FRONT COVER

Crivelli Madonna with Child - Carlo Crivelli XV - XVI Century Art Department pages 136 - 139 Contents 3

4 Letter from the President of the Vatican City State 94 Coronation of the Virgin with Angels and Saints 6 Letter from the Director of the Vatican Museums 98 Enthroned Madonna and Child Letter from the International Director of the 102 Saints Paola and Eustochium 8 Patrons of the Arts 106 Stories of the Passion of Christ 110 Icons from the Tower of Pope John XXIII 10 BRAMANTE COURTYARD Long-term Project Report

126 XV – XVI CENTURY ART 16 CHRISTIAN ANTIQUITIES 128 Tryptich of the Madonna and Child with Saints 18 Drawn Replicas of Christian Catacombs Paintings 132 Apse of the Church of San Pellegrino 22 GREEK AND ROMAN ANTIQUITIES 136 Crivelli Madonna with Child 24 Chiaramonti Gallery Wall XlV 140 Madonna and Child with Annunciation and Saints 30 Ostia Collection: Eleven Figurative Artifacts 144 XVII – XVIII CENTURY ART AND TAPESTRIES Ostia Collection: Two Hundred and Eighty-three 34 Household Artifacts 146 Noli Me Tangere Tapestry 38 Statue of an Old Fisherman 150 Plaster Cast of the Bust of Pope Pius VII 42 Polychrome Mosaic with Geometric Pattern 154 Two Works from the Workshop of Canova 162 Portrait of Pope Clement IX 46 GREGORIAN ETRUSCAN ANTIQUITIES 166 Embroidery Drawings for Papal Vestments 48 Krater, Kylixes and Perfume Jars 52 Gold Necklaces from the Regolini-Galassi Tomb 170 XIX CENTURY AND CONTEMPORARY ART 56 Astarita Collection: Thirty-three Figurative Vases 172 Clair de Lune 60 Ceremonial Clasp from the Regolini-Galassi Tomb 176 Model of Piazza Pius XII 64 Amphora and a Hundred Fragments of Bucchero 180 HISTORICAL COLLECTIONS 68 DECORATIVE ARTS 182 Two Jousting Shields 70 Rare Liturgical Objects 186 Drawing of the Pontifical Army Tabella 76 Tunic of “St. Peter” from the Sancta Sanctorum 190 Swiss Guard Uniform 80 Celestial Globe by W.J. Blaeu 194 Procession of Pope Pius IX 198 Funeral Procession of Pope Pius VII 84 MEDIEVAL BYZANTINE ART 86 Madonna of the Childbirth 202 FELLOWSHIPS 90 Christus Patiens Crucifix 204 Twelve -month Patrons’ Office Fellowship 206 North American Office Fellowship 4 5

Card. Giuseppe Bertello Letter from the President of the Vatican City State

Dear Patrons,

Since its beginning, Christianity has relied on art to tell the stories of the faith, to captivate believers with its elucidation of faith’s mysteries, and to provide understanding of its foundational principles. In the midst of strife and divergence, this purpose can unite the world in its universal expression of the human spirit’s search for God. As the Holy Father recently observed:

“The beauty of art enriches life and creates communion, because it unites God, man and creation in a single symphony. It connects the past, the present and the future and it attracts—in the same place and with the same gaze—different and far-off peoples.”

(Pope Francis, address to the Patrons of the Arts in the Vatican Museums, September 28, 2018)

In light of these words, the 2019 Wishbook takes on an ever-increasing significance. Not only does your support of the Vatican Museums restore beauty to the artworks that have defined the evolution of civilization and Christian history, but it also helps unite people from around the world when they visit the Vatican. In restoring the walls of the Bramante Courtyard and Raphael Rooms, or reclaiming the gleaming surface of a Crivelli altarpiece or Canova sculpture, you are providing for the restoration of sacred beauty, while sustaining the mission of conserving the Church’s artistic heritage. This is your legacy to the six million annual visitors who gaze upon the artworks in the Vatican Museums.

I would like to extend my sincere gratitude to every member of the Patron family in their commitment toward these endeavors. May the adoption of the projects presented in this Wishbook continue your commendable efforts in helping us orchestrate this singular unifying “symphony” for the world to enjoy.

With best wishes,

His Eminence Card. Giuseppe Bertello President of the Governatorate of Vatican City State 6 7

Dr. Barbara Jatta Letter from the Director of the Vatican Museums

The Pope’s Museums are a vast and manifold reality in which all aspects of human artistry are represented. Just like the Catholic Church, the Vatican Museums are plural and universal. This year’s Wishbook presents antiques of the ancient Etruscans, Greeks, Romans, and early Christians, painted panels of the Medieval and Byzantine Periods, frescoes of the High Renaissance, artworks of modern and contemporary periods and Non-European cultures, tapestries and textiles from the Baroque, and precious decorative arts from the Historical Collection. It is an extensive and differentiated catalogue in the same manner in which art history is extensive and differentiated. The Wishbook, this year in particular, is filled with vision, concrete proposals, and great possibilities.

There is great synergy between the Pope’s Museum and the Patrons of the Arts that is mutually focused and constructive. Supported by their faith, both organizations work in tandem to honor and preserve the history and beauty within Vatican Walls.

With 2019 begins my third year as Director of the Vatican Museums. In the past two years I have witnessed the marvelous generosity of the Patrons. In my personal interactions with many patrons, I have come to know their attention, dedication, and their interest. This gives my colleagues and me great hope for our potential accomplishments this year.

Dr. Barbara Jatta Director of the Vatican Museums 8 9

Fr. Kevin Lixey L.C. Letter from the International Director of the Patrons of the Arts in the Vatican Museums

Dear Patrons and Friends,

After last year’s special 35th anniversary Wishbook that focused on large scale collaborative restoration projects, this year we go back to our traditional approach of presenting various pieces of art from the Vatican Collection in need of restoration. This previous year demonstrated our capacity for tremendous collaboration among Chapters in our fundraising efforts for the Bramante Courtyard. We are still in need of funding for this Historic Courtyard and the restoration of the last phase of frescoes to be restored at the site of the Holy Stairs, and we will be raising awareness for these efforts by means other than this Wishbook. Nevertheless, it is my hope that this collaboration among Chapters and among patrons will continue for other monumental projects. Our main restoration focus for 2019, however, is in the pages that follow--a wide variety of projects that are up for restoration “adoption” representing the various departments of the multifaceted Vatican Museums. I am sure that there is to be found something for everyone.

I wish to take this opportunity to proudly acknowledge the most significant role that the Patrons of the Arts play in the restoration and conservation of the treasures of the Vatican Museums. Over the decades, this magnificent patronage has grown to the point of underwriting approximately 70% of the Vatican Museums annual restoration budget in 2017. Thank you!

My staff and I look forward to collaborating with you in another year of restoring and conserving beauty. May God bless you all.

Father Kevin Lixey L.C. International Director of the Patrons of the Arts in the Vatican Museums Bramante Courtyard

Long-term Project Report 12 13

Within the sprawling complex of the Courtyard. Thanks to the help of our design. It is also on the West Wall, near top of the Wall, but are currently hidden Vatican Museums, the Bramante Patrons, restoration work has been its northern entrance to the Courtyard, from view and from use by a modern Courtyard is easily identifiable by its completed on the Nicchione North that a large marble recognition plaque roof construction. During Bramante’s famous bronze pigna or pinecone Wall and is well underway on the will be installed, on to which the names time, this space was used for open-air sculpture mounted on a staircase Braccio Nuovo South Wall. Work has of major donors contributing to the gathering and repose by the Pontiffs. designed by Michelangelo and flanked commenced on the West Wall pilot restoration of the Bramante Courtyard Vatican restorers hope to recover by two sculpted peacocks, copies of the section. We are seeking funding for the will be inscribed. this terrace by removing the modern birds that stood at Hadrian’s Tomb. The restoration of these last two phases of roof and walls that have hidden this Courtyard connects the main galleries this monumental Bramante Courtyard The East Wall of the Bramante terrace away from public view, thereby of the Vatican Museums, and provides restoration project: the East Wall and Courtyard houses the Chiaramonti bringing back another key component visitors with a central gathering area the West Wall, as well as the final lighting sculpture gallery. Named after Pope of Bramante’s original design. of the most theatrical, accomplished and security system. Pius VII Chiaramonti (1742-1823) and Renaissance architecture. The located behind the East Wall, the Gallery Thus far, the Patrons of the Arts has Bramante Courtyard is undoubtedly the The West Wall of the Bramante displays hundreds of works of antique raised funding to cover the North Wall heart of the Vatican Museums. Courtyard originally housed the Vatican sculpture, and provides passage from (Nicchione), the South Wall (Braccio Library, and contains the Gallery of the the Nicchione to the Braccio Nuovo Nuovo), and a small “pilot” section of the Restoration of the Bramante Courtyard Candelabra: the hallway leading to the sculpture gallery behind the South Wall. West Wall (Library). We are still in need - one of the most extensive, long- the Gallery of the Tapestries and the of funding for the restoration of the East term restoration projects undertaken Gallery of the Maps. At its tallest point, The restoration of the Bramante and West Walls of the project as well as by the Patrons of the Arts in its thirty- the West Wall extends three stories Courtyard aims to uncover another the final lighting and security system. six year history - commenced in high. The second level of the West Wall significant feature of the East Wall Our fundraising efforts to date are 2016. Architectural restorers of the was originally an open air, intermediary beyond its original color of facade: a summarized as follows: Vatican estimate that another two space between the art and nature, large terrace and balustrade that sit on years will be needed to complete the until its openings were later filled in with labor demanded by the Courtyard’s brick. The West Wall was perhaps the restoration plan, which consists of most challenging aspect of Bramante’s removing the residue of previous design, the architect faced with the Bramante Courtyard Funding Update as of Dec. 31, 2018 treatments as well as layers of task of connecting Belvedere Villa (the damaged plaster, reconstructing North Nicchione Wall of the Courtyard) Total Cost missing elements of the wall’s to the Apostolic Palace (the opposing € 7.700.000,00 architectural moldings, re-tiling the side capped by the South Wall Braccio (with lighting system included) roof, reclaiming the drainage lines, and Nuovo) over a sloping tract of land. installing a new lighting and security As an accomplished result, one can Money Received € 2.156.339,91 system. observe with close scrutiny that the West Wall slopes downward as it Pledges to Receive € 2.846.968,69 In an unprecedented way, the 2018 extends south, a factor that Bramante Wishbook focused its fundraising efforts almost completely concealed with Funding Still Needed € 2.696.691,40 almost exclusively on the Bramante the implemented optical illusion of his

Christian Antiquities

Dr. Umberto Utro Drawn Replicas of Christian Catacombs Paintings

Artist: Carlo Ruspi (1795-1860) et al. Date: ca. 1850 Dimensions: Various Materials: Tempera, oil on paper, canvas, wood. Inventory Numbers: 69857, 69858, 69861, 69864, 69865, 69871, 69872, 69875, 69877, 69878, 69880

Total Cost: € 64.100,00 20

The collections of the Pius Christian specialists of the same artistic sector Museum include thirty-four full-scale were subsequently commissioned to reproductions of ancient paintings execute in situ copies of the catacombs associated principally with decorations paintings. The Pius Christian Museum, in the catacombs of suburban Rome. named after its creator, was launched in 1854 with a section specifically The painting copies—sometimes dedicated to the grand facsimiles of reaching monumental sizes—were the catacombs frescoes. Unfortunately, made in the mid-nineteenth century when the archeological collections of with tempera and oil on paper the Lateran Museum were moved to and canvas. Specialized artists the Vatican in 1963, the painted copies would endure the uncomfortable did not find space within the setup and underground spaces of the catacombs were moved to storage. Here, they were in order to work from the originals, as essentially forgotten until their recent photography did not yet exist. Torches rediscovery. were their only source of light. These artistic reproductions were the only In recent years, the renewed awareness way to enable scholarly and public of these precious documents, currently “participation” in the artistic heritage exhibited in the Pius Christian Museum, securing a proper mounting for and worshippers were buried. The that emerged from the archeological has prompted the restoration of some the painting reproductions. In 2017, restoration intervention will employ explorations of the underground of the paintings. A fourth painting of Arizona Chapter Patrons funding several innovative techniques, such as cemeteries. Without these artists, large scale is currently located in the also provided for the restoration of the use of micronized cellulose filler and these paintings would have remained Painting Restoration Laboratory of the group of five paintings that were Hanji Korean paper. inaccessible to the layman given the Vatican Museums. The success of in the most fragile conditions. By the extreme difficulties involved in the initial restoration initiatives have 2020, restorers plan to complete the encountering the artworks face-to-face. encouraged the initiation of a collective restoration of a new set of eleven Restoration Procedures restoration of the paintings in order to additional paintings. • Chemical analysis These beautiful copies of the enrich the Museums and give visitors • Dust suction and micro dust suction catacombs paintings are the only ones a patrimony of great aesthetic and on each single panel documented of their kind. They are documentary value. State of Preservation • Creation of more appropriate linked to the first Christian archeological This restoration will include a group of wooden support where needed discoveries thanks to the work of the Thanks to the contribution of the eleven paintings that depict the various • Removal of glue Jesuit Fr. Giuseppe Marchi and his California Patrons of the Arts in the decorative details of the tombs in the • Fixing tears brilliant pupil, Giovanni Battista de Vatican Museums, it was possible Christian catacombs of St. Callisto and • Reintegration of missing parts with Rossi. When Pope Pius IX (1846-1878) to complete the preliminary Pretestato, as well as the copies of the suitable paper entrusted to Marchi the responsibility conservative interventions in the frescoes from the private underground • Placing of new, lightweight supports of founding a “Christian Museum” in the years 2014 and 2015, which included tomb located on the Via Appia of where needed Lateran Palace, Carlo Ruspi and other the disinfestations, cleaning, and “Vibia” where a group of pagan priests • Photographic documentation Greek and Roman Antiquities

Dr. Giandomenico Spinola Chiaramonti Gallery Wall XIV

Artist: Various Date: I to II century A.D. Material: Marble Inventory Numbers: 1929, 1930, 1932, 1933, 1934, 1935

