Great.

Pope Clement IX later installed a sculpture of
Charlemagne in the opposite portico of St. Peter's
Basilica as a pendant to that of Constantine.

Angel
(1667)

Angel made with son Paolo, originally
destined for the Ponte Sant’Angelo, but
now in church of Sant'AndreadelleFratte
in Rome.

Paris, 1665
At the end of April 1665, at the height of his fame and powers, he traveled to Paris, remaining there until
November. Bernini's international popularity was such that on his walks in Paris the streets were lined with
admiring crowds.

This trip, encouraged by Father Oliva, general of the Jesuits, was a reply to the repeated requests for his works by
King Louis XIV. Here Bernini presented some (ultimately rejected) designs for the east front of the Louvre; his
adventurous concave-convex facades were discarded in favor of the more stern and classic proposals of native
Claude Perrault. Bernini soon lost favor at the French court, for he praised the art and architecture of Italy at the
expense of that of France; he said that a painting by Guido Reni was worth more than all of Paris. The sole work
remaining from his time in Paris is a bust of Louis XIV, which set the standard for royal portraiture for a century.

Architecture
Bernini's architectural conceits include the piazza and colonnades of St Peter's. He planned several Roman palaces:
Palazzo Barberini(from 1630 on which he worked with Borromini); Palazzo Ludovisi(now Palazzo Montecitorio);
and Palazzo Chigi.

Bernini's first architectural project was the magnificent bronze St. Peter's baldachin (1624-1633), the canopy over
the high altar of St. Peter's Basilica, and the façade for the church of Santa Bibiana (1624). In 1629, before the
Baldacchino was complete, Urban VIII put him in charge of all the ongoing architectural works at St Peter's. He
was given the commission for the Basilica's tomb of the Barberini Pope. However, due to political reasons and
miscalculations in the design of bell-towers for St. Peter's, Bernini fell generally out of favor during the Pamphili
papacy of Innocent X. Never wholly without patronage, Bernini again regained a major role in the decoration of
St. Peter's with the Pope Alexander VII Chigi, leading to his design of the colonnade and piazza in front of St.
Peter's. The ScalaRegiaentrance to the Vatican and the Chair of Saint Peter (Cathedra Petri), in the apse of St.
Peter's, are also some of his masterpieces.

Bernini did not build many churches from scratch, preferring instead to concentrate on the embellishment of pre-
existing structures. He fulfilled three commissions in the field; his stature allowed him the freedom to design the
structure and decorate the interiors in coherent designs. Best known is the small oval baroque church of
Sant'Andrea al Quirinalewhich includes the statue of St. Andrew the Apostle soaring high above the aedicule
framing the high altar. Bernini also designed churches in Castel Gandolfo (San Tommasoda Villanova) and
Ariccia (Santa Maria Assunta).

Bernini was also hired by Louis XIV from June to November 1665 to build the colonnade of the Louvre in Paris
(where he met Paul Fréart de Chantelou, who kept a Journal of the meeting), but was ultimately turned down in
favor of French architect Claude Perrault, signalling the waning influence of Italian art in France. Perrault's final
design did, however, include Bernini's feature of a flat roof behind a Palladian balustrade.

Piazza and Colonnades of St Peter's
Rome
(1656-67)

Palazzo Barberini
Rome
1625-33 (Bernini, from 1630)

Palazzo Montecitorio,
formerly Palazzo Ludovisi
Rome
(1650-55)

Palazzo Chigi
Rome
(1664-72)

St. Peter's Baldachin
St. Peter’s Basilica, Rome
(1624-1633)
bronze

Tomb of Pope Urban VIII
(1627-47)

Cathedra Petri
(1657-66)

Sant'Andrea al Quirinale
Rome
(1658-71)

Church of San Tommasoda Villanova
Castel Gandolfo
(1658-61)

Church of Santa Maria Assunta
Ariccia
(1663-65)

Fountains in Rome

True to the decorative dynamism of Baroque, Roman fountains, part public works and part Papal
monuments, were among his most gifted creations. Bernini's fountains are the Fountain of the Triton and the
Barberini Fountain (Fontana delleapi). The Fountain of the Four Rivers (Fontana dei Quattro Fiumi) in the
Piazza Navona is a masterpiece of spectacle and political allegory. An oft-repeated, but false, anecdote tells
that one of the Bernini's river gods defers his gaze in disapproval of the facade of Sant'Agnese in
Agone(designed by the talented, but less politically successful, rival Francesco Borromini). However, the
fountain was built several years before the façade of the church was completed.

Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for
neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons.

