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NEWSLETTER Summer 2019 NEWSLETTER Summer 2019 VENICE IN PERIL DEAR FRIEND AND SUPPORTER Welcome to the Venice in Peril Summer the work has now started and we thank Newsletter. In this issue we introduce two everyone who contributed to this and new projects and ask for your support to other recent projects. fund them. For the Nativity Triptych in We would also like to thank our wonderful the Accademia we need to raise £55,000 lecturers who give their time and expertise to fund conservation which it is hoped to the cause of Venice. Over the last year will yield new information about the they have all spoken to capacity audiences, Bellini workshop, while the treatment to with Edmund de Waal filling the Royal repair and conserve twenty 18th-century Geographical Society auditorium in marionettes from the Casa Goldoni May, and we are very grateful to them. will cost £10,000. Both initiatives are Be sure to book early for the Autumn opportunities to learn more about two Series details of which you can find on distinctively Venetian stories. the back page. Following the generous response to the Torcello Iconostasis Appeal, Jonathan Keates in memory of John Julius Norwich, Chairman NEW PROJECT Conservation of 18th-century marionettes at Casa Goldoni In the world history of drama Venice and prolific Carlo Goldoni (1707-1793) plays a major role. With its own vibrant whose comedies capture the essence of style of Commedia dell’Arte (the popular Venetian life in ways transcending their Italian street theatre) the city was also era. His birthplace, the medieval Palazzo the place where opera first took off as Centanni, in S. Polo, is now a museum a sophisticated entertainment form. dedicated to the playwright. Many of its outstanding collection of historic Many of Italy’s greatest actors learned marionettes are on display, complete their craft here in Venetian repertory with their Rococo stage. Some, however, How they were made companies and some would argue that are in serious need of conservation, so Under their colourful costumes the puppets’ torsos were simply carved wooden today’s annual film festival is, in its way, a Venice in Peril has adopted 20 puppets shapes (although some female characters were given a modelled décolletage) to descendant of this great stage tradition. in the hope that you, our supporters which articulated legs were attached with the visible lower half more finely carved. A much-loved theatrical genre among will want to contribute to the project. Softer wadding was used for the arms and glass eyes and either cotton thread or real Venetians was the marionette theatre, This is the first such project the Fund in which puppets, manipulated with human hair was used for the heads. Sometimes the neck or jaw is hinged, so that has undertaken and we’re delighted expressions could be manipulated by twitching the strings. astounding skill, acted out every to become involved with such a kind of drama, including opera, fascinating aspect of Venetian culture To make the puppet ‘walk’ convincingly one leg was made shorter than the other on miniature stages complete with from La Serenissima’s closing decades. expensive costumes and complicated For more on Museo di Carlo Goldoni see and the feet and hands were moulded in lead to give a plausible weight to movement. scene changes. By the early 18th century www.visitmuve.it The variety of costumes reflects the range of characters, with lots of detail, the marionettes were so popular that mixtures of fabric weights, coloured linings, ruffs, piping and embroidery. several patrician families built special Jonathan Keates Conservation will involve repair and careful cleaning as well as dyeing of matching theatres for such performances. Please contact us if you would like to textiles where necessary. Among those captivated by this world make a donation to this project which in miniature was the fabulously versatile will cost £10,000. Photo Above & Cover: Fondazione Musei Civici/Museo di Carlo Goldoni NATIVITY TRIPTYCH APPEAL Giovanni Bellini is the most invisible of all major Renaissance artists. We don’t know Conservation may reveal more about the early work of Giovanni Bellini when he was born, and we know practically no details about the course of his life. This makes his paintings almost the only source for his activity. It’s thanks to them, for instance, that we know he must have visited Padua repeatedly in the 1450s. We are With the National Gallery’s recent of painting, suggesting that other artists particularly poorly informed about Bellini’s artistic development as a young man. This Mantegna and Bellini exhibition still were involved and may include Gentile makes the Nativity Triptych even more fascinating and important. I look forward to fresh in the memory Venice in Peril is Bellini, Lazzaro Bastiani and the young following this conservation treatment, and the technical study which will inform it. launching a new appeal for £55,000 Alvise Vivarini. for the