MEDIEVAL, BYZANTINE AND MODERN ART DEPARTMENT

Bernini. Angels of Saint Peter

Being restored thanks to the generosity of the New York Chapter

The Vatican Museums are proud to present the new restoration project of the bozzetti of the Angels of Saint Peter by Gian Lorenzo Bernini. These angels recently received conservative attention in 1981, thanks to the generosity of our New York patron Mrs. Lucy McGrath, in order to allow their transportation to the USA for the exhibition “Angels from the Vatican”. Presently, they need a more in depth restoration. Two of these preparatory models are for the famous angels that stand guard next to the monumental Cathedra of St. Peter at the end of the main nave of St. Peter’s Basilica. Two smaller angels are part of the same collection of bozzetti for the Cathedra of St. Peter but they were never used for the final statues in bronze given that Bernini adjusted his original plan as the works progressed. There are also two bozzetti of the heads of Sts. Athanasius and John Chrysostom, two of the four saints that hold up this same cathedra. Finally, two others are the majestic Blessed Sacrament chapel in the same Vatican Basilica. These magnificent statues made in bronze and gold are symbolic of the genius and elegance of the baroque style. The unique value of these bozzetti lies in the fact that they reveal the method used by Bernini and the other great bronze sculptors of the 17th century. A broken piece of an angel’s wing reveals to the viewer how iron rods were bent to form the skeleton of the model. Then vines were tied together with twine and wrapped around the iron rods to form the base around which a heavy mix of clay and dried grass was applied. Finally a softer clay layer was laid over the whole model and it was in this softer coat that the final sculpting was done. The eight bozzetti of this collection were in fact the last step of Bernini’s sculpting process, just before fusion. The procedure consisted in using these models as the base around which different clay moulds were produced for each part of the statue. Then the interior of each clay mould was painted with wax before fitting them all together, creating an empty shell of the statue. Finally, the melted bronze was slowly poured in. Once the bronze had cooled, the mould was removed and thrown away. Thus nothing remains of the creative process of these famous Bernini statues accept these models. Being that these bozzetti are made with an extremely fragile clay material it is rare that they survive over the years, let alone over the centuries! The two large angels found at the sides of the throne of the Cathedra of St. Peter are the most important pieces. Bernini himself worked the clay of these angel models during the spring of 1665, making them the last elements of the cathedra to be melted into bronze. The sense of dynamism of this group is achieved by the torsion of the bodies contrasted with the gentle flow of the clothes. Two smaller angels are part of the same collection of bozzetti for the Cathedra of St. Peter but they were never used for the final statues in bronze given that Bernini adjusted his original plan as the works progressed. Two more angels belong to the altar of the Blessed Sacrament in St. Peters, which was accomplished during the pontificate of Clemens X (1673-74). The project for this altar is a perfect example of Bernini’s care and attention to the smallest details. In the drawings Bernini made for this altar, which date back to 1658-61 (now in the Ermitage in Leningrad), the plan calls for four angels but they became just two angels in the final version of the altar. The final two models that make up this collection are bozzetti for the heads of St. John Chrysostom and St. Athanasius. These are the only surviving pieces of the bozzetti for the four statues of the Fathers of the Church which Bernini placed holding up the chair of St Peter. Bernini thoughtfully chose two fathers from the East and two from the West, symbolic of the two principal theological schools of the early doctors. The statues were executed between1662 and 1663. Despite the simplicity of the features and the immensity of their dimensions, the faces of both these fathers communicate the passion of faith that drove them and the noble morality that sustained them.

Miracle of the Paralitic

Being restored thanks to the generosity of Mrs. Frankino, Ohio Chapter

Francesco Mancini (1679–1758) was an Italian painter born in Sant'Angelo in Vado. He studied painting both in Forlì and Bologna and was introduced to academic painting in the manner of Carracci, as it is apparent in his early works: the frescoes of the Libreria in the main hall of the Biblioteca Classense in Ravenna and those in Foligno Cathedral of the life of Angela di Foligno. Later in his life, Mancini moved to Rome, where he met Carlo Maratta, a very important painter during that time. The influence of Maratta’s style is clear in Mancini's paintings and frescoes: the frescoes in the Palazzo del Quirinale; those in the Chiesa Nuova dei Filippini in Perugia (1730); in the Chiesa di Santa Maria della Misericordia in Macerata (1736); and others at Sant'Angelo in Vado, Forlì and Rimini. Francesco Mancini was held by his contemporaries as one of the best painters of the time: above all, the clear and luminous tones of his work and balanced classical baroque composition were admired. He was a member of the French Academy in Rome (1732), the Accademia dei Virtuosi in the Pantheon of Rome (1743 and 1745) and of the Accademia di San Luca (1750-51).