Triton Fountain
Pzza. Barberini, Rome
(1642–43)
Bernini's baroque Triton Fountain (Italian
Fontana del Tritone) is located in Piazza
Barberini, Rome, near the entrance to the
Palazzo Barberini(now housing the Galleria
Nazionaled'ArteAntica), which Bernini helped
redesign for his patron MaffeoBarberini, who
had become pope as Urban VIII. It is a few
blocks from Borromini's San Carlo alle
Quattro Fontane. In the fountain, which
Bernini executed of travertine in 1642–43, an
over-lifesize muscular Triton, a minor sea god of
ancient Greco-Roman legend, is depicted as a
merman kneeling on an opened scallop shell. He
throws back his head to raise a conch to his lips:
from it a jet of water spurts, formerly rising
dramatically higher than it does today. The
fountain has a base of four dolphinsthat entwine
the papal tiara with crossed keys and the
heraldic Barberinibees in their scaly tails. The
Tritone, first of Bernini's fountains, was erected
to provide water from the AcquaFelice
aqueduct, which Urban had restored, in a
dramatic celebration. It was Bernini's last major
commission from his great patron, who died in
1644.

Fountain of the Four Rivers
Piazza Navona, Rome
(1651)
• The Fontana dei Quattro
Fiumi(quot;Fountain of the Four Riversquot;) is
a fountain in Rome, Italy, located in the
Piazza Navona. It is a masterpiece of
Gianlorenzo Bernini's, and emblematic
of the dynamic and dramatic effects
sought by high Baroque artists. It was
erected in 1651 in front of the church of
Sant'Agnese in Agone, and yards from
the Pamphilj Palace belonging to this
fountain's patron, Innocent X (1644-
1655). It was built at the base of the
Obelisk of Domitian
Bernini's design was selected in
competition.
• This fountain means to depict allegories
for the four great rivers in the four
continents recognized by the
Renaissance geographers: the Nile in
Africa, Ganges in Asia, Danube in
Europe, and Río de la Plata in America.
Each has animals and plants that
further carry forth the identification, and
each carries a certain number of
allegories and metaphors with it.

Barberini Fountain
(Fontana delleapi)
PzzaBarberini, Rome
(1644)

The Fontana delleApi, or Fountain
of the Bees, is a fountain located in
the Piazza Barberini in Rome where
the piazza meets Via Sistina. The
sculptor Bernini completed the
fountain in April 1644. It consists of a
marble bi-valve shell with three bees
of the same material resting on it. The
fountain was intended to be a
watering trough for horses. An
inscription on the shell reads quot;Urban
VIII Pont. Max., having built a fountain
for the public ornamentation of the
City, also built this little fountain to be
of service to private citizens. In the
year 1644, XXI of his pontificate.quot; The
quot;public ornamentationquot; referred to in
the inscription is the Triton
Fountain, or Fontana Del
Tritone, which Bernini had
completed the year before.

Marble portraiture
Bernini also revolutionized marble busts, lending glamorous dynamism to once stony
stillness of portraiture. Starting with the immediate pose, leaning out of the frame, of
bust of Monsignor Pedro de Foix Montoya at Santa Maria diMonserrato, Rome. The
once-gregarious Cardinal Scipione Borghese, in his bust is frozen in conversation. The
portrait of his alleged mistress, CostanzaBonarelli, does not portray divinity or royalty;
but a woman in a moment of disheveled privacy, captured in conversation or surprise.

Bernini also gained royal commissions from outside Italy, for subjects such as Louis
XIV,Cardinal Richelieu, Francesco I d'Este, Charles I of England and Henrietta
Maria. The last two were produced in Italy from portraits made by Van Dyck(now in the
royal collection), though Bernini preferred to produce portraits from life - the bust of
Charles was lost in the Whitehall Palace fire of 1698 and that of Henrietta Maria was
not undertaken due to the outbreak of the English Civil War.

Monsignor Pedro de Foix
Montoya
Santa Maria
diMonserrato, Rome
(c. 1621)

marble
life-size

Bust of Cardinal
ScipioneBorghese
(1632)

marble
height 78 cm
Galleria Borghese, Rome

Bust of CostanzaBonarelli
(c. 1635)

marble
height 72 cm

Bust of Cardinal Richelieu
Louvre Museum, Paris
(1641)

white marble
height 83 cm

Bust of Francesco I d'Este
Galleria Estense, Modena
(1650-51)

marble
height107 cm

Bust of Charles I of England
c. 1675
copy

lead (original in marble)
height 66 cm

This important piece is one of only
three versions known to be in
existence, taken from a marble bust
by Gianlorenzo Bernini which was
destroyed in the Whitehall Palace fire
of 1698. Although the sculptor of
this bust is undetermined, one
suggested possibility is John
Bushnell (1636-1701) who trained in
Italy before returning to England in
1668/69, and in 1671 created a
statue of Charles I in Purbeck
stone, which is also thought to be
based on Bernini's bust.

