The article departs from the idea, expressed in Bernini's utterances on art, of a unique 'language' - between God and a human, between the artist and the person depicted. Such a 'language' is the communication issued in Bernini's installation of the human condition bordering on an existence in after-life, prefigured in the writings of Saint Teresa. Bernini uses the means of his idea of a bel composto, an interplay of art-forms where each one arrives at exceeding its 'rules'. This idea of 'exceeding the rules' of the art-form is in the chapel decoration an analogy for the message about a bodily resurrection in after-life, as this idea was explained in the Jesuit theology taught after the Councit of Trent.