The historic Basilica of San Lorenzo in Lucina of Rome always amazes for its millenary history, for the undergrounds in which architectural elements of ancient Rome are visible, for mysterious funeral monuments (like this one dedicated to Poussin) but, also for a small wonder of the Baroque age. Follow me on this path between reality and fiction, entering the Basilica of San Lorenzo in Lucina and going directly to the fourth chapel on the right. Here is a wonderful marble bust sculpted by the skilled hands of Bernini.

The brilliant master of the Baroque took part in the profound restoration of the ancient Basilica of San Lorenzo in Lucina, directly designing the chapel in front of you. The artist could not miss this importrant project, because his sponsor asked to create something in homage, in particular, to Gabriele Fonseca. Who was? A very important Portuguese in the court of pope Innocent X, as he was his personal doctor. Not only because, actually, also from the medical point of view Gabriele Fonseca left an important footstep on the history: it was he, in fact, who introduced quinine (an organic compound obtainable from a bark) as a useful substance used to fight the malaria. The artist, already in advanced age, in the 70's of the XVII century received this prestigious commission. 

Obviously Bernini did not betray the expectations in the least, so much so that his vision of art and his genius conceived something truly spectacular. What is striking is how Bernini conceived the project. Take a closer look at this marble bust, depicting Gabriele Fonseca. The man seems to lean out of a balustrade, as if he wanted to see better, with an attitude that makes him alive and full of vitality. The wide eyes, the left hand that rests on the bust as if to avoid leaning too far, the delicate drapery of the clothes, which give the sense of comfort of the man depicted. Bernini did nothing new here, for his repertoire, but, despite this, the degree of spectacle he was able to achieve when he sculpted a marble bust is astonishing. It almost seems that Gabriele Fonseca is intent, today as four centuries ago, to attend a theatrical performance. It seems that our man has been sitting in the prestigious stands of a theater for a long time, thrilled by what he sees on the stage. Bernini's art was very scenographic, and he conceived his projects (sculptural and architectural) focusing on the visual and emotional impact, but almost as if the observer were watching a work of theater. Bernini's scenography and theatricality are all here, concentrated in this extraordinary work of art in Rome, which makes Rome more beautiful.