Other works
Another of Bernini's sculptures is known affectionately as Bernini's Chick by the Roman people. It is located in the
Piazza della Minerva, in front of the church Santa Maria sopra Minerva. Pope Alexander VII decided that he wanted
an ancient Egyptian obelisk to be erected in the piazza and commissioned Bernini to create a sculpture to support
the obelisk. The sculpture of an elephant was finally created in 1667 by one of Bernini's students, ErcoleFerrata.
One of the most interesting features of this elephant is its smile. To find out why it is smiling, the viewer must head
around to the rear end of the animal and to see that its muscles are tensed and its tail is shifted to the left. Bernini
sculpted the animal as if it were defecating. The animal's rear is pointed directly at the office of Father
DomenicoPaglia, a Dominican friar, who was one of the main antagonists of Bernini and his artisan friends, as a
final salute and last word.

Bernini worked along with ErcoleFerratato created a much admired fountain for the Lisbon Palace of the Portuguese
nobleman Count of Ericeira. For the same patron he also created a series of paintings with the battles of Louis XIV
as subject. These works were lost as the Palace, great Library and rich art collection of the Counts of Ericeira were
destroyed along most of central Lisbon due to the great earthquake of 1755.

The death of his constant patron Urban VIII in 1644 released a horde of Bernini's rivals and marked a change in his
career, but Innocent X set him back to work on the extended nave of St Peter's and commissioned the Four Rivers
fountain in Piazza Navona. At the time of Innocent's death in 1655 Bernini was the aribiter of public taste in Rome.
He died in Rome in 1680, and was buried in the Basilica di Santa Maria Maggiore. Among the many who worked
under his supervision were Luigi Bernini, Stefano Speranza, GiulianoFinelli, Andrea Bolgi, FilippoParodi, Giacomo
Antonio Fancelli, LazzaroMorelli, Francesco Baratta, and Francois Duquesnoy. Among his rivals in architecture was
Francesco Borromini; in sculpture, Alessandro Algardi.

Two years after his death, Queen Christina of Sweden, then living in Rome, commissioned FilippoBaldinuccito write
his biography, (translated in 1996 as The life of Bernini).

Sculpture
Selected works
* Bust of Giovanni Battista Santoni(c. 1612) - Marble, life-size, Santa Prassede, Rome
* Martyrdom of St. Lawrence (1614-1615) - Marble, 66 x 108 cm, ContiniBonacossi
Collection, Florence
* The Goat Amalthea with the Infant Jupiter and a Faun (1615) - Marble, Galleria
Borghese, Rome
* St. Sebastian (c. 1617) - Marble, ThyssenBornemisza Museum, Madrid
* A Faun Teased by Children (1616-1617) - Marble, height 132,1 cm, Metropolitan Museum
of Art, New York
* Aeneas, Anchises, and Ascanius(1618-1619) - Marble, height 220 cm, Galleria
Borghese, Rome
* Damned Soul (1619) - Palazzo diSpagna, Rome
* Blessed Soul (1619) - Palazzo diSpagna, Rome
* Apollo and Daphne (1622-1625) - Marble, height 243 cm, Galleria Borghese, Rome
* St. Peter's Baldachin (1624) - Bronze, partly gilt, Basilica di San Pietro, Vatican City
* Charity with Four Children (1627-1628) - Terracotta, height 39
cm, MuseoSacro, MuseiVaticani, Vatican
* David (1623-1624) - Marble, height 170 cm, Galleria Borghese, Rome
* Fontana dellaBarcaccia(1627-1628) - Marble, Piazza diSpagna, Rome
* Bust of Monsignor Pedro de Foix Montoya (c. 1621) - Marble, life-size, Santa Maria
diMonserrato, Rome
* Neptune and Triton (1620) - Marble, height 182,2 cm, Victoria and Albert Museum, London
* The Rape of Proserpina (1621-1622) - Marble, height 295 cm, Galleria Borghese, Rome