Total Cost: € 25.400,00 26

Seven artworks are exhibited in front at Villa Adriana, and was part of the CEREMONIAL BASE FOR QUINTUS of Wall XLV in the Chiaramonti Gallery. collection of Cardinal Ippolito d’Este at PLOTIUS ROMANUS On the far left is a statue of Musa (Inv. the Quirinale where it was drawn by 1929) which rests on top of a funerary Italian engraver G.B. de Cavalleriis in Date: March 17th 141 A.D. altar of Caius Clodius Amarantus (Inv. the mid 1500’s (Antiquarum statuarum Material: Marble 1930). Moving towards the right rests a Urbis Romae, 1585, Tav. 55). It has been Dimensions: Height: 138 cm; width: 80 recently restored colossal bust of the exhibited in the Chiaramonti Museum cm; depth: 73 cm Emperor Trajan (Inv. 1931) on top of a since 1806 Inventory Number: 1933 column base (Inv. 1932) and beneath The base was found in 1803 in Ostia this column base another base of during the pontifical excavations Quintus Plotius Romanus ( Inv. 1933). FUNERAL ALTAR OF CAIUS CLODIUS conducted by Giuseppe Petrini. It is a On the far right stands the statue of AMARANTUS commemoration for the Ostian citizen Dionysus (Inv. 1934) on top of a funeral Quintus Plotius Romanus. The statue was altar that bears a modern inscription of Date: II century A.D. erected by decree of the Decurions, Titus Mescenius Olympus (Inv. 1935). The Material: Marble namely the local authority of the colony, restoration involves an intervention on Dimentions: Height: 76 cm; width 50.5 on March 17, 141 A.D. under the consulate six of the seven works exhibited on this cm; depth: 37 cm of Titus Hoenius Severus and Marcus section of the gallery (as mentioned, Inventory Number: 1930 Peducaeus Priscinus (CIL XIV, 400). The the colossal bust of Trajan has already The altar is dedicated by the freedmen inscription also recalls that Quintus been restored). The present restoration Euphemus, Fortunatus and Atticus to Plotius was a priest of the imperial cult represents a “pilot project” in view of their patron Gaius Clodius Amaranth and had received the title of Eques from a general conservation plan for the who died at 93 years old. The Altar (CIL the emperor Hadrian. sculptures of the Chiaramonti Museum VI, 15694), datable in the first half of for the 2019-2020 biennium. second century A.D., was part of the Giustiniani collection and exhibited in STATUE OF DIONISIS the Chiaramonti Museum since 1808. STATUE OF MUSA Date: 1st half of the I century A.D. Date: Second half of the II century A.D. Material: Marble Materials: Marble COLUMN PLINTH DECORATED WITH Dimensions: Height: 144 cm Dimensions: Height: 121 cm BULL SKULLS AND GARLANDS Inventory Number: 1934 Inventory Number: 1929 This small statue is datable to the The female figure, of which the head Date: I century A.D. middle of the first century A.D. Its and harp were completed in the Material: Marble iconography derives from Greek models modern age, is dated in the second Dimensions: Height: 6 cm; width: 45 cm; of the god from the late fourth century half of the second century A.D. and is depth: cm. 45 cm B.C. Sold in 1804 by famous Italian inspired by iconographies elaborated Inventory Number: 1932 sculptor and restorer of Ancient Roman in Greece in the fourth century B.C. The Sold by Ferdinando Lisandroni and art Carlo Albacini, it was immediately small sculpture was probably found Antonio d’Este in 1803. placed in the Chiaramonti Museum. 28

FUNERAL ALTAR State of Preservation There is presence of a blackish Date: I century A.D. patina-like coating, dust and debris Material: Marble on the surfaces. These items have Dimensions: Height. 77 cm; width: 52.5 been restored in the past with various cm; depth: 35 cm integrations in plaster. Several fissures, Inventory Number: 1935 superficial cracks and rusted iron nails The altar, parallelepiped in form and are placed inside the artworks. The decorated with Urceus and Patera, has funerary urns present oxidation of the texts engraved on both of its sides. On red color (rubricatura). the side that previously faced outwards but now faces the gallery wall is the inscription “Sacred to the Manes. To Restoration Procedures the excellent father Gaius Umidius • Scientific analysis of the marbles Narcissus, by his daughter Ione”. On the types and their condition side of the altar which currently faces • Overall cleaning and removal of the outwards is the dedicatory inscription to dust and debris Titus Mescenius Olympus. This inscription • Removal of old restorations in plaster was once considered antique (CIL VI, • Replacement of iron nails with 22428), but has recently been correctly stainless-steel and carbon fiber attributed to the hand of a modern elements where needed stone worker who had copied ancient • Photographic documentation text from another source. The ancient inscription is datable to the first century A.D., while the modern inscription is datable to the sixteenth century. Renaissance architect, painter, and antiquarian Pirro Ligorio mentions the ancient sepulchral inscription in his writings. The altar was acquired by the Vatican Museums from the Giustiniani Collection. Ostia Collection: Eleven Figurative Artifacts

Artist: Unknown Date: I century B.C. - IV century A.D. Dimensions: Various Materials: Bronze, iron, lead Inventory Numbers: 16642, 16676, 16738, 16753, 16927, 16931, 16951, 16953, 16954, 16955, 16964

Total Cost: € 10.100,00 33

The Ostia Collection of the Gregorian Profane Museum is made of mostly domestic artifacts excavated by archeologist Pietro Ercole Visconti between 1855 and 1870 in Ostia, the Roman port city. In addition to Visconti’s finds, other objects of unknown origin or those which arrived from other archaeological sites are included in this collection of artifacts, such as the elegant bronze statuette of Eros (Inv. 16927), and an obscure wooden fragment, perhaps originally part of a piece of furniture, taken from the excavations at the Etruscan city of Vulci.

State of Preservation The metal surfaces are severely corroded and damaged, and some objects have numerous gaps and fractures.

Restoration Procedures • Cleaning of surface salt deposits • Cleaning corrosions • Reconstruction and retouching • Prevention of future surface corrosion • Photographic documentation Ostia Collection: Two Hundred and Eighty-three Household Artifacts

Artist: Unknown Date: I century B.C. - IV century A.D. Dimensions: Various Materials: Bronze, iron, lead, glass, silver Inventory Numbers: 15923, 16601, 16641-16963, 16974, 17548, 17549...

Total Cost: € 19.700,00 37

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The Ostia Collection is composed of State of Preservation the archeological finds discovered in The metallic surfaces of the various the Ancient Roman port city of Ostia objects have never been restored, and during nineteenth century excavations, therefore are heavily encrusted and with many objects originating from damaged. Some items have numerous those excavations led by Pietro Ercole gaps and fractures. Visconti between 1855 and 1870. These excavated artifacts were collected in two exhibition halls of the Gregorian Restoration Procedures Profane Museum in the Lateran Palace. • Surface cleaning The entirety of this collection was later • Elimination of salt deposits and preserved in the new building in the corrosion Vatican Museums inaugurated in 1970. • Reconstruction and retouching • Prevention of future corrosion with This collection includes a diverse final protective layer collection of instruments made of • Improvements to display cases terracotta and metal used in the daily • Photographic documentation life of Ancient Romans in the Imperial Age. When exhibited, these artifacts are distributed inside several display cases. Unfortunately, the collection, particularly the bronze artifacts, shows evident signs of gradual degradation of structural integrity, and it is therefore urgent that restorers intervene in order to restore a secure state of conservation.

On the occasion of this collection’s restoration, efforts will be made to better conserve the newly-restored objects by reformulating new display cases. Statue of an Old Fisherman

Artist: Unknown Date: 130 - 140 A.D. Dimensions: Height 160.5 cm Materials: White marble Inventory Number: 2684

Total Cost: € 16.100,00 40

The statue, standing at 160.5 cm in of Ancient replicas and is steeped in height, comes from the Pamphilj the life-like appearance of the figure, excavations at Anzio during the as was characteristic of the middle eighteenth century. The statue was long Hellenistic Age. It can be traced back preserved at Villa Doria Pamphili where to an Alexandrian original - perhaps in it was restored by Alessandro Algardi. bronze - from the middle of the third In 1773, Prince Doria gifted the statue to century B.C. This statue, derived from Pope Clement XIV. this model, is an excellent quality replica dating back to 130-140 A.D. The elderly figure stands slightly curved forward and is dressed in a single cloth (subligaculum) girded at the waist and State of Preservation knotted under the navel. The right arm is The sculpture shows the presence positioned at the side of the torso and of blackish patina-like coating that extends in front of the body, perhaps now needs to be removed. Various leaning against a stick that has since modern integrations are also present. disappeared from the sculpture. The left The imminent conservation efforts will arm is stretched along the side of the indeed allow visitors to more fully enjoy body holding a small basket of fish. the grandeur of the piece.

Before Winckelmann’s analysis of the sculpture, the nude statue of the elder, Restoration Procedures covered only by a cloth around the • Scientific analysis and study of the hips, had been interpreted as a portrait interior structure of the statue of the philosopher Seneca during his • Overall cleaning act of suicide. Winckelmann disagreed • Removal of old restorations with this interpretation and he assessed • Replacement of iron nails with the figure in its nakedness as a servant, stainless-steel and carbon fiber possibly a representation for the elements where needed Comedia. The correct identification • Photographic documentation of the subject as an elderly fisherman finally came when archeologist Ennio Quirino Visconti observed that the basket in his left hand contained fish.

This kind of iconography is called “Vatican-Louvre,” a style of sculpture which derives from principal examples Polychrome Mosaic with Geometric Pattern

Artist: Unknown Date: Second half of the I century B.C. Dimensions: 45623: 74 x 137 cm; 45778: 75 x 150 cm Materials: Stone and basalt Inventory Numbers: 45623, 45778

Total Cost: € 20.200,00 44

Little is known about the origin of State of Preservation these two fragments, belonging to the There exist dust and debris on the same mosaic frame of an elegant overall surface. The polychrome marble polychrome Roman floor. For almost tesserae (tile pieces) are attached with fifty years they were exhibited on the colored wax between the borders and wall of the Pauline Museum and were fixed with hydraulic mortar on a plate most likely displayed previously in the of volcanic stone (peperino) framed in Gregorian Profane Lateran Museum. slate.

From the outer to inner sections, the mosaic consists of a white band, Restoration Procedures followed by a black band and then the • Dusting and overall cleaning motif of the meander, using red, gray • Restoration of the mosaic surface, and white tesseras (tiles) to create a maintaining the aesthetics of the three-dimensional illusion, as if it were panel in relief. The high quality of this mosaic • Partial or total removal of the marble border implies a corresponding level support of quality for the central section of the • Replacement with a new light mosaic surface, which unfortunately support in Aerolam honeycomb has been lost. insulation • Photographic documentation This type of decoration finds excellent comparisons with the mosaics of the Romae domus style from the late Republican age (first half of the first century B.C.), such the floor detached from a domus underneath the present Via Quattro Novembre (set up in 1883 inside the Sala della Lupa, Palazzo dei Conservatori in Rome), the floor from a dwelling under the Church of St. Peter in Chains, the floor in a suburban villa of Tusculum (on the Colli Albani), and several others. Gregorian Etruscan Antiquities

Dr. Maurizio Sannibale Krater, Kylixes, and Perfume Jars

Artist: Brygos Painter and others Date: ca. V century B.C. Dimensions: Various Material: Ceramic Inventory Numbers: 16562, 16582, 16583, 16505, 20256, 20257, 20258

Total Cost: € 16.800,00 51

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This group of objects, hailing from a same Brygos Master and of similar diverse chronology, is composed of provenance. The object’s decorative various materials, styles, and pictorial elements reference physical exercise themes from drinking vessels with and military preparation to which the depictions of symposium culture to young citizens of Athens were called to ointment jars representing the lucrative participate. In the interior of the kylix, an perfume trade of the ancient world. old man assists a young person bearing Although diverse in period, material, and arms. The exterior shows armed warriors function, the underlying element that assisted by young people and children. unites these objects is their location of discovery in the tombs of the Etruscan The third kylix (16562), also from Vulci aristocrats. and of Athenian manufacture, is solemnity and sacred value within this State of Preservation attributed to the Painter of the Paris culture. These items display small fissures and The red-figure Attic kylix (a cup used Gigantomachy (480-460 B.C.). It is cracks. Dust and debris exist on the to drink wine in the symposium) (Inv. dedicated to the myths of the struggle The three perfume and ointment jars surface. 16582) decorated by the famous Brygos between a centaur with a Lapith and a (Unguentory, Aryballos and Alabastron, Painter (490-480 B.C.) was found in the centaur with Hercules. Inv. 20256, 20257, 20258) come from the Etruscan city of Vulci. The interior of tomb of one the reigning families of Restoration Procedures the vessel displays two men on a kline The red-figure Attic krater (Inv. 16505) is the ancient Etruscan city of Cerveteri. • Cleaning (couch for the symposium) during a a vase for the preparation of the wine This high status tomb is one of the • Re-composition repast. On the exterior of the cup, a to be served at a symposium. Found at many in the renowned Regolini-Galassi • Consolidation mythological motif is depicted: Apollo Cerveteri, this krater is decorated by the tumulus complex. The three jars are • Chromatic adjustments recovers his herd, which the newborn artist identified as the Painter of Bologna made of faïence, a pottery of Egyptian • Preservation measures Hermes had stolen from Olympus, 322 (440-430 B.C.). The artist has painted tradition imported from the eastern • New display platforms for several unbeknownst to his mother Maia. Dionysus witnessing the crushing of Mediterranean, together with the items The second kylix (Inv. 16583) is by the the grapes, an operation that takes on precious perfumes they contained. • Photographic documentation Gold Necklaces from the Regolini-Galassi Tomb

Artist: Unknown, active in Cerveteri Date: 675 - 650 B.C. Dimensions: Various Material: Gold Inventory Numbers: 20539, 20540, 22271, 22272, 22273, 20174

