{"id":1134,"date":"2021-08-03T11:48:45","date_gmt":"2021-08-03T03:48:45","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1134"},"modified":"2021-08-03T11:48:45","modified_gmt":"2021-08-03T03:48:45","slug":"5-works-to-know-by-bernini-ornate-canopies-billowing-fabrics-and-more","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/5-works-to-know-by-bernini-ornate-canopies-billowing-fabrics-and-more\/","title":{"rendered":"5 Works to Know by Bernini: Ornate Canopies, Billowing Fabrics, and More"},"content":{"rendered":"<p>Long before he became the most famous artist associated with the Baroque movement of the 17th century, a 13-year-old <a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Gian Lorenzo Bernini<\/a> stunned Italy when he created a bust of the surgeon Antonio Coppola. It was among Bernini\u2019s earliest psychologically piercing busts\u2014and, if you believe everything the artist\u2019s own words, it was hardly the first he\u2019d done. He claimed to have initially tried his hand at creating \u201cspeaking likenesses\u201d when he was eight, but there\u2019s good reason to doubt that\u2014Bernini was quite a fabulist. Whatever the case may be, audiences were floored by the Coppola sculpture.<\/p>\n<p>In the decades that followed, Bernini would prove again and again that he was a master sculptor. Working at a time when painting was still regarded as the most important artistic medium, Bernini showed his adeptness at imbuing bronze and marble with liveliness. His skill made him a favorite among Rome\u2019s elite, and the creations he produced for them have endured the test of time, ranking among some of the most important artworks on view in the city<strong>.<\/strong><\/p>\n<p>Below, a look at five of Bernini\u2019s most famous works.<\/p>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234600356\" data-slide-index=\"0\" data-slide-position-display=\"1\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">1.<\/span><em style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">David<\/em><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">\u00a0(ca. 1623\u201324)<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP664034993117.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP664034993117.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP664034993117.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP664034993117.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP664034993117.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP664034993117.jpg?w=1200 1200w\" alt=\"A marble sculpture of a man arching back with drapery flowing around him.\" width=\"862\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Fredrik Von Erichsen\/picture-alliance\/dpa\/AP Images<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p>When Bernini created this statue in his mid-20s, he became a sensation. For about a decade, Bernini had been treated as a prodigy among the Italian elite, and so it was hardly surprising that he caught the eye of Cardinal Scipioni Borghese. Around the year 1623, Borghese got to work on plans for a\u00a0<em>villa suburbana<\/em>, a grand home just outside Rome. To adorn it, he had Bernini create three large sculptures, including this one.<\/p>\n<p>Then as now, the best-known image of the biblical narrative of David and the Goliath was Michelangelo\u2019s 17-foot-tall nude sculpture of the hero, which was initially situated in a Florentine plaza. Rather than the slaying of Goliath, Michelangelo\u2019s sculptures depicts the moments before David\u2019s battle. Bernini\u2019s sculpture was done in a similar vein, with Goliath left invisible\u2014yet Bernini has attempted to one-up Michelangelo.<\/p>\n<p>Bernini\u2019s sculpture is far more dynamic and extravagant. We see the moment when David twists around and readies his shot at Goliath Fabric swirls around David, twisting across one of his muscular legs. His jaw seems clenched, as if in anticipation of the highly physical feat he\u2019s about to perform. David\u2019s face was modeled on Bernini\u2019s own\u2014the artist was gunning for Michelangelo\u2019s place in the imagination of the Italian art scene. The gamble paid off, and the sculpture was a huge success, not only with <a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Cardinial Scipione<\/a> but with the public writ large. Filippo Baldinucci, Bernini\u2019s first biographer, wrote, \u201cAs soon as it was finished such acclamation arose that all Rome rushed to see it as though it were a miracle.\u201d<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234600360\" data-slide-index=\"1\" data-slide-position-display=\"2\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">2.<\/span><em style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Apollo and Daphne<\/em><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">\u00a0(1622\u201325)<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP273950887589.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP273950887589.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP273950887589.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP273950887589.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP273950887589.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP273950887589.jpg?w=1200 1200w\" alt=\"A marble statue shot from below showing a man chasing after a woman who is turning into a tree. Flowing drapery surrounds the man.