* Fontana del Tritone(1624-1643) - Travertine, over life-size, Piazza Barberini, Rome
* Tomb of Pope Urban VIII (1627-1647) - Golden bronze and marble, figures larger than life-
size, Basilica di San Pietro, Vatican City
* Bust of Thomas Baker (1638) - Marble, height 81,6 cm, Victoria and Albert
Museum, London
* Bust of CostanzaBonarelli(c. 1635) - Marble, height 70 cm, MuseoNazionale del
Bargello, Florence
* Charity with Two Children (1634) - Terracotta, height 41.6
cm, MuseoSacro, MuseiVaticani, Vatican City
* Saint Longinus (1631-1638) - Marble, height 450 cm, Basilica di San Pietro, Vatican City
* Bust of Scipione Borghese (1632) - Marble, height 78 cm, Galleria Borghese, Rome
* Bust of Cardinal Scipione Borghese (1632) - Marble, Basilica di San Pietro, Vatican City
* Bust of Pope Urban VIII (1632-1633) - Bronze, height 100
* Bust of Cardinal Armand de Richelieu (1640-1641) - Marble, Musée du Louvre, Paris
* Memorial to Maria Raggi(1643) - Gilt bronze and coloured marble, Santa Maria sopra
Minerva, Rome
* Truth (1645-1652) - Marble, height 280 cm, Galleria Borghese, Rome
* Bust of Pope Leo X (1647) Palazzo DoriaPamphilij, Rome
* Ecstasy of St Theresa (1647-1652) - Marble, Cappella Cornaro, Santa Maria
dellaVittoria, Rome
* Loggia of the Founders (1647-1652) Marble, Cappella Cornaro, Santa Maria
dellaVittoria, Rome
* Bust of Urban VIII - Marble, Basilica di San Pietro, Vatican City

* Fontana dei Quattro Fiumi(1648-1651) - Travertine and marble, Piazza Navona, Rome
* Corpus (sculpture) (1650) - Bronze, Art Gallery of Ontario, Toronto, Canada.
* Daniel and the Lion (1650) - Marble, Santa Maria del Popolo, Rome
* Francesco I d'Este(1650-1651) - Marble, height 107 cm, Galleria Estense, Modena
* Fountain of the Moor (1653-1654) - Marble, Piazza Navona, Rome
* Constantine (1654-1670) - Marble, PalazziPontifici, Vatican City
* Daniel and the Lion (1655) - Terracotta, height 41.6
* Habakkuk and the Angel (1655) - Terracotta, height 52
* Altar Cross (1657-1661) - Gilt bronze corpus on bronze cross, height: corpus 43 cm, cross
185 cm, Treasury of San Pietro, Vatican City
* Throne of Saint Peter (1657-1666) - Marble, bronze, white and golden stucco, Basilica di
San Pietro, Rome
*Statue of Saint Augustine (1657-1666) - Bronze, Basilica di San Pietro, Vatican City
* Constantine (1663-1670) - Marble with painted stucco drapery, ScalaRegia, Vatican
Palace, Rome
* Standing Angel with Scroll (1667-1668) - Clay, terracotta, height: 29,2 cm, Fogg Art
Museum, Cambridge
* Angel with the Crown of Thorns (1667-1669) - Marble, over life-
size, Sant'AndreadelleFratte, Rome
* Angel with the Superscription (1667-1669) - Marble, over life-
size, Sant'AndreadelleFratte, Rome
* Elephant of Minerva (1667-1669) - Marble, Piazza di Santa Maria sopra Minerva, Rome
* Bust of Gabriele Fonseca (1668-1675) - Marble, over life-size, San Lorenzo in Lucina, Rome

* Equestrian Statue of King Louis XIV (1669-1670) - Terracotta, height 76 cm, Galleria
Borghese, Rome
* Bust of Louis XIV (1665) - Marble, height 80 cm, Musée National de Versailles, Versailles
* Herm of St. Stephen, King of Hungary - Bronze, Cathedral Treasury, Zagreb
* Saint Jerome (1661-1663) - Marble, height 180 cm, Cappella Chigi, Duomo, Siena
* Tomb of Pope Alexander VII (1671-1678) - Marble and gilded bronze, over life-size, Basilica
di San Pietro, Vatican City
* Blessed LudovicaAlbertoni(1671-1674) - Marble, Cappella Altieri-Albertoni, San Francesco
a Ripa, Rome

Paintings

Bernini's activity as a painter was a sideline which he did mainly in his youth. Despite this his
work reveals a sure and brilliant hand, free from any trace of pedantry. He studied in Rome
under his father, Pietro, and soon proved a precocious infant prodigy. His work was
immediately sought after by major collectors.

* Saint Andrew and Saint Thomas (c. 1627) - Oil on canvas, 59 x 76 cm, National
Gallery, London
* Portrait of a Boy (c. 1638) - Oil on canvas, Galleria Borghese, Rome
* Self-Portrait as a Young Man (c. 1623) - Oil on canvas, Galleria Borghese, Rome
* Self-Portrait as a Mature Man (1630-1635) - Oil on canvas, Galleria Borghese, Rome

Bernini is portrayed as a high ranking member of the secret organization Illuminati.

Sources:
• www.wikipedia.org
• www.storiadellarte.com

Bernini, Gian Lorenzo (1598-1680)

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