 MEDIEVAL,
BYZANTINE AND MODERN ART DEPARTMENT |
| Transfiguration of Raphael by Stefano Pozzi |
 
Restored thanks to the generosity of
Mrs. Frankino, Ohio Chapter |
This painting is a magnificent copy of the Transfiguration of Raphael, painted by Stefano Pozzi ( Rome 1699-1768) i n the XVIII century. This work of art was completed in oil on canvas between 1734 - 1759 and measures 420x700 cm.
The canvas of the Transfiguration presented several previous restorations. The painting had been relined in the 1930s. During this restoration several touch-ups to different areas were completed and a final varnish was applied to the surface (this varnish underwent a natural yellowing process which was the principle cause for the need of yet another restoration).
The new restoration carried on by the Painting Restoration Labs of the Vatican Museums provided a re-adhesion of the lining in some areas where the canvas was partly ruined and detached. The surface was cleaned, removing the yellow patina. The previous touch-ups were also removed and the gaps were filled and touched-up using new techniques and reversible lacquers. The operation was complete with the application of the final overall varnish.
This amazing copy of Raphael has thus regained its original hues and tones, clearly revealing the skills of Pozzi who successfully copied Raphael's masterpiece. |
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| Saint Peter in Prison |
Restored thanks to the generosity of
Mr. Richard Smith, Florida Chapter |
This painting of St. Peter in prison was made in the eighteenth century by an anonymous artist. It represents the release of St. Peter from prison as it was depicted by Raphael in the Room of Heliodorus for Pope Julius II.
The subject, taken from the Acts of the Apostles, portrays Peter imprisoned in Jerusalem , awakened by an angel who unchains him while the soldiers around are soundly asleep.
This canvas had been restored in the past, but the reintegration was affected by oxidization, the color was detached in several small areas and the fabric of the canvas was loosening.
The very first step of the restoration consisted of photographic documentation in order to establish a visual reference before the intervention. Afterwards, Japanese tissue paper was applied in several of the areas were the color was flaking off. The whole painting was then consolidated and the fabric of the canvas was properly affixed to a new chassis. The consolidation was completed with the aid of a hot table (a restoration instrument located in the painting restoration labs that was generously donated by the Patrons several years ago). Bands of medieval cloth were affixed to all four edges for reinforcement. Subsequently, the restorer proceeded with the cleaning of the painted surface, removing old touch-ups and reintegrating the gaps in the paint where needed. A final protective varnish was applied over the surface to complete the work.
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| The Vision of St. Augustine |
Restored thanks to the generosity of
the Ohio Chapter |
The painting the Vision of St. Augustine was completed by Agostino Ciampelli in the Jubilee year, 1600. This painting gave the restorers and art historians of the Vatican Museums the unique chance to study and research Agostino Ciampelli. In fact, this magnificent painting was forgotten in the storage room of St. John Lateran for centuries. There, it remained untouched, without any sort of restoration of the canvas or support until the day it was found. Because of this special circumstance is extremely rare (a painting being literally untouched since its creation) our restorers and art historians were able to study an unadulterated example of XVII Century pictorial technique and the structure of the support. The extraordinary condition of the piece also meant that our restoration team intervened minimally in order to leave the Vision of St. Augustine as similar to its original status as possible.
The fabric of the canvas was applied to a poplar wood support and was torn in two places. The back of the wooden frame was damaged in the central area. The overall surface of the canvas was covered with dust and insects. Thus, the very first intervention was the cleaning process. Due to this process, the painting regained all its brilliance, especially the beauty of the blue lapis lazuli and the delicacy of the red lacquers. Usually the restoration process includes a new fabric lining applied to the back of the original canvas. In this case, however, the canvas was fixed through using heat and steam. This technique eliminated the buckling and warping of the surface. The central tears of the canvas were hand-sewn using a microscope. Finally, the restorers filled the gaps with stucco and started the pictorial reintegration of the missing colours. The original wooden support was maintained as well as the original canvas. The restoration team completed a special process which enabled them to enlarge the edges (hems) of the canvas. These hems were then attached to the support through springs which will allow for the natural movement of both the wood and the fabric.