\" width=\"862\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Fredrik Von Erichsen\/picture-alliance\/dpa\/AP Images<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p>Bernini\u2019s greatest talent was his ability to transform marble\u2014a cold, elegant material\u2014into something that felt profoundly alive. His abilities are evident in works such as this one, which, like\u00a0<em>David<\/em>\u00a0(above), was commissioned by <a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Cardinal Borghese<\/a> for his\u00a0<em>villa suburbana<\/em>\u00a0outside Rome. Work on this sculpture preceded\u00a0<em>David<\/em>, though Bernini halted production in the middle to work on the other sculpture. It was finished in 1625, perhaps with help from a student named Giuliano Finelli; later works by Bernini would often be crafted largely by assistants, without credit, in his massive studio.<\/p>\n<p>The mythological scene shown in the sculpture involves the god Apollo and Daphne, a nymph. According to Greek mythology, Apollo had insulted Eros, the god of love, and gotten shot with an arrow because of it. He began to persistently pursue Daphne, who had committed herself to virginity and continually rebuffed him. When she could run from him no more, she called on her father, the river god Peneus, to grant her the ability to change form. He did, and she became a tree.<\/p>\n<p>Bernini depicts the metamorphosis midway, with Daphne\u2019s hands becoming branches. He designed the work to be seen from its side so that viewers could compare Daphne\u2019s pained reaction and Apollo\u2019s shocked response to it. In a typical touch of Baroque style, everything appears to be in motion\u2014Daphne\u2019s hair spins out as though blown by a gust of wind, and Apollo\u2019s clothes appear to fly off him as he attempts to grab her.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234600363\" data-slide-index=\"2\" data-slide-position-display=\"3\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">3.<\/span><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Baldacchino for St. Peter\u2019s Basilica (1623\u201334)<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP17321429128446.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP17321429128446.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP17321429128446.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP17321429128446.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP17321429128446.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP17321429128446.jpg?w=1200 1200w\" alt=\"A giant ornate canopy inside an empty church.\" width=\"862\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Sergey Mamontov\/Sputnik via AP<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p>When Los Angeles\u2019s <a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">Getty Museum<\/a> mounted the first-ever Bernini retrospective in the U.S. in 2008, critic Arthur Lubow asked curator Catherine Hess why there hadn\u2019t been a show like it sooner. She responded, \u201cHow do you move Piazza San Pietro?\u201d She was referring to the grand area before St. Peter\u2019s Basilica in Vatican City, for which Bernini acted as the chief architect. A grand plaza with columns in the shape of a key (a reference to Jesus\u2019s remark about handing the keys to heaven to St. Peter), it ranks among Bernini\u2019s greatest achievements and can be fully appreciated only in person.<\/p>\n<p>Likewise for one of Bernini\u2019s biggest sculptural creations, which lies inside the basilica. That 94-foot-tall structure, known as a baldacchino, is a bronze canopy that rises over the basilica\u2019s high altar. This is not just any canopy, however\u2014every single part of its surface feels labored over. Its columns, rather than being simple vertical support structures, appear to twist upward, and its top is adorned with ornate gilded designs and allegorical figures.<\/p>\n<p>Sculptures of bees can be spotted throughout. These are references to the Barberini family, of which <a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">Pope Urban VIII<\/a>, who commissioned the work, was a member. Bernini developed a particularly strong tie to Urban, who allowed the artist to begin merging sculpture, architecture, and design in his work. As Bernini\u2019s first biographer, Baldinucci, once wrote, it was \u201ccommon knowledge, that he was the first to unite architecture, sculpture and painting in a way that they together make a beautiful whole.\u201d<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234600366\" data-slide-index=\"3\" data-slide-position-display=\"4\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">4.<\/span><em style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">The Ecstasy of Saint Teresa<\/em><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">\u00a0(1647\u201352)<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP20351445975598.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP20351445975598.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP20351445975598.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP20351445975598.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP20351445975598.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/AP20351445975598.jpg?w=1200 1200w\" alt=\"A man gazes upward at a statue featuring an angel with an arrow about to spear a woman with her head cocked back. Surrounding it are bronze tubes, an archway, and ornate sculptures.\" width=\"862\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Andrew Medichini\/AP<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p>By the mid-17th century, Bernini\u2019s name was well-known to many in Rome, thanks, in part, to the working relationship he forged with Pope Urban VIII. When Innocent X assumed power in 1644, Bernini\u2019s luck soured. Determined to stand in opposition to his predecessor, Innocent X excluded Bernini from papal commissions, essentially cutting off a vital source of income that had allowed him to amass a fortune in the years leading up Innocent\u2019s reign. Regardless, other members of the elite continued to work with the artist.