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 della Vittoria, and the now-hidden Constantine, at the base of the Scala Regia (which he designed). He was given the commission for the Tomb of Pope Urban VIII in St Peters. 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.
At the end of April 1665, at the height of his fame and powers he travelled to Paris, where he remained until November; he met Paul Fréart de Chantelou who kept a Journal of Bernini's visit. 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 response to the repeated requests for his works by King Louis XIV. Here Bernini presented some designs for the east front of the Louvre. which were ultimately rejected. He soon lost favor at the French court as he praised the art and architecture of Italy over 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.
Read more about this topic: Gian Lorenzo Bernini
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