Christ and the Adulteress Woman

Being restored thanks to the generosity of Mr. McLean, Mexico Chapter

This painting belonged to the Sacred Congregation for the Propagation of the Faith, otherwise known as Propaganda Fide, and entered the Vatican in 1912, along with the entire collection. The scene represents the story from the Gospel of St. John: Christ and the Adulteress Woman. This painting captures the moment of accusation with Jesus and the woman in the center, surrounded by Scribes, Pharisees, and architecture showing the sky up above. One man is holding a book, while others are murmuring behind his back. Unfortunately, the extremely poor condition of the painting does not allow for a clearer and more complete reading of the work. Some scholars attribute this painting to Domenico Fetti (Rome 1588-89 -Venice 1623). While painting in Rome, he was influenced by the style of Barocci, Rubens, Caravaggio, Cigoli, and Elsheimer. Fetti worked for Cardinal Federico Gonzaga in Mantua in 1608, where he specialized in Venetian painting. This is apparent when one observes his brushstrokes: rich and sensuous with luminous intuitions. Fetti generally chose religious subjects for his work, and among these, feminine subjects such as Mary from Egypt, Mary Magdalene, or a sinner like Cleopatra. This subject matter is another reason why several scholars identified Fetti as the author of this painting. Other scholars believe that the author could be Mattia Preti, who worked and lived in Naples (Taverna 1613 – La Valletta 1699). Preti painted the adulteress in another painting (today in the National Museum of Abruzzo – Aquila) where the Baroque style is also characterized by the influences of Ribera and Rubens. The answers to the mystery of the true author should be solved by studying the painting during restoration. Presently, the overall surface of the painting is covered with a light layer of Japanese paper, in order to prevent the color from flaking and protect the entire surface.

Massacre of the Holy Innocents

Being restored thanks to the generosity of Mr. Watson, Washington Chapter

The Massacre of the Holy Innocents refers to the mass infanticide by the King of Judea, Herod the Great, recounted in the Gospel of Matthew 2:16-18. The Gospel reports that King Herod ordered the execution of all the male children, two years and younger in the village of Bethlehem, so as to be sure to kill the newborn King of the Jews, whose birth had been announced to him by the Magi. The infants, known throughout the Church as the Holy Innocents, have been deemed the first Christian martyrs. In Christian tradition the Gospel of Matthew became the subject of several artistic representations. On the loggia balcony of an imposing building, Herod the Great is watching the massacre scene along with other priests and Scribes. The tragedy is completely concentrated in the dynamism and position of the characters in the foreground, and yet, this composition encaptures the drama of the event softened by the fluidity of movements, fluttering clothes, and embroidered vestments typical of the Baroque period. The landscape on the righthand side is characteristic of the seventeenth century and is influenced by northern painting and the ideal Italian landscape. This painting is similar to the style of Poussin, and possibly painted by a Neapolitan artist influenced by Bernardo Cavallino. One theory is that Andrea del Leone, the brother-in-law of Aniello Falcone who brought the classical characteristics and style of Poussin to the Neapolitan school, is the artist. Another fascinating hypothesis, to be verified during the upcoming restoration, is that the author of this painting is Bertholet Flémal (1614-1675), the epitome of the Frenchroman style in Liegi. Flémal was born in Liegi, but lived and worked in Rome and Florence and was greatly influenced by Poussin and other contemporary Italian painters.

Presentation of the Sacred Heart of Jesus to God the Father

Being restored thanks to the generosity of Mr. and Mrs. Shurtz, California Chapter

This precious Presentation of the Sacred Heart of Jesus to God the Father, is a work of value to women’s art history. In fact, this painting, which was found some years ago in a storage room of the Basilica of Saint John Lateran, was painted by a woman from the XVII century whose name was Plautilla Bricci, a rare case of a woman painter in a field dominated by men. The canvas is signed at the bottom right hand corner by Plautilla Bricci. She was both painter and architect, and a member of the Academy of Saint Luca. She was also a good friend of Sister Mary Eufrasia della Croce, sister of the abbot Elpidio Benedetti who was the agent of Mazzarino and later of the King of France in Rome. It was because of this acquaintance that Plautilla was asked (along with Pietro da Cortona) to decorate the “Villa del Vascello” on the Via Aurelia close to Porta San Pancrazio, and the Chapel of Saint Louis in Rome. This historical fact shows that the Church was willing to employ her worthy talent in spite of what was the cultural norm. In 1664, Plautilla Bricci was asked to take care of the decoration of the Chapel of Saint Louis, the French parish in Rome. For this Chapel the artist elaborated a rich decorative scheme, typically baroque in style, enriched with marbles of different colors, gilded surfaces and a clear blue drapery with gilded lilies of France which frames the entrance of the Chapel. Unfortunately, there are few documents regarding the life of this artist. Some sources claim she became a nun toward the end of her life and died in a convent after 1700. The painting of the Presentation of the Sacred Heart of Jesus to God the Father was originally located above a side altar in the Basilica of St. John Lateran. It represents an angel offering the Heart of Jesus encircled with the crown of thorns to God the Father. God is holding a scepter in his left hand, and at his side are some other angels presenting the world and the Ä (alpha) and Ω (omega) on the other. This painting is typically Baroque with its crowde and dynamic composition. The elegant layout of the fabrics is evidence of the influence of one of the most important painters of the Baroque period: Piero da Cortona.

