| 词条 | Blessed Soul (Bernini) |
| 释义 |
| title = Blessed Soul | image_file = Blessed Soul by Bernini.jpg | caption = | painting_alignment = | image_size = 220px | alt = | other_language_1 = Latin | other_title_1 = Anima Beata | other_language_2 = | other_title_2 = | artist = Gian Lorenzo Bernini | catalogue = 7 | year = {{start date|1619}} | type = Sculpture | material = Marble | subject = | height_metric = | width_metric = | length_metric = | height_imperial = | width_imperial = | length_imperial = | diameter_metric = | diameter_imperial = | dimensions = Life-size | metric_unit = cm | imperial_unit = in | condition = | city = Rome | museum = | accession = | coordinates = | owner = | url = }} The Blessed Soul ({{lang-it|Anima Beata}}) is a bust by the Italian artist Gian Lorenzo Bernini. Executed around 1619, it is a pendant piece to the Damned Soul. It is reckoned that they were both commissioned by Cardinal Montoya, of whom Bernini also did a portrait bust. Their original location was sacristy of the church of San Giacomo degli Spagnuoli, but they were then moved in the late 19th century, and then to the Spanish Embassy to the Holy See in Piazza di Spagna.[1] Critical ReceptionDespite being relatively unknown, the Blessed Soul was noted by some visitors to Rome. In particular, the painter Joshua Reynolds stated that the sculpture "has all the sweetness and perfect happiness expressed in her countenance that can be imagined." [2] However, the Blessed Soul has not been considered one of Bernini's finest works in more recent times. Wittkower points to the "doughy hair of the Anima Beata",[3] while Hibbard finds it uninspiring when compared to the Damned Soul, mentioning that 'virtuous appearances' do not translate too well to sculpture.[4] Recent scholarship on the sculpture has queried whether its topic is not the Christian personifications of blessedness but a depiction of a nymph.[5] References
1. ^Wittkower 1955, p. 233. 2. ^Reynolds 1659, p. 7. 3. ^Wittkower 1955, p. 233. 4. ^Hibbard 1990, p. 33. 5. ^{{Cite journal|title = On the original meanings of Gian Lorenzo Bernini’s Anima beata and Anima dannata: Nymph and Satyr?|url = http://online.liverpooluniversitypress.co.uk/doi/10.3828/sj.2015.24.1.4|journal = Sculpture Journal|date = 2015-01-01|issn = 1366-2724|pages = 37–53|volume = 24|issue = 1|doi = 10.3828/sj.2015.24.1.4|first = David García|last = Cueto}}
4 : 1620s sculptures|Busts in Italy|Marble sculptures in Italy|Busts by Gian Lorenzo Bernini |
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