Total Cost: € 12.500,00 54 55

In the Necropolis of Sorbo in Caere a false vault. The tomb includes an jewelry in order to create decorative State of Preservation (today the town Cerveteri), Fr. access corridor, an anteroom with two motifs and figures. The state of preservation of the two Alessandro Regolini and General cells and the principal funeral chamber, necklaces is compromised. The original Vincenzo Galassi discovered in 1836 one which was reserved for a woman with The Vatican restorers will also take sheen is no longer visible, having been of the richest and most representative rich personal belongings made up of on the restoration of the enigmatic covered by a thick sediment of dark- Etruscan tombs dating from 675 to 650 highly refined jewelry, silverware, and iron “dagger”, which at the time of colored byproducts of corrosion. B.C. The artifacts found in the tomb are bronze vessels. the discovery was believed to be the now exhibited in Hall II of the Gregorian weapon of an Etruscan nobleman Etruscan Museum. The collection is one This project primarily concerns the buried in the tomb. In recent years, Restoration Procedures of the most complete testimonies to the restoration of two necklaces composed however, this object has been identified • Dismantling of necklaces from the “Orientalizing” phase in ancient history, of several gold cylinders (30 and 28) as a weapon of the seventeenth or current support a cultural phenomenon that involved and three gold mesh chains, each eighteenth century, perhaps belonging • Cleaning of silver surfaces with Etruria and the entire Mediterranean of which terminates with a ring in to a curious “seeker of antiquity” of the microscope basin in an extended circulation of the form of a half pinecone and Renaissance or of the Baroque period • Creation and replacement of goods and knowledge from the East decorated with granulated linear who failed to enter the Etruscan tomb. necklace supports thanks to the activity of the Phoenicians motifs. Granulation is a sophisticated • Scientific analysis to determine alloy and Greeks. ancient goldsmith technique, which composition has remained unparalleled in the work • Photographic documentation The partially excavated tomb is covered of contemporary artisans; it involves by an enormous earthen mound and the application of microscopic gold is built with stone blocks that create spheres welded to the surface of the Astarita Collection: Thirty-three Figurative Vases

Artist: various, including Oltos, the Eucharides Painter, the Berlin Painter (in the style of), and the Group of Vienna 1104 Date: 520 - 440 B.C. Dimensions: Various Material: Painted ceramic Inventory Numbers: 34945, 34947, 34957, 34970, 34971, 34972, 35023, 35054, 35116, 35291, 35454, 35455, 35474, 34985, 34997, 34998, 35018, 35019, 35022, 35114, 35115, 35452, 35453, 35528, 35530, 35589, 35592, 35597, 35606, 35620, 35711, 35720, 35785

Total Cost: € 34.600,00 58

The project entails the restoration of mythology, with the scene of of 33 figurative vases of Athenian Dionysius’s solemn procession by the production, all exhibited in the E - F - H Group of Vienna 1104 (450-440 B.C.), - I display cases in the room dedicated and of daily life, with the rare depiction to the Astarita Collection. The Astarita of a young man reading by the Collection began in 1913 thanks to Eucharides Painter (ca. 490 B.C.), and the work of expert connoisseur Mario that of a symposium by the Painter of Astarita. In 1967, Astarita gifted his Tarquinia (460-450 B.C.). massed collection to Pope Paul VI for the Vatican Museums. The collection is comprised mainly of Attic pottery, State of Preservation ceramics of Corinthian, Eastern-Greek, The vases were restored at different Laconian, and Euboean manufacture, times during the twentieth century. and many Etruscan pieces. Materials used in the conservation have since degraded and now require a The vases included in this project are a revision both in terms of preservation review of the masters who originated and aesthetics. The new intervention will the red-figure technique. This includes be carried out with current materials the example of Oltos, a pioneer who, and criteria in order to give new on the same vessel, experimented visibility to this important section of the with both the innovative red-figure collection. and the more traditional black-figure technique around 520 B.C. He integrated mythological representations of the Restoration Procedures Centaurs (black figures) and the • Control of previous bonding and Amazons (red figures), as well as eventual disassembly images of men in the gymnasium • Revision of the older integrations and practicing discus throwing, and a removal of unsuitable ones military bugler. • Removal of incoherent superficial deposits The painting on this selection of • Cleaning with suitable tools and vases illustrates the transition of solvents to remove residues of Greek figural representation from the products from previous interventions Archaic to the Early and High Classical • Replacement of the fragments with styles. Beyond their stylistic aspects, new adhesives these objects express various facets • Integration of gaps and fissures of Greek life and culture. The viewer • Chromatic integrations finds themselves in both the worlds • Photographic documentation Ceremonial Clasp from the Regolini-Galassi Tomb

Artist: Unknown, active in Cerveteri Date: 675 - 650 B.C. Dimensions: Height 31.5 cm Materials: Gold Inventory Number: 20552

Total Cost: € 31.300,00 62

Among the valuable artifacts worn State of Preservation by the deceased and one which This valuable object underwent few astonished the excavators in its interventions immediately after the golden surface was this extraordinary discovery in 1836, which mainly consists ceremonial clasp (fibula), a unique of repairing minor damages such masterpiece of antique goldsmith art. as lesions and detachments. During the twentieth century, conservation The clasp, due to its remarkable size interventions were limited to its and decorative exuberance, constitutes mounting on supports and structural an exclusive ceremonial ornament consolidations. The proposed restoration that brings to mind a similar fibula has both study and conservation with a disc bracket commonly used purposes, as well as an aesthetic one. in the Iron Age. The clasp represents the highest level of Etruscan goldsmith technique which, like its iconographic Restoration Procedures motifs, is linked to ancient Near-Eastern • Diagnostic study of artifact metalworking tradition. • Revision of the old bonding and consolidation systems Elements obtained with various • Removal of extraneous deposits techniques (fittings, embossments, and products used in previous cutouts) are enriched by a refined restorations granulation in which very small • Consolidation of fractures micro-welded spheres delineate • Aesthetic treatment of integrations contours and details of the figures • Design and implementation of a new and define decorative motifs. The support decorative program’s various • Photographic documentation animals and symbolic apparatuses are characteristic of the composite figurative culture that manifests itself in Etruria in the Orientalizing period. The artistic influence from the ancient Near East is particularly observable in the object’s griffins, intertwined arches, palmettes, and head of the female deity - the Egyptian Hathor or the Phoenician Astarte. Amphora and a Hundred Fragments of Bucchero

Artist: Unknown Date: Late VI century B.C. (amphora); mid VII century B.C. (fragments) Dimensions: Height 38.3 cm (amphora); various dimensions (fragments) Material: Ceramic Inventory Numbers: 17647, 20332, 20334, 20567, 20337, 20338...

Total Cost: € 13.300,00 66

This conservation project is dedicated but these assorted ceramic fragments, to the restoration of an amphora scrupulously collected and preserved, painted in the black figure technique by are waiting to be studied after their an unknown Etruscan master. It shows restoration so that they may further a rare depiction of an Etruscan chariot our understanding of Etruscan life in mounted by a charioteer holding Cerveteri. the reins with one foot still resting on the ground. The young charioteer is beardless and semi-naked, covered State of Preservation only by the typical semicircular Etruscan These items present small fissures, mantle (tebenna). cracks, and dust and debris on the surface. The scene is repeated on the other side of the amphora but with the charioteer dressed in a short chiton and Restoration Procedures wielding a long rod to spur the horses. • Cleaning The representation of horse races and • Re-composition athletic competitions often occurs in • Consolidation the pictorial cycles of Etruscan tombs • Structural improvements and is also found in pottery imported • Chromatic adjustments from Greece. Here the typical Etruscan • Preservation measures motif is not only the mantle of the • Display platforms provided for charioteer, but above all the model of several items the chariot with the sinuous line of the • Photographic documentation handlebar. Similar artifacts have been found dating to the middle of the sixth century B.C.

More ancient are the hundred or so fragments of pottery, bucchero and ceramics of various manufacture, which are in some cases painted and come from the the Regolini-Galassi tumulus complex in Cerveteri. This archaeological site of extraordinary historical importance and artifact richness is known for its gold artifacts, DecorativeDecorative ArtsArts Dr. Maria Serlupi Dr. Maria Serlupi Crescenzi Rare Liturgical Objects

Artist: Unknown Date: XV – XIX century Dimensions: Various Materials: Silver, crystal, enamel, bronze, copper Inventory Numbers: 61792, 61771, 61868, 61860, 61946, 61869, 61865, 64206, 62909, 64207, 64321

Total Cost: € 34.800,00 72

The project includes the restoration of Resurrection. The chalice was acquired a group of liturgical objects from the in 1812 by the Augustinian friars of Santa fifteenth to the nineteenth centuries. Maria del Popolo in Rome, who then After being merged into the collections passed the object to the Christian of the Christian Museum of the Vatican Museum. The chalice is matched with a Apostolic Library, and then to the lid of gilded silver, with the engraving of Vatican Museums under the Rescriptum a half-length figure of the Savior with a of Pope John Paul II in 1999, they are now halo and his arms crossed on his chest. currently on display in the Sala degli The chalice and the lid are the work of a Indirizzi (Room of the Addresses). Roman goldsmith and can be dated to the first half of the fifteenth century. The first of these objects is a chalice, the sacred vessel used for the celebration A pair of small flasks with a tray, which of the Eucharist, in which the wine came to the Christian Museum in 1935, that becomes the Blood of Christ is come from the sacristy of the Sistine consecrated through the ministry of the Chapel. The items are marked with the priest. Since the first Christians had to inscription: A. F. SS. (Sacri) PP. (Palaces) meet in private settings, the origin of the AA. (Apostolic) June 1837. object is linked to ordinary household accessories. From the sixth century These crystal flasks, shaped like a onward, however, liturgical chalices carafe, are exquisitely decorated with began to be made of precious metals engraved plant motifs and embossed such as gold or silver. The interior of and gilded garlands in silver. The spout religious chalices must always be ends in the form of a bird’s head. The lid gilded, as in this example. is flanked by a pair of winged putti that support a papal tiara; on the front of The silver chalice is engraved, the flask, as well as on the oval tray on embossed, chiseled and gilded. It which they rest, appears the emblem has a hexagonal base and its stem is of Pope Gregory XVI Cappellari (1831- decorated with six disks of engraved 1846). The tray, dated 1837, was created to them by the deacon after having Also from the sacristy of the Sistine silver representing the half-length by Antonio Cappelletti, active in Rome poured it into the chalice. Eleventh Chapel are the palmatorium and the figures of the Virgin and Child, St. Peter, between 1803 and 1838. century sources begin to mention a incense pot. The silver palmatorium, St. Paul, two Saints (one with clasped pair of flasks containing water and wine a small portable candlestick that hands and the other carrying a book The flasks are two small sacred vessels which, resting on a small tray next to was generally used by high-ranking and a palm), and the Mystic Lamb, designed to contain wine and water. the manutergio (small cloth for drying prelates for liturgical readings one of the most widespread Christian Originally, the wine for mass was offered the hands), were placed during the rite during ecclesiastical ceremonies, symbols pictured here with the by the faithful, who brought it personally within an appropriate niche or above a is embossed, gilded, and engraved banner and cross in reference to the to the altar in containers returned small table at the altar. with a coat of arms of a domestic 75

prelate. It is the work of Felice Sanini, St. Michael the Archangel, and a Holy a silversmith who was active in Rome Bishop, all merged with the figure between 1747 and 1787 and known of Christ. The cross is the work of a for his large altar cross and two silversmith in the mid-eighteenth candlesticks made for the church century. The item displays a dedication of the Jesuits of San Rocco in Lisbon to the Canon Camillo Ciogni on the commissioned by King John V. cross arm. This item is part of the donation by Carlo Antonio Barocchi to The incense pot, gilded with silver and Pope Benedict XVI (2006). engraved with scenes of the Passion on the lid, is the work of the Roman Furthermore, in the storage of the silversmith Stefano Fedeli of the mid- Christian Museum is a precious model nineteenth century. of Giotto’s famous campanile (bell tower) that today stands in Florence. The architectural tablet called a The model is made of silver filigree and pace (used for the blessing of peace) is signed and dated, “Stefano Beretta. displays a richly figured frame and Eseguito a Roma dal 1877 al 1879”. bas-relief of the Pietà at the center. The object was used to bring peace, or the kiss of peace, before Communion to State of Preservation the choir and to certain participants These liturgical objects show strong in the Mass. This example, made by an oxidation corrosion and degradation anonymous silversmith, dates back caused by the natural alteration of to the second half of the sixteenth the metal alloys and the thermo- century. hygrometric conditions in which they were preserved. Previously mentioned in the inventories of the Museum of Christian Antiquities of 1760 and 1762, is the gilded bronze cross Restoration Procedures of the fifteenth century. With a modern • Degreasing and cleaning with frame of gilded metal, the bronze ketone solvents cross is decorated with etchings of the • Immersion in Rochelle salt crucifixion and the symbols of the four • Final cleaning with calcium Evangelists along the edges. carbonate powder • Material consolidations This valuable silver cross is engraved • Rinsing and drying with St. Nicholas and His Three Small • Final protective varnish Daughters, Assumption of the Virgin, • Photographic documentation Tunic of “St. Peter” from the Sancta Sanctorum

Artist: Unknown Date: ca. III or IV century Dimensions: 130 x 183 cm Materials: Wool and linen Inventory Number: 61307

Total Cost: € 43.900,00 78

The tunic comes from the treasure 1906, then to the Vatican Museums in of the Sancta Sanctorum, the private accordance with the Rescriptum of chapel of the Popes located in the Pope John Paul II in 1999. ancient Patriarchium of the Lateran, official residence of the pontiffs from Among the various textile fabrics from the first half of the fourth century until the treasure of the Sancta Sanctorum the transfer of the papacy to Avignon are two robes, a chasuble and a tunic, (1309-1377). On returning to Rome, the inscribed in medieval inventories as edifice had become unusable, and the belonging to St. John the Evangelist and Popes moves their residence to the St. Peter. Vatican, initiating the construction of the Apostolic Palace, and progressively The ancient tunic could be presumed to increasing the complex in the following be that of St. Peter, but the identification centuries. cannot be substantiated on historical basis. The article is made of linen mixed Originally dedicated to St. Lawrence, with wool; it is almost rectangular in in the ninth century the chapel was shape, with white decorative lines renamed the Sancta Sanctorum (“The present on the sides, sleeves and neck. Holy of Holies”), indicating the presence Two strings are sewn on the right side of numerous venerable relics of saints, of the tunic and on the wrist. Triangular safeguarded in an ark of cypress wood sleeves are sewn and open under the commissioned by Pope Leo III (795-816). arm. The simple “T” shape and the type presence of numerous cuts on the Restoration Procedures It was protected by two thirteenth- of fabric refer to the models in use in tunic is attributable to the practice, • Precise micro aspiration system for century bronze doors and enclosed the eastern Mediterranean area from widespread in ancient times according front and back under the papal altar in a massive iron the first to the fourth centuries and to testimonial sources, of cutting off • Removal of previous restorations cage. are depicted in ancient catacombs portions of the cloth to be distributed as • Restoration through vaporization paintings. relics. • Preparation for an adequate The ark had not been opened since additional fabric 1521; Father Hartmann Grisar was able String cords were added at the ends of • Base dying to view its contents in 1905, revealing a the sleeves; these were for the exhibition State of Preservation • Measures to strengthen item by priceless treasure of reliquaries of gold, of the relic. In Rome, there were relics The tunic, which has wool and linen stitching torn and missing areas silver, ivory, and precious wood: cases, of fabrics that had become the object blend, has been covered with an from the additional fabric crosses, ciborium, textiles, embroidery, of veneration since the early Middle added red fabric. It is currently framed • Creation and implementation of parchments, miniatures, and enamels. Ages, as they were considered parts in glass. There are also many holes, a filler fabric so as to give three- of clothing worn by Christ, the Virgin deformations (such as wrinkles and dimensionality to the original tunic The reliquaries, as well as the textiles, or the saints. Others, after touching raised areas), fabric warping and • Photographic documentation were transferred to the Christian venerated sepulchers, acquired stains. On the whole surface there are Museum of the Vatican Library in sacred value as “contact” relics. The discontinuous fragments. Celestial Globe by W.J. Blaeu

