Today we looked at the Baroque in Italy and Spain. We started with Bernini’s iconic “David” sculpture, which captivates with its sense of movement and tension. The way Bernini captured the moment of David’s decisive action, his musculature, and the focus in the figure’s gaze was very impressive for a marble statue. We then looked at “Diskobolos of Myron,” allowing us to appreciate the Baroque artist’s departure from the more static, idealized forms of the past. As we dug more into the Baroque style, the notion of “coextensive space” emerged as a recurring element. Bernini’s “The Ecstasy of St. Teresa” at the Cornaro Chapel epitomized this concept, as the sculpture blended smoothly with the architectural context, producing a harmonious and immersive experience for the observer. The way the figures appeared to emerge from the marble, the interplay of light and shadow, and the palpable sensation of spiritual rapture all added to the work’s powerful emotional effect. Further, we looked at the prominent character of Ignatius of Loyola and his key book, “Spiritual Exercises.” This gave important context for understanding the theological and philosophical foundations that influenced much of the Baroque work we saw. Ignatius’ focus on personal reflection, the power of imagination, and the desire of a deeper relationship with the holy resonated strongly with artists of the time, who aspired to convey comparable spiritual experiences via their works.