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 wall. A hidden window of yellow glass (10[1])illuminates the gilded rays on the back wall (10[2])of this artwork’s aedicule (“ED-ih-kyool”) in Santa Maria della Vittoria. This Counter-Reformation artwork is “watched” from trompe-l’oeil (“tromp LOY”) theater balconies (10[1])by marble relief portraits of the Cornaro (10[1])family. This (10[1])artwork depicts a mystic’s quasi-erotic account of an angel thrusting an arrow of fire into her heart. For 10 points, a Carmelite nun is the subject of what Baroque sculpture group by Gian Lorenzo Bernini? ■END■ (0[4])