be a divine apparition we are witnessing. Other witnesses appear on the side walls; life-size high-relief donor portraits of male members of the Cornaro family, e.g. Cardinal Federico Cornaro and Doge Giovanni I Cornaro, are present and shown discussing the event in boxes as if at the theatre. Although the figures are executed in white marble, the aedicule, wall panels and theatre boxes are made from coloured marbles. Above, the vault of the Chapel is frescoed with an illusionistic cherub-filled sky with the descending light of the Holy Ghost allegorized as a dove. The art historian Rudolf Wittkower wrote: Interpretations The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure in the "orgiastic" grouping as both intentional and influential on artists and writers of the day. Irving Lavin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies (e.g., the position of her body) and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance." Similar works by Bernini See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni (1671–1674)—San Francesco a Ripa, Rome. Martyrdom of Saint Lawrence (1614–15) Truth Unveiled by Time (1646–1652) – Galleria Borghese, Rome. Influencing or influenced works Stefano Maderno's sculpture of St Cecilia in namesake church (1600). Melchiorre Caffà's Santa Rose of Lima (1665) and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. The sculpture is the subject of the song "The Lie" from the Peter Hammill album The Silent Corner and the Empty Stage. In Infinite