Hi, I’m Gianluca.
I studied cultural anthropology, and I’ve always been fascinated by the different ways people live, move, and experience a place.
Rome is not only my city – it’s the environment I love observing, understanding, and sharing through these small stories.
Together with my wife Connie, we host travellers in our small hotel near the Vatican, where we enjoy meeting people from all over the world and exchanging perspectives – just as I do here in the blog.
If you ever feel like saying hello while exploring Rome, you’ll find us on our terrace as well, where every morning we serve breakfast with a view.
Gianluca
Few artists in history have left as profound an imprint on a city as Gian Lorenzo Bernini did on Rome. Sculptor, architect, painter, and theatrical innovator, Bernini (1598–1680) embodied the essence of the Baroque era. His life was as dynamic and vibrant as the works he created, filled with ambition, talent, and a relentless drive to capture motion, emotion, and grandeur in art.
A Young Prodigy in Rome
Born in Naples in 1598, Gian Lorenzo Bernini was the son of Angelica Galante and Pietro Bernini, a respected Mannerist sculptor. The family moved to Rome when Bernini was young, providing him access to the city’s artistic and cultural epicentre. Under the guidance of his father and the patronage of powerful Roman elites, Bernini quickly gained recognition for his extraordinary talent.
By the age of 20, Bernini had already completed notable works such as the busts of a “Damned Soul” and a “Blessed Soul,” showcasing his ability to render intense emotion and lifelike detail. These early successes earned him the favour of Pope Urban VIII, who became a lifelong patron and propelled Bernini’s career to unparalleled heights.
Bernini’s Rise to Prominence
Bernini’s work under Urban VIII placed him at the forefront of Roman art and architecture. His ability to merge sculpture, painting, and architecture into cohesive, theatrical compositions revolutionized the visual arts.
Key Highlights of His Career:
- Ecstasy of Saint Teresa (1647–1652): This sculpture in the Cornaro Chapel of Santa Maria della Vittoria is a masterful depiction of divine ecstasy. The interplay of light, texture, and emotion creates a scene that feels almost alive.
- Apollo and Daphne (1622–1625): Commissioned by Cardinal Scipione Borghese, this sculpture captures the mythological moment Daphne transforms into a laurel tree. Every detail, from Apollo’s chasing stance to the twisting branches, exudes motion and drama.
- St. Peter’s Baldachin (1624–1633): Standing nearly 29 meters tall, this bronze canopy over the altar of St. Peter’s Basilica combines architectural and sculptural elements, showcasing Bernini’s innovative genius.
Personal Life and Challenges
Bernini was known not only for his talent but also for his fiery temperament and competitiveness. His personal life was as dramatic as his art:
- The Scandal with Costanza Bonarelli: Bernini’s love affair with Costanza, the wife of one of his assistants, ended in scandal when he discovered her infidelity with his younger brother. The situation escalated to the point where Bernini reportedly ordered a servant to scar her face.
- Rivalry with Borromini: Bernini’s professional rivalry with architect Francesco Borromini is legendary. While their styles were complementary, their competition for commissions often led to tension, especially during projects like St. Peter’s Basilica.
Despite his temper, Bernini was deeply religious and believed his work served a higher purpose. He maintained strong ties with the papacy, receiving commissions from nine different popes during his lifetime.
Curiosities and Anecdotes
- Master of Multitasking: Bernini was not just a sculptor and architect; he also designed stage sets, fountains, and even theatrical spectacles. His versatility set him apart from his contemporaries.
- Ingenious Techniques: To create his massive works, Bernini employed a workshop of skilled assistants. He also experimented with materials, using stucco, marble, and bronze to achieve desired effects.
- A Self-Portrait in Art: Bernini included a hidden self-portrait in his design for the “Fontana dei Quattro Fiumi” in Piazza Navona. The face of the Nile River god, shrouded to signify the river’s unknown source, is said to resemble Bernini.
The Enduring Legacy
Bernini’s later years were marked by a gradual shift in artistic tastes, but his work remained revered. His final major project, the colonnade of St. Peter’s Square, was a monumental achievement symbolizing the Church’s embrace of the faithful.
When Bernini died in 1680 at the age of 81, he was widely mourned as a transformative figure in art. His influence extended beyond Rome and the Baroque era, shaping European art and architecture for generations.
Discovering Bernini in Rome
Today, Bernini’s masterpieces continue to captivate visitors to Rome. His works can be admired in iconic locations such as:
- Galleria Borghese: Housing sculptures like “Apollo and Daphne” and “The Rape of Proserpina.”
- Santa Maria della Vittoria: Home to the ethereal “Ecstasy of Saint Teresa.”
- Piazza Navona: Showcasing the dramatic “Fontana dei Quattro Fiumi.”
- St. Peter’s Basilica: Featuring the magnificent baldachin and colonnades.
