As you approach Saint Peter's over the Ponte Sant'Angelo, you're in the company of Bernini's angels.

当你途径Ponte Sant'Angelo去圣彼得大教堂时，的天使将会一路陪伴着你。

One pope, Gregory XV, makes him a knight, so Bernini is known ever after as the Cavalierer.

其中教皇格列高利十五世就赐他一个爵位，于是就有了一个骑士的称谓。

Bernini is in his early 20s, a superstar. Someone on whom the mighty and the powerful almost fawn.

此时才二十出头，但他已经是一个超级巨星了，权贵们争相讨好他。

But in the end, he never really felt he got true recognition and he never got over Bernini's comeback.

但是直到最后，他都没有觉得自己受到认可，也没能从回归带的打击中恢复过。

It's not that Borromini never gets commissions from the Pope again, it's just that it was Bernini who triumphed.

这并不意味者巴洛米以后就得不到委任了，而是最终取得了胜利。

Now, it was time for Teresa to rise up, and carry with her the resurrected reputation of the disgraced Cavalierer Bernini.

现在该是特雷萨崛起的时候了，伴随着的是失意的骑士的重生。

In keeping with the Baroque age, Bernini's Rape of Persephone packs an emotional punch.

为了与巴洛克时代保持一致， 的《强奸珀耳塞福涅》充满了情感冲击。

Bernini was just twenty five when he sculpted this - and the face of David is his.

(Bernini) 雕刻这尊雕像时年仅 25 岁——大卫的脸是他的。

The high altar, like so much of the art decorating the Vatican, is another masterpiece by Bernini.

高坛，就像许多装饰梵蒂冈的品一样， 是尔的另一杰作。

Even the sour, old Pope Innocent X began to sweeten on Bernini, as Borromini skulked unhappily through the Vatican corridors.

即便是陈腐的英诺森十世也开始对他另眼相待了，巴洛米则躲在罗马教廷的廊间闷闷不乐。

For as long as anyone could remember, Gian Lorenzo Bernini had startled the people who mattered.

如果还有人记得的话，杰安·劳伦佐·（Gian Lorenzo Bernini）曾经让那些有影响力的人刮目相看。

It's as though Bernini was reliving his caresses with his chisel.

这就像是在用凿子一遍遍的回味彼此间的爱抚。

Bernini has scorched his own arm in a naked flame, screaming in a mirror to get the expression just right.

把自己的胳膊伸到火焰上，然后通过镜子正好看到自己尖叫的表情。

But it's not Costanza's temper that would end up undoing Bernini. It was his own.

但并不是Costanza的这种特质最终毁灭了，毁灭他的人是他自己。

There's nothing furtive about any of this. Bernini wants us to look and look hard.

这一切都没有什么见不得人的，让我们去看，去凝神细视。

So, who was it then that gave Bernini the chance to portray a saint in a way no one else had ever dared?

那么，是谁给了这个机会用这种别人不敢用的手法为圣人雕像呢？

Bernini would certainly have known about Saint Teresa. Her autobiography was a bestseller in Catholic Rome.

肯定知道关于圣人特雷萨的事迹，她的自传是天主教罗马的畅销书。

All of Bernini's greatest body dramas had featured figures twisting in ascent.

创作的伟大雕塑中的躯体都是身体扭曲盘旋上升的。

And it all went wrong in the place that mattered most for Bernini.

而且一切是从对说最重要的那个地方开始变糟的。