Artist: Willem Janszoon Blaeu (Alkmaar, 1571- Amsterdam, 1638) Date: 1640 Dimensions: Height 108 cm; circumference 67 cm Materials: Print with traces of color and gilding; meridian: brass; base: black wood, ivory Inventory Number: 70158

Total Cost: € 27.000,00 82 83

Willem Janszoon Blaeu was a famous tabulas geographicas diversarum orbis wooden ring on the horizon has a paper the alteration of the varnish, making cartographer and manufacturer regionum nunc primum editas cum circle indicating the months and zodiac the engraving illegible. of Dutch mathematical and descriptionibus (1631), the collection of signs and is supported by three wooden astronomical instruments. He learned 103 maps serving as supplements to legs in an English-style mounting (there the fundamentals of cosmography, the two most famous atlases of the are four legs in the Dutch type). Restoration Procedures geography, and the construction and time, which increased to later editions, • Dusting and anoxic disinfestation use of astronomical instruments as a thus forming the nucleus of the major Globes were useful scientific • Elimination of the old restorations pupil of the famous Danish astronomer collection entitled Theatrum Orbis instruments and at the same time in plaster and glue and new Tycho Brahe. terrarum sive Atlas Novus (1635). works of valuable artistic quality. Globes plastering with materials suitable for were generally arranged in pairs preservation He returned to his home in Amsterdam, The construction of the first celestial (terrestrial and celestial) to ornament • Recovery of the original shape of the where he soon distinguished himself globes dates back to the Greeks, the libraries of monks, scholars, princes globe as a manufacturer of globes and returning only at the end of the first and sovereigns. The globe in question, • Elimination of overpainting instruments of astronomy, then as a millennium in the Arab world, from signed and dated, is a pendant with a • Reparation of the various gaps, cartographer and printer. His first dated which it spread throughout Europe terrestrial globe (Inv. 70157) coming from pictorial retouching and color toning work was a terrestrial globe (1599), in the fifteenth century. Globes were the Chigi collection. It was bought by of paper followed in 1603 by a celestial globe used both to indicate the positions and the Italian State in 1918 and donated to • Reparation of the gaps in the horizon of equal size. Later, he gave the public movements of the celestial bodies as the Holy See, merging into the collection ring and pictorial retouching a much larger pair of globes (with a well as an aid for navigation. of the Vatican Apostolic Library in 1923 • Restoration of the wooden support circumference of 2.16 meters) of which from which it passed to the Vatican • Photographic documentation there were several reprints. The first globes were engraved or Museums in accordance with the painted directly on the spherical Rescriptum of John Paul II in 1999. He was appointed Cartographer of support up until the end of the sixteenth the Republic in 1633 and he founded century, when the images were printed his cartographic workshop Blaviana in on paper. These were broken down State of Preservation 1625, associating his sons Giovanni and into strips, segments that branched The globe is in a precarious condition Cornelius. His work was so successful out to the point of the poles, widening of preservation, largely caused by a that the State General obliged the in proportion to the equatorial line in previous restoration that was poorly commercial companies with traffic in order to faithfully render the spherical executed. There are lesions in the India and the merchant ships to use surface. The strips were glued to the structure, which is made of wood, the Blaeu maps. Their outstanding globe, consisting of a round papier- papier-mâché and plaster; these were production, printed in the major mâché and plaster-lined wooden repaired using plaster and improper languages of Europe and widely armature to create a uniform surface, glue, resulting in new splits that spread imitated, also included the contributions supplemented by the Meridian Ring: it over the entire surface and particularly of scientists and geographers. Among was mounted on the connecting axis in the attachment areas to the pins his numerous works worth noting between the poles, with an inclination of of the supporting structure. The paper are the Appendix Theatri A. Ortelii about twenty-three degrees, indicating surface has missing portions and a et Atlantis G. Mercatoris continens the plane of the Earth’s orbit. The general yellowing of the color due to Medieval and Byzantine Art

Dr. Adele Breda Madonna of the Childbirth

Artist: Unknown, Florentine Date: ca. 1375 – 1380 Dimensions: 106.5 x 58.5 cm Materials: Tempera and gold on wood panel Inventory Number: 40520

Total Cost: € 11.400,00 88 89

On a golden background adorned The painting displays a harmony depicted pouring content from one The naturalistic rendering of the female with an original golden frame is a between its spiritual and material vase to another. Justice, beneath form, the representations of the virtues majestic young woman with blond hair aspects. In addition to the naturalistic Temperance, is shown with a sword well-illustrated with their allegorical representing the Virgin. A white dove, image of the pregnant Virgin and and the devil chained at its feet. objects, the refined gilding process representing the Holy Spirit, hovers the scriptural references to the used for the gold elements, and the above the scene and releases three divine pregnancy and Immaculate Information on the painting’s origins shape and surrounding frame of this distinct rays of golden light. The Virgin’s Conception, there are also allegorical are well known due to a written and image represent new trends in pictorial drapery greatly contributes to the representations of her virtues. The glued cartouche on the back side representation which spread in Florence majesty of this vision. She is dressed in Virgin, depicted as the Virgo Virtutum, of the painting by the former owner at the end of the fourteenth century. a silken blue cape with a golden hem, is surrounded by eight virtues that Lamberto Cristiano Gori. Gori acquired a rose-colored gown decorated with take the form of seraphim. These the work 1772, believing it to be a work delicate gold stars, and tight belt worn angels represent the three theological of Cimabue. Gori states in his writings State of Preservation under her chest that underlines her virtues and the four cardinal virtues. An that the piece was originally located The wooden panel presents several advanced stage of pregnancy. Each of additional angel has been added for on the altar of a small chapel in an fissures and holes (due to the presence these pieces is meticulously decorated the purposes of maintaining symmetry abandoned suburban villa, and that it of insects) and the original frame is with great detail. in the image. was used for private worship. In 1842, the in very fragile conditions. The painted painting was acquired by the Vatican surface presents color detached from On her chest the Virgin wears a locket On the left-hand side of the painting Apostolic Library Sacred Museum, and several areas. The entire surface is composed of sun rays. In her left arm are the theological virtues: Charity in 1908 it was moved to the Vatican covered with dust and debris. she holds the scriptures beautifully depicted with a cornucopia and Museums galleries. bound in a red cover with gold binding. flame, Faith with a cross and chalice, The presence of the scriptures conveys Hope raising its arms in exaltation, and During the fourteenth century, Restoration Procedures the Word of God and its role in the Prudence, who presents a disquieting naturalistic images of the Pregnant • Anoxic Treatment Virgin’s pregnancy. The sun and twelve image of two faces and holds a Madonna became popular in art • Consolidation of wood panel stars that surround the Virgin and the snake that refers to the Gospel of produced in Tuscany. These depictions • Restoration of frame golden decorations on her garment St. Matthew (10:16): “prudentes sicut of the pregnant Madonna often • Cleaning and consolidation of the allow art historians to identify this serpentes.” The cardinal virtues appear personified the presence of the pictorial surface depiction of the Virgin as the Virgo on the right-hand side of the painting. Divine, an artistic phenomenon that • Creation and implementation of amicta Solis that appears in the the To the right of the Virgin’s shoulder began in the twelfth century that new support for work that will enable Apocalypse of John. The woman in this hovers the virtue representative of can be seen in this painting with the conservation of the painting and biblical episode appears pregnant and her most important quality of Humility. anthropomorphic forms taken on frame “surrounded by the Sun and with the This virtue enacts a gesture of shyness by the virtues. During the twentieth • Aesthetic retouching of pictorial moon under her feet and a tiara with by concealing herself with her veil. century, some critics attributed the surface twelve stars on her head.” Since the Positioned next to Humility is Strength painting to several different Florentine • Application of protective varnishes medieval period, exegesis has linked wearing lion fur and holding a column, painters of the fourteenth century • Photographic documentation the “Woman of the Apocalypse” to a both of these items referring to the such as Agnolo Gaddi, Giovanni del theology of the Virgin freed from original biblical story of Samson. Beneath Biondo, Bernardo Daddi and Cenni di sin in becoming the mother of Christ. Strength there is Temperance, Francesco. Christus Patiens Crucifix

Artist: Unknow, Italian Date: Early XIV century Dimensions: Height 160 cm Materials: Polychrome carved wood Inventory Number: 42382

Total Cost: € 23.150,00 92 93

The ancient provenance of this crucifix mankind from sin. Such images, larger to the cross. It is attested that during the State of Preservation is unknown. The item was donated to than life, brought believers closer to Middle Ages some crucifixes possessed The conservation of the piece is the Vatican Museums by Pope Paul the incarnate and suffering God. a particular device on the shoulders provisional both for the state of its wood VI (Montini, 1963-1978) in 1978. The work For this crucifix, the head is resting and had movable arms. This suggests a and for its painted surface. belonged to a group of medieval on the left shoulder, with closed eyes special use for the sculpture during Lent. The wood has been ruined by and Renaissance wood sculptures and mouth abandoned in the sleep For the celebrations of Good Friday, the xylophagous insects. The pigment acquired from the antiques dealer Nella of death. On the head of Christ rests sculpture was removed from the cross blend not only has a soiled surface, Longari in Milan through the interest of the crown formed by two intertwined and placed in the crypt. The arms of but cohesion problems concerning the his personal secretary Don Pasquale branches, now almost completely the crucifix seem too well preserved to camotta technique. Macchi. missing their thorns. The face expresses be of the original workmanship. This is silent pain; the body is slender, evident when comparing them to the The crucifix is depicted according built without pronounced muscular extremely damaged feet. Restoration Procedures to the iconography of the Christus structure. • Wooden framework consolidation Patiens: dead and hung on the cross The restoration will provide an • Restorations of missing parts with 3 nails, the feet overlapping and The body was not arched on the cross opportunity to explore these aspects • Pigment blend consolidation pierced by a single nail. This typology (now lost), but rather straight; the same and to verify the cultural heritage of the • General cleaning of the dead Christ favors the aspect applies for the legs, which are rigidly sculpture: the modeled refinement and • Final polishing of the humanity of Jesus, emphasizing closed without touching each other realistic content for the anatomy seems • GRS analysis not so much his victory over death, except at the point where the feet to lead to the identity of an unknown • Photographic documentation but the sufferings he endured as a overlap. The feet are very damaged carver in central Italy, perhaps Tuscany, man during the Passion and ending from the weight of the wooden statue, at the beginning of the fourteenth by his dying on the cross to redeem and the nails that affixed the sculpture century. Coronation of the Virgin with Angels and Saints

Artist: Jacopo di Cione (Florence, 1325-90) (in the style of) Date: ca. 1375 Dimensions: 115.8 x 63.5 cm Materials: Tempera and gold on wood panel Inventory Number: 40008

Total Cost: € 21.300,00 96 97

The canonical Gospels do not offer us Perhaps the coronation presented or Lorenzo, and Catherine of Alexandria). State of Preservation any details about the last moments here originally constituted the central On the left in the foreground are This painting needs a complete surface of the life of the Virgin: her death, element of a triptych, as suggested saints Peter and Paul, Galgano and cleaning and retouching because of her Assumption to heaven, and her by the presence of a rich frame at Augustine. Two musician angels kneel the oxidation of the original varnish. coronation. On the contrary, beginning the top of the panel, which is missing in the center. In the predella, a dying The surface appears to be slightly in the second century, these events on the lateral sides. The reliability of Christ represented, in the typology of damaged with various fissures and were narrated in rich detail in the this hypothesis will be explored during Vir Dolorum, is surrounded on the left cracks. apocryphal Gospels, and were the restoration. by St. Francis of Assisi and St. John the object of meditation of the Fathers of Baptist, and on the right by the Virgin the Church and of theologians during The work is attributed to a post-Giotto and St. Mary Magdalene. Two heraldic Restoration Procedures the Middle Ages. Florentine master active in the last unidentified coats of arms are painted • Consolidation of wood panel decades of the fourteenth century, who on the edge of the pictorial field. • Cleaning and consolidation of the In the thirteenth century, the image of has yet to be definitively recognized. pictorial surface the Coronation of the Virgin became Critics have proposed the identity The painting was in the collection of • Aesthetic retouching of pictorial an autonomous subject in Gothic of this artist to be the same Jacopo the Sacred Museum of the Vatican surface sculpture when depicted in the portals di Cione, or an autonomous master Library from the year 1888 (Inventory • Application of varnishes of the cathedrals of northern Europe. conventionally called “Master of the of Carlo Descemet, showcase I IV, • Photographic documentation An example from the early thirteenth Vatican Coronation” or the so-called N. 206) and was transferred to the century is seen in the splendid bezel Master of the Predella of the Ashmolean Vatican Pinacoteca in 1909. The original frame in the north portal of the Museum. provenance remains unknown. Its Cathedral of Chartres. dimensions and typology indicate that In the gilded background of the panel it was destined for a noble chapel or The same theme spread to Florence are silhouettes of the figures of Christ small private altar. in the second half of the fourteenth and the Virgin, enclosed in an almond- century. An example is the central panel shaped sphere framed by four blue of the polyptych then in the church Cherubim and four red Seraphim. In of San Pier Maggiore in Florence (now the lower area, on a beautiful tiled at the National Gallery in London) floor designed in perspective, St. John commissioned in 1370 by Niccolò di the Baptist and St. Bartolomeo can be Pietro Gerini and executed by the seen on the right, and behind them a school of Jacopo di Cione. deacon and a saint (perhaps Stephen Enthroned Madonna and Child

