One of the most accomplished and celebrated works to come from Bernini's hand in this period was the Cornaro Family Chapel in the small Carmelite church of Santa Maria della Vittoria, Rome. The Cornaro Chapel (inaugurated in 1651) showcased Bernini's ability to integrate sculpture, architecture, fresco, stucco, and lighting into "a marvelous whole" ("bel composto", to use early biographer Filippo Baldinucci's term to describe his approach to architecture) and thus create what scholar Irving Lavin has called the "unified work of art". The central focus of the Cornaro Chapel is the Ecstasy of Saint Teresa, depicting the so-called "transverberation" of Spanish nun and saint-mystic, Teresa of Avila. Bernini presents the spectator with a theatrically vivid portrait, in gleaming white marble, of the swooning Teresa and the quietly smiling angel, who delicately grips the arrow piercing the saint's heart. On either side of the chapel the artist places (in what can only strike the viewer as theater boxes), portraits in relief of various members of the Cornaro family – the Venetian family memorialized in the chapel, including Cardinal Federico Cornaro who commissioned the chapel from Bernini – who are in animated conversation among themselves, presumably about the event taking place before them. The result is a complex but subtly orchestrated architectural environment providing the spiritual context (a heavenly setting with a hidden source of light) that suggests to viewers the ultimate nature of this miraculous event.