conservation of the Nativity In the case of the Nativity Triptych it is Caroline Campbell Triptych in the Accademia Galleries. thought the central panel is by Giovanni Director of Collections and Research, The National Gallery This triptych was painted for a chapel Bellini as is the figure of San Domenico in the church of Santa Maria della in the lunette, while the figure of San Carità which is now occupied by the Francesco could be by Alvise Vivarini. Accademia Galleries. In 1797, following Napoleonic decree, The chapel was built before 1462 many Venetian churches and convents and funded by Andrea Molin who in were closed and their works of art moved October that year also agreed to have to the new Accademia delle Belle Arti. an altarpiece made for it. The Nativity The four triptychs were dismantled triptych was one of four of a similar size and any architectural framing elements with three vertical panels below a lunette they had were lost. Although it is not painted in tempera on wood and they known how they would have looked in are all now in the Accademia Galleries. the church their shape and proportions The others are named after their central indicate that these altarpieces represent figures: San Sebastiano, San Lorenzo and a move away from Venetian Gothic the Madonna. towards Tuscan Renaissance. Conservation was last carried out on the There is no documentation as to who wooden supports in 2000. This project painted them, but scholars from the will include: fixing areas of lifting, time of Bernard Berenson onwards cleaning, photographic documentation have agreed that the artists were from to identify anomalies in the layers of the Bellini family - Jacopo and his sons paint and gilding; removal of discoloured Gentile and Giovanni. Earlier scholars varnishes, retouched areas and old gesso had attributed them to the Vivarini family. infills; monitoring and recalibrating of However recent studies have tended the transverse supports added in 2000; to support the idea that Giovanni, the application of a protective layer, who by 1459 was documented as living repair of deep losses and woodworm independently, and so presumably capable holes; infilling of paint losses with pure of taking on his own commissions, may and stable colours. have had a major role in painting these A series of non-invasive imaging and triptychs, particularly since they seem to spectroscopic investigations will also be develop earlier prototypes from his father’s carried out and the data gathered from this workshop with a new monumentality project and a parallel project on another of form and expression, influenced by triptych should yield new information on Donatello’s bronze sculptures in Padova. the Bellini workshop. Despite the uniformity of the triptychs, scholars have also continued to point out With thanks to Roberta Battaglia, clear differences in the style and quality Accademia Galleries Photo: Archivio Fotografico G.A.VE, by kind permission MiBAC CURRENT PROJECT CURRENT PROJECT The Torcello Iconostasis Appeal in memory of John Julius Norwich (1929-2018), which was Canton Synagogue – windows, shutters and terrazzo floor launched in November 2018, reached its £100,000 target this May and work has now begun. This project is divided into two will also allow for investigations into The oldest Ghetto in the world became The method and materials used for distinct parts, one covering the the methods used for fixing rods, which home to Jewish communities from all terrazzo or cocciopesto floors give them treatment of the 11th-century may be of bone, wood or lead and over Europe and the Mediterranean the necessary pliability to accommodate stone structure and the other, the analysis of mortars and other pastes from the early 16th century. Its five the movement in Venetian buildings. conservation of the early 15th-century used for repairs in the past. synagogues and museum share this rich The project involves cutting out old panel paintings of apostles attributed history which is the subject of a major repairs and cracks before laying and to Zanino di Pietro. The first task Two Venetian firms, MAUVE srl and project planned by the Comunità Seres have been engaged to carry out the integrating a base layer with an upper was to dismantle the iconostasis and Ebraica Venezia to revive the heart of layer, matching the old terrazzo with a remove the thirteen panel paintings conservation work, which is estimated to the Ghetto. take between a year and eighteen months. traditional mix of Istrian stone, brick to the conservation studio in Venice. In Spring 2019 Venice in Peril chips and dust bound with lime mortar. The panels, which are over a metre tall, This project was funded thanks to the gener- contributed with a small project Once tamped down a blend of cooked are held top and bottom by an L-shaped osity of nearly 200 donors and a donor list repairing windows and shutters to linseed oil, plaster dust and terracotta support with carved ornament.
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