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This study considered the characteristics of Gian Lorenzo Bernini's inclusive architecture by means of the iconological interpretation of the relationship between his architecture and sculpture. There have been many studies of Bernini's sculpture and architecture apart, and it is the fact that especially studies of his architecture have remained at stylistic one. However it is not so much difficult to find the ensemble made by symbolic relationship between architecture and sculpture in Bernini's works. Therefore this study introduced Erwin Panofsky's Iconology methodologically to analyze his architectural works and to show that they could be interpreted from sculpture added to architecture. According to iconological analyses about Bernini's Sant' Andrea al Quirinale and Scala Regia, followings were investigated. Firstly, The sculptures added to each architectural space are not simple baroque decorations but project symbolic meanings such as the religious symbolism, the historicity of site, and the needs of the time. Secondly, each architecture and sculpture organize spatial characteristics in harmony by means of the projected symbolic meaning. Thirdly, the motive which make him add many sculptures to architectural space are neo-platonism, city planning of Baroque, and political reasons which reinforce the papacy.