Artist: Unknown, Italian Date: Early XIV century Dimensions: Height 84 cm Materials: Polychrome carved wood Inventory Number: 42380

Total Cost: € 17.700,00 100 101

This antique wooden statue depicting the Virgin - those in which the Virgin State of Preservation an enthroned Madonna and Child is shown as a queen with veil and The conservation of the piece is came to the Vatican Museums in 1978 crown, covered by a large cloak, and provisional both for the state of its wood as a gift from Pope Paul VI (Montini, seated on a throne with the Christ Child and for its painted surface. 1963-1978). The work was part of a group supported on the left arm and resting The wood has been ruined by of medieval and Renaissance wooden on her lap. xylophagous insects. The pigment blend sculptures purchased in Milan from the not only has a begrimed surface but antiques dealer Nella Longari, but their Medieval theology intended to also has cohesion problems concerning original provenance is unknown. The represent the divine incarnation of the camotta technique. The sculpture status of its conservation is damaged: Christ and the figure of the Madonna as lacks the right hand of the Virgin and the Virgin lacks part of her right arm the Mother of God. The Virgin was also the Christ Child’s head. and her crown. Most glaringly, the Christ associated with Divine Wisdom, alluding Child is missing his head. to the throne of Solomon (I Kings 10, 18- 20), and also as a dispenser of justice. Restoration Procedures Such a critical state of preservation Above all, however, she is the Sedes • Wooden framework consolidation is unfortunately common in medieval Sapientiae, the concurrent receptacle • Potential restorations for missing wooden statuary precisely because of and throne of Divine Wisdom. parts the fragility of its constituent element, - • Pigment blend consolidation and wood -and the age of the artifacts. As a queen, it is possible that the preparation This means that, with the passage of Madonna originally held a scepter, while • General cleaning time, artifacts that were damaged or the Christ Child was often depicted • Stucco work and painting restoration that no longer appealed to the taste in the act of blessing or holding a • Final polishing of the devoted were abandoned in globe. At present, it is only possible to • GRS analysis sacristies or storage deposits, and often present these hypotheses in the light of • Photographic documentation ended up on the antiques market. This comparisons with similar works diffused was probably the case for this work. in the central regions of Italy that have reached us in better conditions. This statue is part of a typology that In this regard, it is particularly important was common in the eleventh and to restore this antique sculpture, which twelfth centuries and continued up the is a valuable testimony to art and faith beginning of the fourteenth century as an object of devotion, as well as (the date of this statue). These centuries an expression of medieval theological preferred hieratic representations of thought. Saints Paola and Eustochium

Artist: Master of the Straus Madonna (Florence, ca. 1385 -1415) Date: Late XIV - early XV century Dimensions: 40001: 94 x 35 cm; 40003: 95 x 36 cm Materials: Tempera and gold on wood panel Inventory Numbers: 40001, 40003

Total Cost: € 32.100,00 105

104

These two valuable paintings once intertwined plants. St. Jerome dedicated Monaco, although the personalities constituted the side compartments the 22nd Epistle and its eulogy on of the two artists are very different. of a triptych that was dismembered virginity to this young woman who had On the contrary, the Master of the and whose central element was lost. followed her mother on the pilgrimage. Straus Madonna is similar to that of The veiled woman, who wears an She, in fact, displays a scroll with the Spinello Aretino, making him one of the anachronistically dark dress and cloak inscription: “AUDI, FILIA, AND (T) VIDE (ET) most up-to-date protagonists of the recalling the dress of the Poor Clares, is INCLINATES AUREM TUA (M) AND OBLIV Florentine late Gothic culture. These the noble Roman matron Paola (347 - (I) SCERE POPULU (M) TUUM (ET) DOMUM Vatican panels show us two images of 406). She belonged to the Roman gens PATRIS TUI (ET) CO (N) CUPISCET REX ideal women with clear contours that Cornelia and at age 15 she had married DECORE (M) TUU (M) [Listen, daughter, stand out on the gold background, Senator Tossozio, with whom she had look, give ear: forget your people and the flesh painted in a delicate and five children. When her husband died your father’s house; the king is in love suffused chiaroscuro, and the clothing in 379, she retired to the Aventine Hill in with your beauty]. It is Psalm 44 (vv. 11- that characterizes the widow and Rome together with other widows to 12), with which Jerome begins the 22nd her elegant daughter covered with devote herself to prayer and penance. Epistle. elaborate decorative motifs and folds. At that time, St. Jerome came to Rome One can hypothesize that in the central The reference to the Epistle of and the widows hosted him nearby. panel there was a Madonna with Child St. Jerome shows attention to patristic Under the guidance of the Saint, who surrounded by Saints, among which St. sources and brings to the world of was engaged in the Latin translation of Jerome was certainly represented. Christian spirituality a princess who the Bible from ancient versions in Greek seems part of a fairy tale. and Hebrew, Paola and her daughter The name of the elegant painter to Eustochium devoted themselves to whom we owe these paintings is the study of the Holy Scriptures. When unknown. He was commonly called the State of Preservation St. Jerome went back to the East, they Master of the Straus Madonna after his The current state of conservation for followed him. After an initial stay in Madonna with Child (1395 ca.), once these pieces is fragile given the state of Antioch, the two women visited the part of the Straus Collection of New York, the wood and the painted surface. sacred places in Palestine, then, going now in the Fine Arts Museum of Houston Several fissures are visible on the to Egypt, they became interested in the in Texas. This work provides a nucleus painted surface. life of the hermits. Finally, they settled in around which art historians have Bethlehem where Paola founded two gathered a core of works attributed to monasteries and remained until her his hand. Restoration Procedures death. • Consolidation of wood panel The artistic patrimony of the painter • Reintegration of missing parts and The Vatican portrait of Eustochium took place in Florence between 1385 restoration of fissures shows her dressed according to the and 1415, where he was probably trained • General cleaning fashion of the time, with a elaborately in the circle of Agnolo Gaddi. Shared • Final polishing embroidered white dress decorated ornamental elements are found in • GRS analysis with a motif of birds amongst his repertoire and in that of Lorenzo • Photographic documentation Stories of the Passion of Christ

Artist: Master of the Trevi Crucifix Date: ca. 1310 - 1320 Dimensions: Each element measures: 40108: 33.8 x 34.3 cm; 40109: 35.5 x 34 cm; 40110: 39.1 x 35 cm; 40111: 36.6 x 34.9 cm; 40112: 34.1 x 33.4 cm Materials: Tempera and gold on wood panel Inventory Numbers: 40108-9-10-11-12

Total Cost: € 23.600,00 108

The five paintings, depicting the Kiss of perhaps already at the end of the Judas, the Flagellation, the Crucifixion, thirteenth century and later in the the Deposition and the Resurrection, second quarter of the fourteenth belonged originally to an altarpiece, century. His style is distinguished by since deconstructed, illustrating the great refinement and the incorporation Stories of the Passion of Christ. We do of Gothic motifs with the local figurative not know the church for which they language of the culture of the Alps. were originally conceived. The earliest The focal point of the composition is information for this work dates back the scene of the Crucifixion, in which the to 1867, the year in which they are painter represents only the essential documented in the Sacred Museum of figures: Christ, Mary, John, two angels, the Vatican Apostolic Library. By then, and the figure of a friar kneeling at the the dossal (frontal section of the altar) foot of the cross, a mute and timeless had already lost its antique frame. Its witness of the drama. height could have varied between 40 that they physically scarred the figures harmonize areas showing remarkable and 45 cm, given the different elements Christ is crucified with three nails on a of the wicked who were against Christ; chromatic differences. distributed in scale towards the center. cross in the shape of a “T.” His head is this is evident in the first two scenes The surface erosion, like the oxidized The scenes were separated by painted reclined, his eyes closed, and according where the faces of Judas, the soldiers varnish coating, was provoked by columns, suggested by the presence to the typology of Christus Patiens, he and the flagellators were heavily changing restorations executed of the remaining semi-columns on the has already passed away. Blood flows damaged centuries ago. over years. sides of each compartment. abundantly from the wounds on his forehead, from the sores of his hands The dossal bears great witness to and feet and from the wound in his State of Preservation Restoration Procedures monastic spirituality produced by side. The cross is planted on a small Wood panels from this period are • Consolidation and application of a the hand of an unknown painter, mountain, Calvary or Golgotha, which rarely in good condition and, following protective coating (velinatura) on conventionally called the Master of the contains a cave with a skull. According a primary analysis, it seems that the the painted surface so as to work on Cini Diptych as well as Master of the to tradition it is that of Adam, the first support system aimed at preserving the support Poldi-Pezzoli Diptych, named after the sinner. Over the mountain flows the this panel from its back side did not • Removal of protective coating after collection or the museum containing his redemptive blood of Christ, the promise work properly: each compartment the restoration of wooden elements works. The current name “Master of the of salvation for all believers. The trauma shows one or more cracks, raised • Cleaning of painted surface Trevi Crucifix” is derived from another of the Virgin’s sorrow is made visible areas, and missing colored fragments • Filling of holes using Bologna gypsum of his works: a large painted sculptural by the dissonance between the dark from the painted surface. Based on a and glue crucifix preserved in the Church of San mantle that envelops her and her pale close analysis, the work appears to be • Painting restoration with Gamblin Francesco in Trevi, near Spoleto. face and hands that open in a gesture damaged due to previous cleaning watercolors and varnishes of abandonment. The faithful who procedures that provoked the loss of • Final painting Having been steeped in the innovative gathered in prayer before the altar glazing, especially on faces and on • Photographic documentation art of Giotto in the workshops of Assisi, dossal were so emotionally involved in garments. The surface was restored the painter was active in Umbria the aesthetic experience of the work not only to fix holes but also to Icons from the Tower of Pope John XXIII

Christ Pantocrator (A) Mandylion (B) Virgin Hodegetria of Smolensk (C) Christ Emmanuele (D)

Total Cost: € 13.000,00

Christ Pantocrator

Artist: Unknown, Russian Date: Second half of the XIX century Dimensions: 30.5 x 25.5 cm Materials: Oil on panel, silver and gilded metal, polychrome enamels Inventory Number: 44880 (A) 112 113

This precious Russian icon of Christ surrounded by a large halo made At the top of the two angular panels State of Preservation Pantocrator is made up of two of polychrome enamel in which are are the six Slavic letters ІИС ХРС, which The restoration project of the Four Slavic elements: a wood panel painted in oil inserted the three Cyrillic letters are a traditional abbreviation for the Icons is based on the need to analyze and a golden silver metallic covering, ѾОН, the Slavic transcription of name of Jesus Christ: ІИСУС ХРИСТОС further the wide collection in our called a riza, richly decorated with the Greek word O ΩΝ. This is the (Iisus Xristos). The rectangular panel at Artworks Department, and to formulate polychrome enamels whose refined “heavenly” name of Christ, which Christ’s shoulder reads the inscription precise, informative descriptions for ornamentation reveals the professional alludes to the words with which God Г (ОСПО) ДЬ ВСЕ, which continues each piece. These restorations, together level of the silversmith who created it. revealed himself to Moses on Mount on the other side with the inscription with historical research, will allow The riza outlines parts of the underlying Sinai “Εγώ εἰμι ὁ ὤν”, which means “I ДЕРЖИТЕЛЬ, meaning “Lord Pant / the accurate analysis of the state of image, leaving only the face and hands am who I am” (Ex 3:14). ocrator”. preservation of the panel paintings. of Christ uncovered. Once the restoration is completed, Dressed in a tunic and cloak decorated The technique of execution, the style each work will be reassembled by The hieratic image of the Savior, frontal with a dense vegetal motif, Christ is and the palaeographic examination focusing the attention on how to and half-figured, has a divided beard depicted with the right hand in the of the inscriptions makes it possible to analyze new protective measures for and long hair parted in two locks. It gesture of the Greek blessing, that is, attribute the icon to a Russian painter the metal covers and the paintings is in the iconographic type called with the crossed fingers that form the who worked in the “academic style.” in order to avoid damaging contact Pantocrator, a Greek word meaning: anagram of the name of Jesus (IC) This identity developed in Russia in the between the metal and painting “He who sustains all things in himself” Christ (XC). The left hand shows the post-Petrine era in the second half of surfaces. This project will also include indicating that Christ, the Incarnate open Gospel in which we read a written the eighteenth century, and particullary the study and implementation of new Word, is the omnipotent Sovereign inscription in ecclesiastical Slavic and in the nineteenth century. Its birth and display methods for these works. and Ruler of the universe. The origin made of blue enamel: diffusion are due, on the one hand, to of this iconography is linked to the the influence of Western art and, on vision of the prophet Ezekiel (Ez 1: 26- ЗА́ ПОВѢДЬ/ the other, to the activity of the painters Restoration Procedures 28), but above all the artist intends to НОВУЮ ДАЮ́ / trained at the Academy of Fine Arts, • Structural consolidation portray the dogma of Christ’s equality ВА̀ МЪ ДА́ ЛЮ̀ / who realized the icons in the academic • Cleaning of metal riza covering with the Father, proclaimed in the First БИТЄ ДРУ̀ ГЪ/ style using oil instead of the traditional • Plastering of works Ecumenical Council of Nicaea in 325 ДРУ̀ ГА ѦКОЖЄ/ tempera technique. • Chromatic restoration of painted and represented in early Christian art. ВОЗЛЮБИ́ ХЪ/ surfaces ВЫ̀ Д́А И ВЫ́ / The restoration of the icon will allow • Application of protective paint The Christ Pantocrator, in fact, is one ЛЮБЍТЄ СЄБЄ/ the study and conservation of the • Restoration of valuable metal covers of the most ancient and widespread ѠСЄ̀МЪ РАЗУ/ painting. Furthermore, it will be (made of silver and gold), varnishes iconographic subjects of Eastern МѢ́ЮТЪ ВСЍ/ possible to discover the silversmith’s and stones Christianity; in Russian tradition it is also technique of embossment, the quality • Photographic documentation often called Spasitel or Spas, which This is a passage from the Gospel of metal and the city of manufacture mean Savior. of John (13.34-35): “I give you a new found marked on the metallic coating, commandment: that you love one thus permitting the knowledge of the In the icon presented here, the face another; as I have loved you, so you also year and location of where the work of Christ, according to tradition, is love one another.... “. was made. Mandylion