 
The intervention was also supported by the Laboratory of Scientific Analysis during each step of the whole process. All these delicate interventions were required to give back the beauty to this painting which was forgotten for many years. This restoration of a virgin painting is also a small glimpse into the life of the XVII century, fascinating the viewer with the refinement of the clothing, the elegance of the colour pairing and the balance of the composition.
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| The Expulsion of Heliodorus from the temple |
Restored thanks to the generosity of
Mrs Florence D'Urso, New York Chapter
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The fresco of the Expulsion of
Heliodorus from the temple is finally complete! On
April 6th of this year (in time for the birthday anniversary
of Raphael), the scaffolds covering the entire wall
in the Room of Heliodorus was removed and now the
wonderful spectacle of this fresco is on public display
for Vatican Museums visitors. The project took almost
4 years to complete, but the result is astonishing.
The restoration confirmed once again the genius of
Raphael and the quality of his technique. In the arch
above the Priest Onia (located in the background of
the centre scene) the brushwork resembles that of
the Impressionists, while on the chandelier, the flames
of the candles were executed with a thick layer of
white and red colour very similar to the style of
Van Gogh. The restorer, Dr. Paolo Violini, who has
worked on Raphael’s masterpieces since 2001,
took great care in removing the “grappe,"
the T shaped nails used through the centuries to sustain
the frescoed portion of the wall and prevent areas
of the fresco from falling. On the left hand side
of the composition, Pope Julius II is looking at the
scene of the expulsion. The dynamism of the overall
composition is amazing: In the center of the painting,
the priest Onia prays for God to send help because
Heliodorus was stealing the treasures of the Temple
(Second book of the Maccabei 3, 21-27). All of the
sudden, a soldier with gold armor appears (on the
right lower section) accompanied by two young men
wielding scourges in pursuit. The escaping intruder,
Heliodorus is caught by their wrath and is shown lying
on the floor of the temple in submission. His expression
filled with fear is extraordinarily vivid and realistic,
and along with the expressions of the other characters,
provides testimony once again of the exceptional technique
of the Master Raphael. |
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Saint Philip baptizing
a Moor
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Restored thanks to the generosity of
Mrs Di Maggio, Florida Chapter |
This painting by Francesco Trevisani
served as a draft for the mosaic for the Chapel of
the Baptism inside the Basilica of St. Peter’s.
Due to the humidity of St Peters, it was necessary
to replace all the paintings in St. Peter with mosaics
that could withstand the difficult climatic conditions.
Our particular canvas is one part of a larger commission
entrusted to the painter from 1710 -11 by the “Reverenda
Fabbrica” or the Workshop of St. Peter’s
Basilica who was put in charge of managing and maintenance
of the Petrine Basilica. They envisioned the project
of creating a series of paintings on the topic of
baptism for the making of mosaics for the chapel.
Rather than ask for sketches, which would have been
sufficient to realize the mosaics, they asked Trevisani
for a full painting that could later be used in
another church. Interestingly, Francesco realised
that he was offering two products – a painting
that would also serve as a sketch for a mosaic.
Thus he requested more money for his work. The Fabbrica’s
administration did not share his opinion and he
was paid the original amount established.
The composition of the piece was dictated above
all by the dimensions of the ceiling where the mosaic
was going to be located. The theme of the painting
is taken from when St. Philip not only announces
the good news to the Ethiopian, but also gave him
the sacrament of baptism (Acts 8:26-40). The episode
narrates the how the Apostles of the early church
began proposing baptism to the gentiles. In this
way, highlighting the authority of the Church to
expand the mission of Christ to “all nations”
(Mt 28:16). This of course was a truth often suggested
by artist during the counter reformation.
The restoration began with the need to place a transparent
cover over the painting. This procedure was very
important in order to protect the pigments while
a new support was being placed on the back of the
painting. In fact, the conditions of the fabric
on which St. Philip is portrayed were very poor
and torn in several places. Whenever a painting
is in such bad conditions it is common practice
to reinforce the old fabric by impressing a new
fabric on the back.