Pinturicchio, Appartamento Borgia: La Sala dei Santi

This room is being restored thanks to the generosity of the Patrons of the Arts Chapters of Philadelphia and Michigan.

The “Sala dei Santi” is one of several rooms located in the Borgia Apartment, which takes its name from the Spaniard Rodrigo de Borja y Doms, Pope Alexander VI from 1492 to 1503. Today the name Borgia Apartment is used to indicate the private rooms which the Borgia Pope had decorated by Bernardino Betti, better known as Pinturicchio. He decorated the secret rooms at a dizzying pace between 1492-94, assisted by members of his workshop. Written documents state that the Pope himself suggested ideas for the decoration to the creative and eclectic painter. So what we appreciate today is the fruit of the suggestions of a Pope and the creativity of a Master. Thus, the Sala dei Santi has very significant historical and artistic importance. The name of the room comes from its principal theme: the lives of the Saints and Martyrs that are painted on the walls. The ceiling is shaped as a double cross vault with golden stuccoes and it is divided into two halves by an arch which rests on two pilasters. The marble cornice decorates the room and serves to separate the frescoes from the lower half of the walls. The lives of the Saints and their martyrdoms are painted within the lunettes while the stories of Iside and Osiride are painted in the dome vaults. The storytelling style used by Pinturicchio reaches here the highest expression and it is even more real because of the three-dimensionality effect given by the stuccoing and decorative additions. The richness, luxury and elegance of the rooms makes one feel as if you are brought back in time to the court of Pope Alessandro IV. He is remembered for his expanding of Catholicism to the New World. The technique used by Pinturicchio is tempera “a secco”. This means that the wall is used like a wooden support and the artist paints on a dry (“secco”) surface and not a wet (“fresco”) like the technique Michelangelo used in the Sistine Chapel. This technique enabled Pinturicchio to correct the other members of his workshop where needed and to reach minute perfection of the painting. However, the “dry technique”(where the color is layered on a preparation of chalk and glue on a pre-existing plaster), is less resistant than fresco, thus the restoration is difficult and delicate. The methods of restoration needs a continuous adjustments according to the different surfaces and pigments of the walls. The scientific ground work and collaboration realized during the preparatory stage was fundamental to enable the restorers to distinguish Pinturricchio’s work from that of his Spanish and Italian collaborators. New studies and research are continuing in order to recognize the different artists who worked with Pinturicchio. Besides the tempera “a secco” style, there are other totally original techniques used by Pinturicchio to embellish the painting. Such elements as sculpture, marble and stucco, leather, gold, paper, wood, Spanish tile and wax are all used together with unique harmony in order to give the luxurious interior unity and warmth. Today we can say that we are in a good position to comprehend the techniques used and thus able to finish the restoration in a professional and efficient manner. The team working on the restoration is made up by: restorers Federica Runco and Federica Cecchetti. They are led by the Maestro Restauratore Maria Ludmila Pustka of the Vatican Museum, who has already worked at the restoration of the “Sala dei Misteri” and formerly on Pinturrichio in the Sistine Chapel.

Two Lions by Peter Wenzel

Being restored thanks to the generosity of the Marist College, New York Chapter

This year the Painting Restoration Labs are pleased to present two works of art by the most famous painter of animals of the XVIII and XIX century: Peter Wenzel (Karlsbad 1745 – Rome 1829). Wenzel was born and raised in Vienna, but he soon came to Rome where he worked with Cristoforo Unterpergerin in 1778 for the decoration of Villa Borghese. However, since the beginning of his career, he manifested a particular interest for animals and their representation both standing and in motion, thus his nickname soon became the “the animal painter”. In 1831, after his death, Wenzel’s daughter, Marianna asked Pope Gegory XVI to buy some of the artist’s work. Thus, eleven canvases of the artist are now part of the Vatican Museums collection, among them, these two wonderful lions. In these twin canvases the artist depicted two lions: male and female. The male lion is represented lying quietly after his meal with a very focused and content expression. His fur is beautifully represented with minute and delicate brushwork. The majesty of his body and the rendering of the muscles are brilliant, which is evidence of the high artistic technique achieved by Wenzel. The lioness is seated near a small spring of water. It seems that she has just finished drinking and she is still breathing heavily from the heat.