Bernini and the “Bel Composto”

How Gian Lorenzo Bernini created a marriage of art, light and architecture in his works

Bernini and his background

Gian Lorenzo Bernini (1598 – 1680) was the son of a painter (Pietro Bernini). He was born in Naples. In his childhood he displayed a huge love and talent for art. Later, he followed in his father’s footsteps. 

Today, we know him as one of the most skilled painters, architects and sculptors of the 17th century. We know him best for his dynamic and theatrical sculptures. Bernini made countless innovations in the history of art. He continues to inspire generations of artists to this very day. 

One of the main innovations, or calling cards of Bernini’s work, is his inclusion of a bel composto in his works. Italian for “beautiful composition” and often translated as the “beautiful whole”, and Bernini created this term himself. It is a method using several media or disciplines, usually sculpture and architecture, to breathe life into his works.

Bernini created figures that interact with their setting. In doing this, they seem all the more human and alive. He extended the influence of the works to their architectural setting, so it looked as though the works had organically grown from their locations. 

Bernini and “heavenly light”

The Vision of Constantine, created in 1670, does exactly this. A papal commission, it is a really theatrical work. It achieves drama by showing the emperor in a confident, powerful pose. His horse rears up on its hind legs. The figures are all effectively placed in front of a window, so  sunlight falls directly onto the scene.

The horse seems to rear up in reaction to the streaming sunlight. There is carved drapery around the window, which blows backwards as if touched by the rays of light.

Bernini, The Vision of Constantine, 1670                    (image: Sailko, Creative Commons)

Another of Bernini’s works that make use of this similar type of art-architecture hybrid is The Ecstasy of St Teresa (1647-52). This work also contains a concealed window. This time, it is situated above the reclining figure of St Teresa.

In addition to the window, golden rods leading down help to channel this sunlight onto the work, so we see that same essence of heavenly light from above. It lends the work an otherworldly glow.

Bernini, The Ecstasy of St Teresa, 1647-1652              (image: Miguel Hermoso Cuesta, Creative Commons)

Bernini and the architecture of locations

Of course, it is not just light which comes into play with Bernini’s bel composto. Take, for example The Fountain of the Four Rivers (1651) in Piazza Navona in Rome. Here Bernini plays with location more than light. The sculpture serves as a plinth for an Ancient Egyptian obelisk.

The finely carved figures sit upon a rustic rocky base. Bernini cleverly designed this base so that it appears that the work has spontaneously burst through the ground. In this way, it shows a very organic and natural blending into the landscape.

Bernini, The Fountain of the Four Rivers, 1651 (image: Nicholas Gemini, Creative Commons)

Bernini’s finished works are the true embodiment of the Italian term Sprezzatura. The term translates as “a carefully executed effortlessness”. 

The beauty of these works is incredible. We know that the levels of talent and skill required are immense. However, he executed them so perfectly that they appear entirely effortless and natural. This is surely a mark of Bernini’s talent. This same talent and skill is the reason his work is so revered to this very day.

It is impossible to deny Bernini his place in art history. His breathtakingly beautiful realism in stone and architecture will long be a subject of study and praise for years to come.