Soon after this delicate process was completed,
our restorer started her work. First of all the
painting was mounted on a wooden loom and the pictorial
surface was cleaned.
Mrs Dabraccio removed the old fillings and various
touch ups done over the centuries. Having the opportunity
to examine the painting up close has confirmed the
technique and high quality of Trevisani’s
work. Mrs Dabraccio reintegrated the missing parts.
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The Sacred Conversation
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Restored thanks to the generosity of
Mr and Mrs Dickson, California Chapter |
The first steps of the restoration
consisted in studying and analyzing the surface and
back of the canvas. This accurate analysis revealed
that in the past the canvas was replaced and traces
of the original fabric are still present on the current
one. Our restorer, Mrs. Cornelia Perez, took care
of the removal of previous unauthentic restorations
(in fact, several parts of the painting were repainted)
and of the cleaning of the overall surface. The wooden
support of the canvas was cleaned and disinfected.
Once the overall cleaning of the painting was completed
the restorer started the touching up of the pictorial
surface. |
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Polyptych of Saint Anthony
Abbot among Sts. Sebastian, Christopher, Venanzio,
& Rocco and the Pietà among Sts. Jerome,
Peter, Paul & Augustine
(Inv. 40303) by Antonio Vivarini (1464).
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before Restoration |
after Restoration
Restored thanks to the generosity of
the Massachusetts Chapter |
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The Chapel of Pope Urban
VIII by Simone Lagi
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Restored thanks to
the generosity of
the Brown Foundation, Texas Chapter |
The ceiling and vault of the
chapel have been completed, as well as the fresco
by Pietro da Cortona. Restorers are currently working
on the cleaning of the delicate gilded silver and
leather wall coverings.
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Marine Landscape with
Port and Castle
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Restored thanks to
the generosity of
the Texas Chapter |
| Marine Landscape with Port and
Castle |
Oil on canvas painting depicting
a classic 17th century landscape of the Neapolitan
school. |
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| "The Zebra against the Leopard" - oil on canvas
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Restored
thanks to the generosity of
the Georgia Chapter |
This painting is part of a representative
and unique collection of works by the painter Wenceslao
Peter from Bohemia, in the Vatican Museums Collection.
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The Room of the Mysteries in the Borgia Apartments
which, houses part of the Collection of Modern Religious
Art in the Vatican Museums was decorated by Bernardino
Betti, better known as Pinturicchio. Restoration began
in August 2001. The inauguration of its completion
took place in April 2006. It is the first room of
the Borgia Apartment to be restored and has offered
vast knowledge and interpretation of the works by
Pinturicchio.
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The Room of the Mysteries in the Borgia Apartments
Restored thanks to the generosity
of
the Florida Chapter
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The Stories From the
Life of Saint John the Baptist
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The Birth of St. John the Baptist
Restored thanks to generosity of
the Pennsylvania Chapter |
(8 panels) from the Baptistery
of St. John Lateran by the artist Andrea Sacchi (17
th Century painter and architect)- (8 panels) from
the Baptistery of St. John Lateran by the artist Andrea
Sacchi (17th Century painter and architect). In 1940
they were removed from the Baptistery and brought
to the Vatican Museums for conservation reasons. The
restoration was completed in June 2004. |
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The
Charity (La Carità)
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The
Charity (La Carità)
Restored thanks to the generosity of
a Washington D.C./Baltimore Patron |
The
tiny but significant work is a copy of a painting
by Bartolomeo Schedoni. It shows a woman personifying
Charity or Almsgiving, who gives bread to the poor.
Restoration was completed in December 2005.
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Room of Heliodorus (Raphael
Sanzio 1523-1524)
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detail Room of Heliodorus
Restored thanks to the generosity of
a New York Patron
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The fresco “The Liberation
of Saint Peter” has been completed in June 2006.