Artist: Unknown, Russian Date: Late XIX century, early XX century Dimensions: 31 x 26.5 cm Materials: Oil on panel, silver and gold with polychrome enamels Inventory Number: 44892 (B) 116 117

The icon presented here depicts a account dates back to Constantino in Russia until the beginning of the ѾОΝ, transcription into Slavic of the particular kind image of Christ called Porfinogenito (tenth century) and twentieth century, albeit undergoing “Heavenly” name of Christ, “I am who I the Mandylion or the “Image of Edessa”, resulted in an intervention of Pope some changes over the decades. While am” (Es 3.14). the latter name in relation to the Gelasius II († 1119), who proclaimed in the oldest works only the face of origin of the lost original. According by degree that such narration was Jesus was depicted, from the sixteenth Thanks to the examination of the to tradition, this image was not made apocryphal (unproven), excluding it century onwards the composition was technique of execution and the stylistic by human hand, but miraculously from the canonical texts, but without enriched by the insertion of two curtain- and paleographic analysis of the work, engraved by Christ on a linen prejudice for the cult of the icon. holding angels showing the shroud with it is possible to attribute the icon to a handkerchief. Eusebius of Caesarea the face of the Savior. Russian painter operating at the end of described the event in his Ecclesiastical According to the widespread tradition the nineteenth century who executed History (fourth century) and refers to in the Christian Orient, the Mandylion This icon is composed of two elements: it in “academic style” with oil paints, two ancient documents written in Syriac was initially preserved in Edessa of an oil painting on wood panel and a instead of the traditional tempera; that he discovered in the archives of Mesopotamia (now Urfa, Turkey). In the protective covering consisting of a this was common in the nineteenth Edessa. He narrates that Abgar, the king tenth century the icon was transferred metal plate with polychrome enamels, century. of Edessa, stricken by the plague, sent a to Constantinople, where in 1204 its called a riza. The gilded silver metallic servant named Ananias to Christ, asking traces were lost during the riots that coating almost completely covers the to heal him. The king also entrusted to followed the conquest of the city panel, leaving only the head of Christ the same servant the task of painting during the Fourth Crusade. In Russia, uncovered in the background of the the effigy of Christ, but the attempts of the narrative and the first depictions of shroud. Jesus is depicted frontally, Ananias to depict his face were in vain. the “face of the savior not painted by according to the Byzantine dictates, At that point, Jesus bathed his face and human hand” came from Byzantium at without a crown of thorns, since the wiped it with a veil, leaving the strokes the time of the conversion of Kievan Rus miraculous healing of King Abgar had of his image imprinted upon it. In Russia (i.e. ancient Russia) to Christianity in the taken place before the Passion of this typology is called “face of the savior late tenth century. Christ. He has a mustache and a full not painted by human hand,” while in two-part beard. His face is framed by the Byzantine East it is called with the The oldest existing Russian icon of long hair, ending in curls divided into Greek name Mandylion, which comes the “face of the savior not painted by two strands. He has a hieratic and from the Arabic Mandil, which literally human hand” is the painted panel penetrating gaze, which expresses means handkerchief. The news of the conserved today in Moscow, in the both strength and sweetness. The halo miraculous event written by Eusebius Tretiakov Gallery, datable to the has the shape of a ray surrounded by was also reported by Efrem the Syrian second half of the twelfth century. flowers in polychrome enamel. Within and other historians. The most detailed This iconographic type was common the halo are inserted the three letters Virgin Hodegetria of Smolensk

Artist: Unknown, Russian Date: Late XVIII century - early XIX century Dimensions: 42 x 34 cm Materials: Tempera on wood panel, silver and gold, enamels, lapis lazuli Inventory Number: 44900 (C) 120 121

This Vatican icon depicts a well-known that none of the Russian replicas that She wears a Mitella (headdress) which iconographic Marian type called the have survived to this day can be dated is covered by a dark red maphorion Smolensk Mother of God, which is to before the fourteenth century. (cloak) with wide folds. There are three composed of two elements: a tempera almost invisible stars traditionally present painted wood panel and a covering With regard to the painted panel, on the forehead and shoulders of the consisting of a gilded metal plate the ancient city of Smolensk once mantle of Mary: traditional symbols of decorated with enamels and precious possessed one of the “reproductions” her perpetual virginity. Christ is depicted stones in which appears the same of the Byzantine painting of the Virgin barefoot, wearing a blue chitone (long iconographic subject. It is a “replica” of Hodegetria; over time the “replica” woolen tunic) and a bright red himation the well-known Byzantine iconographic became well known and venerated by (mantle) with gold highlights. Haloes in model of the Virgin Hodegetria. The the faithful, thanks to the widespread the shape of a rays are embossed on the prototype, which was kept in the fame of the healing power of the work. metal plating, the crowns are decorated Hodegon Monastery in Constantinople, For this reason, the Smolensk panel was with precious stones and the upper area represented the Theotokos (Mother transferred to Moscow at the beginning is inscribed with the typical Greek initials of God) holding the Christ Child and of the fifteenth century and placed in for the Mother of God: Μ (ητη) Ρ Θ (εο) Υ gesturing to Him with her right hand, the Cathedral of the Annunciation in the (“Mother of God”). Jesus’s abbreviated presenting him to the faithful as Kremlin. After nearly half a century and Greek name: Ι (ηсου) с Χ (Ριсτò)C is written their means of salvation. The word because there were several copies left above his halo. hodegetria in Greek means “she who in Moscow, the painting was returned points the way”. Both figures in this icon to Smolensk in 1456. From the traditional The stylistic analysis and the technique were represented frontally, the Christ type of Virgin Hodegetria icons, several of execution of this work permits the Child, severe and solemn, raises his right less-faithful versions of the prototype attribution of the icon to a Russian hand in blessing and carries a scroll have been made; the Vatican’s Our painter operating in the eighteenth of law in his left hand. Thanks to the Lady of the Way is based on one of century. numerous copies and replicas derived those copies from Smolensk and thus is from the original Constantinopolitan a reproduction that is very close to the panel, the icon of Our Lady of the Way original Byzantine Virgin Hodegetria. became well known throughout the The riza or protective metallic covering Christian East. of the icon reveals only the figures Russian icons of this type were already of the Virgin and Child. The Virgin is known as early as the twelfth and depicted as a half-figure, wearing thirteenth centuries, although it seems a blue tunic bordered by gilt edges. Christ Emmanuele

Artist: Unknown, Russian Date: Last quarter of the XIX century Dimensions: 27 x 22 cm Materials: Oil on panel, silver metal, stones and pearls Inventory Number: 44895 (D) 125

This valuable icon, executed in the represented with a halo, a symbol of technique of oil painting on panel, his divine essence, and often hold a depicts the Christ Child. Only his parchment, alluding to the Incarnate face is revealed, the surrounding Word and his teaching. area completely covered by a richly decorated silver riza and with an The iconography of Christ Emmanuel application of fabric embroidered is above all derived from a selection of with small pearls on the robe and Old Testament passages drawn from turquoise stones that form a necklace. the writings of the prophet Isaiah (8:8- On the silver plates flanking the 10; 9:6-7); in the Christian tradition these portrait of Christ, one reads the titulus prophecies refer to the figure of Christ. of the depicted theme, engraved in In fact, the name “Emmanuel” in Hebrew ecclesiastical Slavic: means “God is with us”, as is found in Isaiah (Is 7:14). Г(ОСПО)ДЬ СПАС ЄМАНУИЛЪ /Lord Savior Emmanuel/ The narratives of the Evangelists Luke and John have also inspired The Christ Child is represented frontally the formation of this iconographical and in half-bust, with blue eyes, brown subject in reference to the episode hair and uncovered neck. His broad from the life of Christ who, at just twelve forehead is an indication of divine years of age, taught the doctors of wisdom, and despite his childlike the Law in the Temple of Jerusalem appearance, his gaze is majestic. Three (Lk 2:41-50; Jn 7:14-16). Consequently, eight-pointed star-shaped plates in the image of Christ Emmanuel is the halo, are embossed with the three generally considered to be that of Cyrillic letters ѾОН, a transcription in twelve-year-old Jesus in the temple. Slavic of the “heavenly” name of Christ, “I am who I am” (Es 3.14).

In Byzantine and Russian art, the typology of the Christ Child is depicted in a series of icons traditionally called “Christ Emmanuel.” This iconographic subject was probably the Church’s response to the Nestorian heresy, which denied the Savior’s divinity before his baptism in the Jordan River. For this reason, the Christ Child is already XV - XVI Century Art

Dr. Guido Cornini Triptych of the Madonna and Child with Saints

Artist: Master of Barga (Maestro di Barga) (Lucca, first half of XV century) Date: ca. 1440 Dimensions: Central panel: 139.9 x 66.6 cm; side panels: 132 x 65 cm each Materials: Tempera and gold on wood panels Inventory Number: 40246

Total Cost: € 62.400,00 130

This valuable triptych with its arched is the figure of St. John the Baptist compartments, originally from the altar beside Acocio, with his characteristic of St. Acocio in the Church of Santa camel hair garment, the subtle cross Maria Maddalena in Pesaro, arrived in of rushes and the flowing script “Ecce: the Vatican after it was sold to unknown Agnus: Behold the Lamb (of God)”: T”, persons in the commune of Pesaro portrayed in the traditional gesture of around 1861. Documentation began in pointing to the Christ Child. 1909, the year in which it was exhibited in The two saints of the right lateral the first room of the Pinacoteca of Pius compartment are easily recognizable X. due to their visual attributes that The central panel depicts the Virgo distinguish them in Christian tradition: Maiestatis, the enthroned Madonna St. Margaret of Antioch, protector of surrounded by adoring angels, following pregnant women, has the winged an iconography of Byzantine derivation dragon at her feet that swallowed her that exalts the role of Sedes sapientiae during her captivity. In her right hand, and the image of the church. She she holds the cross that she used to supports the Christ Child, whose purplish cut herself out of the dragon’s belly and robe emphasizes further the essence emerge unharmed. St. Mary Magdalen profusion of gold and the preciousness irregularities on the surface are caused of royalty as does the red brocade bears the ciborium containing the of the robe of St. Acocio and the fabric by the presence of the original nails. drapery embroidered with gold in the fragrant oil with which she anointed the behind the Virgin. Furthermore, the Several noticeable holes caused by background. feet of Christ. figures retain a hieratic composure insects are present both on the wooden All along the base of the triptych and an elegant archaic flexuosity, frame and on the panels. runs an inscription in lowercase The triptych, initially conceived as a revealing of a knowledge of modern Gothic lettering “SCO †ACOCIO† SCO work by a painter from the Marche, spatial and anatomical achievements †GIOVANNI† / †MADONA† SCA †MARIA† was correctly attributed in 1973 to an that were becoming trends in Restoration Procedures / SCA †MAGARITA† SCA †M †MADALEA†”, unknown painter trained in Lucca and Renaissance painting. • Anoxic treatment which is essential in the identification of active in the first half of the fifteenth • Disassembly of panels the saint with clasped hands depicted century: he is commonly called Master • Restoration of cracks in the left lateral compartment as St. of Barga and is the author of a small State of Preservation • Realization of a new structure to Acocio. The veneration of this Roman group of works scattered across A dark and heavy varnish alters the support the triptych Legionary, who converted and baptized central Italy. The composition is still painted and gold surface areas, under • Consolidations of raised areas the ten thousand martyrs of Mount that of the fourteenth century, and which there are redecorations from • Cleaning of golden and painted Ararat, the soldiers of the army of the refined architecture of the work previous restorations. The wooden surface Hadrian who were massacred by the composed of thin spiral columns support of the three panels contains • Stucco work on missing parts emperor for joining the Christians, and arches crowned with a sinuous many cracks near the planks’ junctions • Chromatic restoration of golden and is in fact very rare in Italian art, and pattern of acanthus leaves reveals a and along the panels’ sides. Some painted surface therefore has a precise and peculiar link to international Gothic models. The chromatic raisings can be found on • Final painting iconographic connotation. Well codified Gothic influence is also present in the the painted surface, whereas larger • Photographic documentation Apse of the Church of San Pellegrino

Artist: Unknown, Roman Date: ca. IX - XVII century Dimensions: ca. 20 square meters Materials: Fresco

Total Cost: € 16.800,00 134 135

This project concerns the restoration of in the constructive typology of the and its original decoration. The four Originally placed in the apse, probably the frescoes located in the apse of one perimeter walls, which are composed saints on each side of Christ executed under the figure of Christ, the mural of the most important churches in the of overlapping rows of volcanic at a later date, two popes and two painting was later detached and is Vatican City State, the Church of San rock blocks and form the base for a deacons, cannot be identified due now inserted in the left sidewall. In the Pellegrino. This church is located inside terracotta brick masonry, and in the to their lack of specific attributes. The twentieth century, to compensate for the Vatican City along the eponymous four arched windows that originally setting, the typology and the clothing the loss of the decoration that once street that coincides with the last illuminated each of the long walls. of the saints would suggest a dating of adorned the entire church, the coat stretch of the ancient Ruga Francigena, During its restoration in 1590, recalled the late fourteenth century, however, of arms of the pontiffs were painted in the road travelled by pilgrims arriving in in one of the walled tombstones, these the free brushstrokes and the more tempera on the back wall and above Rome to the Limina Apostolorum. Before windows were closed and replaced modern execution technique would the triumphal arch. the construction of the Vatican City by the two large rectangular windows indicate that they are a remake done The Patrons of the Arts would also like to walls, this road led to St. Peter’s Square visible today. in the seventeenth century, using call attention to the exquisite wooden through the Viridaria gate. The closing of the original windows fourteenth century prototypes from coffered ceiling in the church, which In 1653, Pope Innocent X (1574-1655) and the opening of new ones was Bartolomeo di Piacenza’s restoration was restored thanks to the generous granted the use of this church with its necessary due to the raising of the floor in 1392 at the behest of Pope Boniface contributions of the Pennsylvania attached cemetery to the Swiss Guard. by two meters. This was perhaps an IX (ca. 1350-1404). The decoration of Patrons of the Arts. In 1977, it was entrusted to the Corps of attempt to curb the damage of rising the triumphal arch, on the other hand, the Gendarmerie. humidity levels, which were responsible, matches stylistically to the period of among other problematic factors, for Pietro Cavallini (1250-1330), one of the State of Preservation Behind the baroque facade, with its the loss of the frescoes on the lower major exponents of the Roman school The overall surface shows oxidation, twentieth-century effigy of its patron area of the apse.Despite this deplorable between the end of the thirteenth and aging of varnishes, and the presence saint, lies one of the oldest and most loss, the remaining frescoes constitute early fourteenth century. At both ends of dust and dirt. Color is detached intriguing pieces of Vatican architecture. a precious testimony of constant are two saints depicted in full length: and the paint film is lifted in some The small one-room church, with its devotion over the centuries, and a rare well preserved is that of St. Paul on the areas. Previous restorations have been irregular trapezoidal plan terminating intention to preserve their primitivist left, with book and sword, while the performed with stucco that did not suit in a semicircular apse, preserves a composition. figure on the right seems irrecoverable the present condition of the fresco, and fascinating mixture of architectural and is marked by a simple silhouette therefore must be removed. elements and decorative schemes At the center of the apse is the most made during the restoration of 1912. In representing various periods. These ancient figure: Christ Pantocrator the two circles are St. John the Baptist diverse structural elements permit enthroned with his right hand raised. with his characteristic camel hair Restoration Procedures the retracing of its different phases of Christ’s physiognomy is strongly derived garment on the left and a saint with a • Consolidation of wall construction. The first documentary from the Acheropita of the Sancta scroll, possibly St. John the Evangelist, • Repairment of cracks evidence of the existence of the Sanctorum. The large halo shows on the right. The altarpiece in fresco • Removal of oxidized varnishes and Oratorium Sancti Peregrini dates back traces of a jeweled krismon, and the depicting the enthroned Madonna previous restorations to the pontificate of Leo III (795-816), composition of plaster mixed with with Child and angels holding a small • Cleaning and consolidation of the who almost certainly commissioned straw dates the fresco to the period temple can be traced to the first half of pictorial surface the construction of the original nucleus. of Pope Leo III (750-816) and thus to the fifteenth century and to the school • Application of protective varnishes Traces of this period remain evident the foundation of the religious building of Arcangelo of Cola da Camerino. • Photographic documentation Crivelli Madonna with Child

