Simon Schama’s analysis of this artwork in the “miracle worker” chapter of The Power of Art claims that it expresses the same sensation as its artist’s earlier depiction of Saint Lawrence being burned alive. The carved cloud of this bel composto artwork was hollowed out so that it could be bolted to the (10[1])wall. A hidden window (10[1])of (10[1])yellow (10[1])glass (10[2])illuminates (10[4])the gilded rays on the back wall (10[3])of this (10[1])artwork’s (10[2])aedicule (10[3])(“ED-ih-kyool”) in Santa Maria della Vittoria. (-5[1])This Counter-Reformation artwork is “watched” from trompe-l’oeil (10[3])(“tromp LOY”) theater balconies (10[1])by (10[1])marble (10[1])relief portraits (10[3])of (10[1])the Cornaro (10[1])family. (10[2])This (10[1])artwork depicts a mystic’s (10[2])quasi-erotic (10[1])account (10[1])of an angel (10[1])thrusting an arrow (10[3])of (-5[1])fire (10[2]-5[1])into her heart. (10[3]-5[1])For 10 points, (10[2])a Carmelite nun (10[1])is the subject (10[1])of what Baroque sculpture (10[1])group by Gian (10[1])Lorenzo Bernini? ■END■ (10[7]0[7])