The restorer is currently working on the lower wall
and the decorations surrounding the lower. |
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The Holy Family with St. Elizabeth and the
Young St. John
by Marco Palmezzano. The painting represents the Virgin
next to a building under construction, with the infant
Jesus who is intent on blessing the Infant St. John
the Baptist. Marco Palmezzano was a student and collaborator
of Melozzo da Forlì. Restoration was completed
in June 2001.
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The Holy Family with St. Elizabeth and the Young St.
John
Restored thanks to the generosity of
the Pennsylvania Chapter
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| Madonna of Milk with four
Saints and two Angels |
Restored thanks to the generosity
of
the Pennsylvania Chapter
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In this painting the Madonna is
shown breast-feeding Baby Jesus. Both of them are
being venerated on each side by one angel and two
saints; on the left Saint Catherine of Alexandria
and Saint Mary Magdalene and on the right St. Dorothy
and Saint Apollonia.
This work is attributed to Niccolò di Pietro
Gerini.
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The Funeral of Raphael |
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The Funeral of Raphael
Restored thanks to the generosity of the
Florida Chapter |
This monumental painting evokes
the solemn ceremony held after the death of Raphael
in 1520. The restoration was completed in December
2004. |
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Adoration of the Shepherds
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Adoration of the Shepherds
Restored thanks to the generosity of
the Florida Chapter |
The work originally came with
another painting attributed to Bassano, a representation
of the Wedding of Cana. They both were in the collection
of the great scientist Athanasius Kircher. The restoration
was completed in January 2006. |
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Triptych with the Crucifixion
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Triptych with the Crucifixion
Restored thanks to the generosity of
the Florida Chapter |
The triptych was used as an altarpiece.
The central scene shows the Crucifixion with Mary
Magdalene at Christ's feet. On the lateral parts there
are two twisted columns, like those in St. Peter's
Basilica, which according to ancient legend, originate
in the Temple in Jerusalem. These columns inspired
the bronze columns Bernini used to support the Baldacchino
in the basilica. |
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San Luigi Adoring the
Immaculate
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San Luigi Adoring the Immaculate
Restored thanks to the generosity of
the Pennsylvania Chapter |
This painting comes from the
Academy of the Sciences in the Casina of Pius IV.
The composition is very well-balanced and shows a
dialogue between the Madonna and St. Luigi; the Madonna
appears as a mediator for his prayers. The iconography
is rich depicting Our Lady with attributes from the
Apocalypse. St. Luigi is shown with a book and a lily.
Restoration was completed in May 2006. |
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Adoration
of the Magi, by Raffaellino del Colle
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Adoration
of the Magi, by Raffaellino del Colle
Restored thanks to the generosity of
the Oregon Chapter |
The painting was originally painted
on a panel and then transported to canvas. Recently
the Vatican Museums have been able to acquire the
original cartoon drawn by Raffaellino del Colle himself.
The work is of significant importance in the genesis
of the painting from the initial idea down to the
physical execution of the oil painting. Restoration
was completed in October 2005. |
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The Visitation by an
Imitator of Giulio Romano
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The Visitation by an Imitator of
Giulio Romano
Restored thanks to the generosity of
the Louisiana Chapter
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This painting is attributed to
an imitator of Raphael’s principal follower,
Giulio Romano and represents an encounter between
Elizabeth and Mary. The restoration was completed
in October 2003. |
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St.
Paul in Prison- Tapestry |
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St. Paul
in Prison- Tapestry
Restored thanks to the generosity of
the Canada Chapter |
This
tapestry was woven in the workshop of Peter van Aelst
(Brussels 1516-1521) and represents one of the tapestries
from the Flemish school taken from a cartoon designed
by Raphael Sanzio. The restoration was completed in
October 2005. |
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The Sacrifice of Lystra-
Tapestry
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The Sacrifice of Lystra- Tapestry
Restored thanks to the generosity of
the Texas Chapter |
This tapestry was woven in the workshop of Peter
van Aelst (Brussels 1516-1521) and represents one
of the tapestries from the Flemish school taken
from a cartoon designed by Raphael Sanzio. The restoration
was completed in May 2005.
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view
"Projects that are currently under Restoration" |
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