How did Bernini combine architecture painting and sculpture in the Cornaro Chapel?

In the Cornaro Chapel, Gian Lorenzo Bernini achieved a dramatic "pictorial unity" by dissolving the traditional boundaries between architecture, sculpture, and painting to create an immersive religious drama.12

Bernini transformed the chapel into a three-dimensional stage where these elements work in concert:

• Sculpture: The central group of The Ecstasy of St. Teresa is set within a niche above the altar. Bernini used illusionistic techniques—such as cascading drapery and varied textures—to make the marble figures appear to exist in a state of divine transport rather than as static stone.1
• Architecture and Light: The chapel’s architectural elements are richly articulated to frame the scene. Bernini incorporated a hidden light source from above, which directs natural daylight onto the figures, while gilt rays behind the sculpture enhance the celestial effect.1
• Integration: The design includes side spaces resembling opera boxes, where sculptures of the Cornaro family are depicted in spirited postures of prayer or conversation, effectively drawing the viewer into the sacred event.1

By combining these media, Bernini created an overwhelming sensory experience that aimed to bypass the intellect and engage the worshiper directly in the spiritual narrative.2