Artist: Carlo Crivelli (Venice, ca. 1435–1494) Date: 1482 Dimensions: 148 x 67 cm Materials: Tempera on wood panel Inventory Number: 40297

Total Cost: € 29.800,00 138

In the Madonna and Child altarpiece, Tura, Marco Zoppo and Giorgio the signature and date of the artist are Schiavone. During the mid-fifteenth inscribed on the marble steps under the century, Padua was an important foot of the Virgin, reading: “OPVS.CAROLI. crossroads for the fluid coexistence CRIVELLI / VENETI 1482”. The painting and intersection of the different originates from the Church of San artistic tendencies active in the Francesco in the town of Force, near peninsula. The late Gothic tradition Ascoli Piceno. Pope Pius VIII wanted the was still very much alive due to work displayed in Rome in the Lateran Byzantine culture prevailing in Venice, Pinacoteca, where it was placed in 1844. but there was also the budding In 1908 the altarpiece was documented presence of realistic and naturalistic as part of the Vatican Pinacoteca of styles of representation and a growing Pius X, and after subsequent transfers interest in recovering the ancients. within the galleries of the Museums, The region experienced the innovative it is now exhibited in Room VI of the stimuli of the many Tuscan artists Pinacoteca. passing through the city such as The enthroned Virgin lovingly holds Filippo Lippi (documented between the Christ Child. At her feet kneels a 1434 and 1437), Paolo Uccello (in 1445), that clearly differentiates itself from the original frame created several fissures. diminutive Franciscan in prayer, the and the great sculptor Donatello viewer’s reality. These particular visual Fragility of the new frame will require its identity of which is most likely the patron (between 1443 and 1453). In the fervent elements of the work appear to both restoration as well. of the altarpiece. The composition Squarcione workshop, young talents its Renaissance and contemporary is dense with symbolic references with these seemingly contrasting viewers as divergent from the typical to Christ the Redeemer, such as the artistic styles were discovered and religious scenes created by artists in this Restoration Procedures apple in the Christ’s right hand. The encouraged. Crivelli merged many of period, thus making Crivelli one of the • Anoxic treatment apple is an allusion to the Tree of the these style within his art, thus giving most intriguing painters of Northern Italy • Separation of the frame from the Knowledge of Good and Evil, a potent his work extraordinary pictorial results. in the fifteenth century. wood panel emblem of original sin. In the gesture of His growth as an artist was also due • Cleaning and consolidation of holding the forbidden fruit, Christ takes to his relationship with Donatello, from pictorial surfaces on the weight of man’s sin, which he whom the painter would learn to State of Preservation • Aesthetic retouching of painted will expiate with his blood during the combine figural monumentality and This painting was completed on a surface Passion. linear expressionism. single poplar wood panel. The work • Repairment of cracks and fissures presents oxidation of the original • Construction and implementation Carlo Crivelli (ca. 1435-1494) was born With the painting’s gilded background varnish. There are several small areas of a specific support for the back of in Venice but trained in Padua in the and extreme richness of detail in the where the pigments and colored layers the painting in order to avoid future renowned workshop of Francesco Virgin’s crown, her richly adorned have detached from the surface. At cracks Squarcione (1397-1468). In Squarcione’s mantle, and the variegated marble of least two previous restorations have • Scientific analysis workshop, Crivelli worked alongside her throne, Crivelli suspends the figures been identified. In the past century, • Application of protective varnishes other young artists such as Cosmé in an abstract and timeless dimension the removal of the painting from the • Photographic documentation Madonna and Child with Annunciation and Saints

Artist: Master of the Brancaccio Triptych (Marche and Rome, ca. 1420-1440) Date: ca. 1420 Dimensions: 56.5 x 29.3 cm (middle); 52.5 x 14.7 cm (right side); 52.5 x 15.2 cm (left side) Materials: Tempera and gold on wood panel Inventory Number: 40099

Total Cost: € 14.000,00 142

The foreground of this triptych depicts Gabriel announces to the Virgin, the Madonna and the Christ Child gathered in prayer, that she is to give united in a tender embrace. The left birth to the Son of God. It is precisely lateral shutter door displays St. John this scene that is depicted in the center the Evangelist with the Gospel and a of the triptych, at the center of which martyr holding a palm frond symbolic appears the figure of God the Father of the victory of martyrs. The right amidst the celestial spheres. lateral shutter displays St. Catherine of The images of the characters stand Alexandria with a crown, palm frond, out against the background of thickly- and spiked wheel, the instrument of applied gold leaf decorated with her torture, and Saint John the Baptist leaves and flower clusters on the lobed wearing a cloak over his traditional margin. This type of ornamentation of camel hair garment and displaying a the late Gothic style recalls the work scroll with the inscription: Ecce Agnus of goldsmiths in Northern Europe, but Dei. such techniques in metalwork were also The figure of the Madonna depicted present in central-southern Italy and in in the oversized, central compartment the region of Umbria and Orvieto. of the triptych is most likely derived This triptych was originally believed to from an older model, one that was be of Senese origin around the years particularly revered at the time of 1355-1388, and was attributed to the of Matelica. This work reinforces the State of Preservation the artist but has since been lost. This artist Niccolò di Bonaccorso. Later historical conception of fifteenth The work displays oxidation of the older model would have been created dating by the Vatican Museums pushed century Italy, particularly its central original varnish, fissures and cracks on by a copyist closely imitating the the estimated date of the triptych to regions, as alive with an interest in the the painted surface, and the presence Byzantine iconography of the Theotókos the second decade of the fifteenth ancient icons and their repetition by of possible previous restorations and Glykophilousa, or “the Mother of God century based on the precise choices means of copies or newly created icons repaintings. who sweetly loves her Son.” In this made by the artist and the archaizing due to a strong cultural link with the triptych, the artist has renewed and character of the work. It was during iconographic heritage tradition nascent enriched this venerated, popular icon the studies of the painting performed in ancient history and continued into Restoration Procedures model by modifying the appearance by the Vatican that the triptych was the Early Renaissance period. In Rome, • Consolidation of wooden panels of the Madonna’s mantle, which the identified as belonging to the early work for example, the last decades of the • Cleaning and consolidation of the artist has painted with sumptuous of an anonymous painter active from fifteenth century would feature well- pictorial surfaces fabric preciously embroidered with the second to the fourth decades of known painters such as Antoniazzo • Aesthetic retouching of the pictorial phytomorphic and floral motifs. The the fifteenth century in the Marche and Romano and Melozzo da Forlì creating surfaces artist has also inscribed the halo of the in Rome, known conventionally as the famous copies of ancient Madonna • Anoxic treatment Madonna with the Gothic script: ave “Master of the Brancaccio Triptych” after icons widely-used in popular devotion, • Application of varnishes maria gratia plena dominus tecu(m). As his well known triptych created for the such as those in Santa Maria Maggiore, • Photographic documentation narrated in the Gospel of Luke (1, 26-38), Cardinal Rinaldo Brancaccio in c. 1425- the Salus Populi Romani, and Santa it is with these words that the Archangel 1427, now kept in the Piersanti Museum Maria del Popolo. XVII - XVIII Century Art and Tapestries

Dr. Alessandra Rodolfo Noli Me Tangere Tapestry

Artist: Tapestry from the Nuova Scuola (New School) Weaver: Pieter Van Aelst (Aelst, 1502 - Brussels, 1550) Date: 1524 - 1531 Dimensions: 565 x 325 cm Materials: wool warp, wool, silk and gilded silver thread Inventory Number: 43855

Total Cost: € 288.100,00 148 149

This tapestry reproduces the famous sixteenth century; it might have been cartoons for the tapestries, having died State of Preservation episode, narrated in the Gospel of Pope Leo X (1513-1521), who could have before beginning the commission, his Fibers are very weak and missing in John, of the Noli Me Tangere (“Do Not been the project manager before he artistic identity appears clear in the various areas. Several gaps, typical Cling to Me”), a renowned iconographic died, or more probably Pope Clement conception of the scenes. He most of tapestry weaving, have appeared, subject that inspired important painters VII (1523-1534). likely provided the study drawings for thus creating serious damage to the over the centuries in Italy and Europe. the larger cartoon. The models and tapestry. The tapestry depicts a refined Mary At the head of a large workshop cartoons for the tapestries based on Magdalene in a verdant garden in the Marchè aux Charbons, Van the Master’s ideas and drawings were holding the ciborium containing the Aelst was the most famous weaver, carried out by his favorite pupils, Giulio Restoration Procedures ointments to be used on Christ’s body. entrepreneur, and tapestry merchant Romano and Giovan Francesco Penni, • Removal of lining Christ is depicted, according to the of his time in Brussels where other who were also the creators of the • Removal of loose deposits with a misunderstanding of Magdalene, as a manufacturers were active with frescoes in the Sala di Costantino in micro-vacuum gardener with spade and hat, caught important commissions. Van Aelst, after the Vatican. • Chemical-physical studies designed in the act of alienating her; in the having asserted himself in Flanders as to recognize the commercial background is a detailed landscape a supplier to the Royal Court, gained Precious and rare, the work of this origin of the fibers, define their and the open door of the tomb. The international renown thanks to his school has never been repeated. conservation state, and to evaluate episode is elaborately framed by a Raphael tapestries exhibited for the Therefore, this work can be the degree of pollution, as well as to woven design of imbedded imitation first time in Sistine Chapel in 1519. The considered a real unicum that has identify the original pigments stones and an elegant floral border of enormous success of these tapestries greatly contributed, through its • Application and attachment of a extraordinary technical capacity. later earned him the papal commission production in prints and drawings, covering on the front and back of the New School series, today to the dissemination of the visual to avoid further breakdown of the Noli me Tangere is part of the series of exhibited in the Tapestry Gallery of the language of Raphael throughout fabric during washing tapestries illustrating the life of Christ, Vatican Museums. Europe. • Washing in demineralized water and also known as the Nuova Scuola (New non-ionic surfactant School). According to sixteenth century Magnificent and refined, the twelve • Removal of previous interventions artist and art historian Giorgio Vasari, tapestries were woven between 1524 that are harmful to the work these twelve tapestries decorated the and 1531. These dates were attested • Restoration intervention for the Sala Regia and the Sala Ducale in the by the two Roman weavers Angelo future conservation of the work Vatican Apostolic Palace, large and da Cremona and Joanne lengles • Photographic documentation sumptuous ceremonial spaces where de Calais, who judged them to be the consistories or the solemn meetings “bene e lialmente facte” (well and of the pontiff with the Cardinals were faithfully made), and even more held. They depict scenes from the life of intricate and richer in gold and silk Christ with a clear distinction between than the tapestries of The Acts of the scenes of childhood and scenes the Apostles. A total sum of 20,750 that follow the Crucifixion. ducats, enormous for the period, was It is unclear who commissioned this paid for the twelve works. Although important work. In the first half of the Raphael most likely did not draw the Plaster Cast of the Bust of Pope Pius VII

Artist: Antonio Canova (Possagno, Treviso, 1757 - Venezia, 1822) Date: Late XVIII-early XIX century Dimensions: Height 85 cm; width 70 - 60 cm; depth 40 cm Materials: Plaster Inventory Number: 57778