<\/p>\n<p>One such commission ended up defining Bernini\u2019s career. During the 1640s, the Venetian Cardinal Federico Cornaro brought on Bernini to design an elaborate chapel in <a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">Rome\u2019s Santa Maria<\/a> della Vittoria church, where Cornaro was to be buried. (Cornaro died in 1653, a year after the piece was completed.) The work that Bernini ended up producing features as its centerpiece a sculpture of Teresa of \u00c1vila, who was known to lapse into states of ecstasy when she communicated with God. A floating angel is shown as it gets ready to spear her with an arrow; Teresa\u2019s head is cocked back, and her eyes are closed. Gold-toned tubes of bronze become like rays of light shining down from the heavens. To the sculpture\u2019s left and right, Bernini has sculpted reliefs of Cornaro and others, who are made to bear witness to the scene as though they were spectators with box seats in a theater.<\/p>\n<p><em>The Ecstasy of Saint Teresa\u00a0<\/em>is considered the\u00a0<em>ne plus ultra\u00a0<\/em>work of the Baroque movement. It most purely distills that style\u2019s emphasis on emotionalism, drama, and excess, and it is a prime example of the high-production-value commissions being undertaken at the time by artists. To achieve maximum effect, Bernini melded together techniques from multiple art forms\u2014sculpture, theater, architecture, and more. Later on, Alexander VII would even go on to enlist Bernini for urban design projects, including a revamp of Rome\u2019s Via del Corso.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234600369\" data-slide-index=\"4\" data-slide-position-display=\"5\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">5.<\/span><em style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Bust of Louis XIV<\/em><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">\u00a0(1665)<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/unnamed-3.jpg?w=489\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 626px, (max-width: 1440px) 626px, (max-width: 2560px) 626px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/unnamed-3.jpg?w=196 196w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/unnamed-3.jpg?w=391 391w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/unnamed-3.jpg?w=489 489w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/unnamed-3.jpg?w=626 626w, https:\/\/www.artnews.com\/wp-content\/uploads\/2021\/07\/unnamed-3.jpg?w=835 835w\" alt=\"A marble bust of a man with flowing locks and flowing drapery.\" width=\"469\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Chateau de Versailles<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p>By the mid-17th century, the Age of Absolutism had begun. Monarchs and religious officials were attempting to take total control of their respective states. That also meant jockeying each other to build up influence beyond their countries\u2019 border. And so, when, in 1665, Bernini was summoned to France by King Louis XIV, it was more than simply an overture\u2014it was also intended to show that his country had the power to steal away the papacy\u2019s beloved artist.<\/p>\n<p>Bernini had by this time fallen back in good graces with the papacy under Alexander VII\u2019s reign. He was brought to France to create designs for the Louvre, which was then a royal residence. (<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">It wouldn\u2019t become a museum until 1793.<\/a>) Bernini\u2019s designs were met with disapproval, and the temperamental artist left Paris only half a year after he got there. He and Louis were never on good terms either. Bernini began work on an equestrian sculpture of the king, only to see it, upon its completion, partially re-carved by workers acting on behalf of Louis, who hated the work.<\/p>\n<p>There was, however, one major success that arose from an otherwise ill-fated visit abroad: Bernini\u2019s portrait of Louis. This bust shows the Sun King garbed in armor, as if he were a general. In fact, the portrait was a highly idealized one, even though Louis sat for it for extended periods intended by Bernini to allow him to properly envision his psychology. In a typical touch for Bernini, fabric billows out around Louis. Now housed at the Palace of Versailles, the bust is considered to be among the iconic images of Louis XIV, whose visage was painted numerous times by an array of artists, from Hyacinthe Rigaud to Claude Lef\u00e8bvre.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Source: https:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Long before he became the most famous artist associated with the Baroque movement of the 17th century, a 13-year-old Gian Lorenzo Bernini stunned Italy when he created a bust of the surgeon Antonio Coppola. It was among Bernini\u2019s earliest psychologically piercing busts\u2014and, if you believe everything the artist\u2019s own words, it was hardly the first [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1135,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1134","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>5 Works to Know by Bernini: Ornate Canopies, Billowing Fabrics, and More - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Long before he became the most famous artist associated with the Baroque movement of the 17th century, a 13-year-old Gian Lorenzo Bernini stunned Italy when he created a bust of the surgeon Antonio Coppola.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/5-works-to-know-by-bernini-ornate-canopies-billowing-fabrics-and-more\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"5 Works to Know by Bernini: Ornate Canopies, Billowing Fabrics, and More - 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