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Ercole Ferrata (1610–1686) – an imitator of extraordinary talent

Ercole Ferrata (1610–1686) – an imitator of extraordinary talent

Ercole Ferrata and Gian Lorenzo Bernini, tombstone of cardinal Pimentel in the side enterance, Basilica of Santa Maria sopra Minerva

This sculptor, along with his fellow artist Domenico Guidi were some of the most important albeit secondary artists in XVII-century Rome, who despite their talents did not step onto the salons of the prominent clients at that time. Ercole also did not possess the imagination or talent, which was bestowed upon his master Gian Lorenzo Bernini, but his sculptures full of temperament reflect his master without a doubt, as is the case with St. Anastasia similar in her ecstatic pose to St. Teresa. However, Ferrata was an outstanding executor, an accurate master in the processing of material, which he could often fill with a lively spirit.

Ercole Ferrata, tombstone of Cardinal Carlo Bonelli, Basilica of Santa Maria sopra Minerva

Ercole Ferrata, The Death of St. Emerentiana, side altar in the Church of Sant’Agnese in Agone

Ercole Ferrata, statue of St. Catherine of Siena, Chigi Chapel, Church of Santa Maria della Pace

Ercole Ferrata, figure of St. Joseph, Gavotti Chapel, Church of San Nicola da Tolentino

Ercole Ferrata, tombstone of Pope Clement IX, allegory of Charity (Caritas), Basilica of Santa Maria Maggiore

Ercole Ferrata, monument of cardinal de Sluse (on the right), Church of Santa Maria dell’Anima

Ercole Ferrata, statue of St. Andrew d’Avellino, façade of the Basilica of Sant’Andrea della Valle

Ercole Ferrata, statue of St. Andrew, façade of the Basilica of Sant’Andrea della Valle

Ercole Ferrata, The Death of St. Emerentiana, fragment, Church of Sant’Agnese in Agone

Ercole Ferrata, statue of St. Agnes, Church of Sant’Agnese in Agone

Ercole Ferrata, tombstone of cardinal Bonelli, two angels supporting the tondo of the deceased, Basilica of Santa Maria sopra Minerva

Ercole Ferrata, St. Bernardine of Siena, Chigi Chapel, Church of Santa Maria della Pace

Ercole Ferrata and Melchiorre Caffà, main altar of the Chapel of St. Thomas of Villanova, fragment, Basilica of Sant’Agostino

Ercole Ferrata, figure of St. Anastasia in the main altar of the Basilica of Sant’Anastasia

Ercole Ferrata, Angel with a Cross, Sant’Angelo Bridge

Ercole Ferrata and Dominico Guidi, Vision of St. Nicholas of Tolentino, main altar of the Church of San Nicola da Tolentino

Ercole Ferrata and Melchiorre Caffà, main altar in the Chapel of St. Thomas of Villanova, Basilica of Sant’Agostino

Ercole Ferrata, statues of two saints in the lower part and angel (on the left) on the cornice of the façade of the Basilica of Sant’Andrea della Valle

Ercole Ferrata, funerary monument of Bernardino Lorenzo Spada, Church of San Girolamo della Carità

Ercole Ferrata, tombstone of Giulio del Corno, Church of Santissimi nomi Gesù e Maria

Ercole Ferrata, Minerveo obelisk in front of Basilica of Santa Maria sopra Minerva

Ercole Ferrata, statue of the pope – tombstone of Clement X, Basilica of San Pietro in Vaticano

This sculptor, along with his fellow artist Domenico Guidi were some of the most important albeit secondary artists in XVII-century Rome, who despite their talents did not step onto the salons of the prominent clients at that time. Ercole also did not possess the imagination or talent, which was bestowed upon his master Gian Lorenzo Bernini, but his sculptures full of temperament reflect his master without a doubt, as is the case with St. Anastasia similar in her ecstatic pose to St. Teresa. However, Ferrata was an outstanding executor, an accurate master in the processing of material, which he could often fill with a lively spirit.

He was born near Como and initially worked in Genoa, but reportedly due to bad treatment he moved to Naples which was bustling of life, but where besides garlands, putti and garden decorations he found no ambitious commissions. At the age of 37 thanks to the protection of the Spada family he came to Rome, to the workshop of the most renown sculptor of that time – Bernini, and he gave Ferrata the task of decorating St. Peter’s Basilica (San Pietro in Vaticano), on which he was working. These were by no means great works, but simply working with “the divine” Bernini was enough of a recommendation for perspective clients. When the need arose, Ferrata aided Bernini completing figures of angels and putti for the Basilica of San Maria del Popolo, he also supported him in decorating angels at the Bridge of the Holy Angel (Ponte Sant’ Angelo); his angels were most likely some of the most successful. He was also employed as an assistant by Bernini’s competitor – Alessandro Algardi. Together they worked on the famous altar commemorating Pope Leo I, in the Vatican Basilica, the tomb of Pope Leo XI and finally on the decorations of the Church of San Nicola da Tolentino. After Algardi’s death in 1654 it was he who completed the artist’s Vision of St. Nicholas of Tolentino. He also participated in decoration of Chiesa Nouva (Santa Maria in Vallicella), where works were supervised by Pietro da Cortona. More and more often he was employed as an independent artist. His works can be found in the Church of Sant’Agnese in Agone; besides those he completed himself, a mark of his chisel can be found in the works of his apprentice Melchiorre Caffà (relief with St. Eustace), finished by Ferrata after the death of the young artist. Their joint work is also the figure of St. Thomas of Villanova in the Church of Sant’Agostino. His works can be found in many places in Rome – veritable pearls of the Baroque art, exceptionally executed, full of majesty, or religious emphasis.

The most important works of Ercole Ferrata in Rome:

Church of Sant’Andrea della Valle

Statues: angel, St. Andrew and Andrew Avellino on the church façade

Church of San Girolamo della Carità

Tombstone statue of Bernardino Lorenzo Spada,1659

Church of Santissimi nomi di Gesù e Maria

Tombstone of Giulio del Corno,1686

Piazza della Minerva

Minerveo Obelisk according to the design of Gian Lorenzo Bernini,1667

Basilica of San Pietro in Vaticano

Statue of the pope in the tombstone of Clement X,1684

Church of Sant’Agnese in Agone

Altar relief The Stoning of St. Emerentiana,1660
Statue - Saint Agnes in flames,1664

Church of San Giovanni dei Fiorentini

Tombstone statue of Cardinal Lelio Falconieri and the allegory of Faith, 1669

Basilica of Santa Maria sopra Minerva

Tombstone statue of Cardinal Carlo Bonelli – angels supporting the cardinal’s image,1674

Tombstone statue of cardinal Pimentel – a statue of cardinal Pimentel, allegory of Faith and Wisdom

Church of Santa Maria delle Pace

Chigi Chapel – statues of saints Bernardino of Siena and Catherine of Siena

Church of San Nicola da Tolentino

Involvement in creating the group from main altar depicting St. Nicholas of Tolentino, statue of St. Joseph in the Gavotti Chapel (Cappella Gavotti),1674

Ponte Sant’Angelo