Total Cost: € 6.000,00 153

The bust depicts Pope Pius VII was always openly critical towards Chiaramonti, founder of the the appropriation of artworks by the Chiaramonti Museum, and is the Emperor in Italy during his military plaster copy made by the artist himself. campaign. In 1815, the artist was officially Canova had created several marble commissioned by Pope Pius VII to go and plaster portraits of Pope Pius to Paris to facilitate the repatriation VII between 1803 and 1807, including of Italian art stolen by the French, as the original of this bust sent to the guaranteed in the Treaty of Tolentino. Emperor Napoleon on the occasion of This delicate task and its success were his coronation (today at the Musée de celebrated in Rome by Pope Pius VII, l’Histoire de France in Versailles). The who honored the sculptor with the title bust was donated to Chiaramonti and of Marquis of Ischia and his inscription in then exhibited in Promoteca Capitolina the Golden Book of the Capitol. where it appeared in 1820, the year of its inauguration. A copy of this bust was destined for the Braccio Nuovo in the State of Preservation Vatican Museums. Among the various These artworks are affected by missing copies of the bust is this plaster cast, areas, which must be fixed with plaster Born in Trevisano, Canova was trained earned Canova a place among the which appears to be a faithful version to fill in the deficiencies. After scientific in Venice in numerous workshops forerunning artists of Neoclassicism. of the marble portrait preserved in investigation, the restorers will complete of artisans and sculptors in which Soon after his arrival, he joined the Vatican. the work is striking for the the intervention by cleaning and he learned to model in terracotta, the entourage of the Venetian naturalistic grace with which the artist rebalancing the surface. marble and plaster. He arrived in Ambassador Zulian and the pontifical captures the pontiff - the spontaneous Based on the experience of similar Rome in 1779 to undertake a lengthy Rezzonico family, around whom the expressiveness evident in the half-open pieces, restorers plan to complete a and fruitful collaboration with the painters Hamilton, Pompeo Batoni mouth, in the softness of his hair and proper cleaning, a balancing of the Pius Clementine Museum, which was and the French scholar Quatremère in the design of his bushy eyebrows. tones of the surface color, as well as then in the process of enlargement. gravitated, friendships that proved The minutia with which the cape and other small technical adjustments In Rome, he devoted himself to significant for the artist. Between 1780 corded shirt are carved allow the that will be made clear during the the study of the ancient and and 1790 he made numerous works sculpture a high quality of detail, which restoration intervention. modern statuary conserved in the for important patrons, sovereigns leads to the assumption that the cast Vatican collections. He immediately and foreign collectors. These include was conceived for its exhibition in the distinguished himself by sculpting The Theseus who sits on the Minotaur Vatican. Restoration Procedures vibrant interpretations of the ancient (London, Victoria and Albert Museum), • Removal of dust models. For the artist, the Apollo the Amorini for the Polish Princess Despite the continued contact with • Complete cleaning Belvedere and the Dioscuri at the Cecylia Lubomirska (Poland, Castle Napoleonic France (between 1814 and • Consolidation of cracks and gaps Quirinale were opportunities for the of Lancut) and Amour and Psyche 1817), for Josephine of Beauharnais, • Reintegration of missing parts artist to create an unprecedented for Colonel John Campbell (Anglesey the first wife of the Bonaparte, he • Scientific research canon of contemporary beauty that Abbey, National Trust). made the Three Graces), Canova • Photographic documentation Two works from the Workshop of Canova

Head of San Giovannino (A) Bozzetto of the Pietà (B)

Total Cost: € 3.200,00

Head of San Giovannino

Artist: Workshop of Canova Date: Late XVIII - early XIX century Dimensions: 15cm x 12.5 cm x 17 cm Materials: Plaster Inventory Number: 44545 (A) 157

The fortune enjoyed by Antonio State of Preservation Canova, renowned sculptor of the These artworks are affected by missing eighteenth century, is confirmed areas, which must be fixed by plaster by the high number of casts and that will fill in the deficiencies. After plaster copies of his works preserved scientific investigation, the restorers will throughout Europe. In the 1700s, casts complete the intervention by cleaning played a significant role in the and rebalancing the surface. theoretical and practical development Based on the experience of similar of the visual arts, achieving a high level pieces, restorers plan to complete a of fabrication and a refinement of proper cleaning, a balancing of the detail that is often considered equal tones of the surface color, as well as to the original work. Many casts were other small technical adjustments exhibited in the residences of art that will be made clear during the patrons, and reflect the refined tastes restoration intervention. of the owner.

This small plaster head was found by Restoration Procedures Antonio D’Este (sculptor and director of • Removal of dust the Vatican Museums) in the atelier of • Complete cleaning Antonio Canova near Piazza di Spagna • Consolidation of cracks and gaps in Rome. When D’Este died, the work was • Reintegration of missing parts donated to Cardinal Placido Zurla, who in • Scientific research turn willed it to Gregory XVI. The sculpture • Photographic documentation was then placed in the Seminario Maggiore in the Lateran. The work could be a cast of the young San Giovannino, as seen in the full volume of the chubby cheeks, the intense naturalness of the expression, the lively and mobile gaze, the delicate features and defining softness of the hair. The antique model of the Amorino theme is reworked here with extreme immediacy, and fully captures its child-like innocence. Bozzetto of the Pietà

Artist: Workshop of Canova Date: Late XVIII - early XIX century Dimensions: 40 x 25 x 15 cm Materials: plaster Inventory Number: 44559 (B) 160

161

At the end of the eighteenth century, The model faithfully reproduces the Canova was among the most tormented play of the drapery of the appreciated and sought-after sculptors Madonna under the weight of the body by European royalty, his talent pursued of Christ lying unconscious across her by Queen Catherine II of Russia, Franz knees. II of Habsburg-Lorraine in Austria, and Napoleon Bonaparte in Paris, where the artist also stayed from 1801 to 1802 as the sculptor of the Napoleonic family.

This is a plaster copy of the Pietà, the celebrated sculpture created by Michelangelo Buonarroti between 1497 and 1499 for the Basilica of St. Peter. The cast was made by Antonio D’Este, a pupil of Antonio Canova and director of the Vatican Museums, in the study of his late master. After the death of D’Este in 1837, the plaster was donated to Cardinal Placido Zurla, who willed it to Gregory XVI, who in turn left it to the Seminario Maggiore in the Lateran.

The study, carried out by an unidentified artist, testifies to the timeless success of the original work. It was logical to find it in the atelier of Antonio Canova, who had been so influenced by the sculptures of Michelangelo in the Vatican. Portrait of Pope Clement IX

Artist: Carlo Maratta (Camerano, Ancona, 1625 - Roma, 1713) Date: 1669 Dimensions: 176.5 x 148.5 cm Materials: Oil on canvas Inventory Number: 40460

Total Cost: € 13.600,00 164 165

The portrait, originally part of the Literary sources, including In primis of an “ideal” selection of iconographic • Painting restoration with specific collection of the Rospigliosi family in Vita on the life of Maratta drafted by elements. varnishes Rome and eventually inherited by Prince biographer Giovan Pietro Bellori, tell of a In this portrait, the painter proposes • Final spray painting of the frame Girolamo Rospigliosi, was acquired in privileged relationship of friendship and a classicist interpretation, refined in • Restoration of cracks in the frame 1930 by the American Louis Mendelshon, esteem between Maratta and Pope form yet communicative from an • Reintegration of cracks and stucco who then donated it to Pope Pius XI Clement IX. This affinity of sentiment emotional point of view. This is in perfect work Ratti the following year. The artist Carlo emerges in the painting, in which the agreement with the artistic tastes as • Restoration of gilded areas with Maratta, who leaves his signature and artist, portraying the now elderly and well as the literary and theatrical culture watercolor and application of a the date “1669” on the letter placed on sick pope, succeeds in transmitting, in of Pope Rospigliosi. varnish made of gold dust and gum the table to the right, has produced the words of Bellori, “the fatigue of age Arabic a masterful work, in which the formal and the languid aspect of the Pope, the • Final retouching of painting notations and the psychological majesty of his face”. State of Preservation • Photographic documentation aspects are blended to perfection, Although the painting is not perfectly rendering to posterity a portrait of Pope Clement IX (Giulio Rospigliosi, Pistoia in tension, it is in good condition. The Clement IX that is of superb and refined 1600 – Rome 1669) occupied the offices support cannot be stretched, but as expressiveness. of Apostolic Nuncio, Secretary of State this support may be the original, it Maratta, who arrived in Rome at a and Cardinal before finally rising to the would be better not to replace it but very young age, had conducted his papal throne, even if for only two years rather regularly check its tension, and to apprenticeship with Andrea Sacchi, from 1667 to 1669. work on it only if required. The painted a renowned classicist painter and surface is in good condition as well protagonist, together with Pietro da In this canvas, Maratta depicts the except for the discoloring of the varnish, Cortona, of the artistic scene during the Pope seated and holding a book, a which is more evident on the dark and Barberini pontificate. Maratta’s ascent symbol of his intellectual interests. His red surfaces where the varnish is quite during the late seventeenth century gaze, calm and intense, is directed oxidized. The frame displays cracks on was unstoppable, strengthened by his towards the viewer. The portrait was the exterior sides as well as oxidized ability to define his own identity based done during Carnevale when the varnishes. There is also the presence on the studies of classical art and Pope resided at the Convent of Santa of small holes caused by xylophagous examples of Raphael’s masterpieces, Sabina. Given the poor health of insects. particularly the works of Annibale Clement IX, he died a few months later Carracci and Domenichino. on December 9, 1669 after the portrait sessions with the artist. For this reason, Restoration Procedures Maratta was also inspired by Maratta lavishly confers on the pontiff’s • Removal of oxidized varnishes contemporary artists such as Lanfranco, face those distinctive characteristics and exterior sediments by using Bernini and Cortona – all great masters that had already been formed in his adequate solvents applied on a of the century. His career crossed the mind after a careful observation of cotton swab paths of many pontificates, from Urban the Pope’s physiognomy. These were • Stucco work of holes with the VIII Barberini (1623-1644) to Clement XI in accordance with a most exquisitely calcium carbonate called Bologna Albani (1700-1721). classicist criteria, linked to a process gypsum (Gesso di Bologna) and glue Embroidery Drawings for Papal Vestments

Artist: Angelo Tanfani and Camillo Mustioli (XIX century) Date: Second half of XIX century Dimensions: Various Materials: paper, ink and pencil Inventory Numbers: from 75457 to 75466

Total Cost: € 9.150,00 168

These ten drawings describe the real masterpieces. The artists’ refined preparatory phase of the refined technique can be better understood production of embroidered fabrics. through their drawings, which have Since the seventeenth century, been stored over the years and include records have shown the presence descriptions of the materials used. of remarkable artisans who often Once the garments were produced, frequented the Papal household. they were acquired by the so-called These artists and their workshops “banderaro,” the person responsible for made preparatory drawings for the affixing embroidered crosses and other production of a wide variety of holy intricate motifs on the fabric of the adornments and liturgical garments. various clothing items. In the records These preparatory drawings were concerning these embroiderers, which accurately realized with fabrics are still stored in archives, it is possible through the use of different techniques to find names of each artisan. based on the fabric fineness, such as retracing the design on to the fabric with pencil, or using the pouncing State of Preservation technique. The paper, modern with short fibers, is very rigid and presents numerous Embroidery drawings were depicted lacerations. The paper surface appears in different ways according to the soiled and deformed due to poor characteristics of the various fabrics: storage conditions. if the garment did not include colored threads, the decoration was produced tone on tone or white on white. Restoration Procedures Before the production of the garment, • Mechanical cleaning of the front fabrics were firstly acquired from and back merchants by textile workers and • Treatment of surface undulation by then passed to embroiderers, leveling whose tasks were to produce • Repairment of tears and gaps sumptuous decorations on supreme • Reinforcement of margins pontiffs’ clothes on the occasion of • Visual balancing of reintegrated ecclesiastical events. Such decorations color were considered essential elements for • Rolling of “anime” lined polyurethane celebrations’ scenography. with Tyvek (polyethylene fibers) Embroiderers played a key role in • Placement in durable cardboard the production of these extravagant boxes for storage liturgical garments, which were often • Photographic documentation XIX Century and Contemporary Art

Dr. Micol Forti Clair de Lune

Artist: Gaetano Previati (Ferrara, 1852-1920) Date: 1909 Dimensions: 170 x 203 cm Materials: Oli on canvas Inventory Number: 54825

Total Cost: € 9.500,00 174

The painting Clair de Lune, completed State of Preservation in 1909, is the most recognized image of In line with the pictorial technique the Notturno painting series made by used by the artist, the work presents a Previati. The series features three other pictorial state superseded. panels depicting Wind, Dance, and These characteristics, together with Harmony. various instances of repainting and other altering interventions, make the Inspired by Beethoven’s Sonate au cohesion of the pictorial film particularly Clair de Lune, the four panels were fragile, and restoration intervention conceived for the Milanese villa of urgent. Alberto Grubicy, a patron of the artist. The paintings were to be placed in the music room setup for Grubicy’s Restoration Procedures daughter, who studied piano. In 1920 the • GRS research, analysis of pigments cycle, including another version of the and material cohesion to canvas Nocturne, was donated by Grubicy to • Proper cleaning his friend D’Annunzio, who then placed • Repairing gaps the work in the Vittoriale degli Italiani at • Mending of detached areas and the Gardone Riviera. pigments from painted surface and canvas issues This same version of the work, acquired • Reinforcement of borders after the death of Grubicy by the • Final retouching of painting Associazione Lombarda Mutilati di • Photographic documentation Guerra, was sold at auction and merged into the collection of the entrepreneur Aldo Rondo, where it remained until 1996 when it entered the collection of the Vatican Museums. Model of Piazza Pius XII

Artist: Piero di Carlo (Abruzzo,1906 - 1992) Date: ca. 1930 -40 Dimensions: 170 x 100 x 40 cm Materials: Chalk and wood Inventory Numbers: 57301.2.1; 57301.2.2

Total Cost: € 35.150,00 The chalk model of Piazza Pio XII was challenge offered by this particular State of Preservation Restoration Procedures made by the artist Pierino di Carlo in commission. The artwork is seriously damaged • Selection and evaluation of the the 1930’s. At that time he had already due to a direct trauma, with the fragments for both sections created the very famous plastic model As an elevated quality was asked consequential breaking of many areas • Anoxic treatments of the wooden of ancient Rome in the Constantine of Pierino Di Carlo, he responded and extensive lesions that compromise parts and substitution of those at the age known as Grande Plastico dell’Urbe by offering excellence with regards the static integrity of the entire. Two base (scale 1:250) in the Museum of Roman to the technical aspect: Di Carlo main damage typologies have been • Dusting and cleaning with Agar Civilization. meticulously represents each and every identified: • Renovation of the quotas and architectural element, each quota, consolidation of the wooden Di Carlo was known as one of the most molding, and profile, while faithfully • The fragmentation and, in many framework talented artisans and scholars of this respecting the dimension of the project cases, the breaking and loss of • Creation of all the frames, moldings, typology of plastic architectural model. in scale. the quota levels and architectural architectural fragments and levels The model of the Vatican is divided in elements that have been lost or are not usable two sections and faithfully reconstructs The two sections present a wooden • The alteration of the quotas of the for the reconstruction the piazza that connects Via della framework and a “double level” in chalk underlying levels and detachments • Recovery and consolidation of all the Conciliazione to Saint Peter’s Basilica and in those parts which are not visible. of the latter from the wooden superior levels quotas the buildings that delimit it. Both sections are fixed with vegetable scaffold. • Mounting of all the detached parts fibers, hence respecting the traditional and reconstruction using chalk, fiber The prodigious technical competence techniques for the creation of chalk pins and all that is necessary for the with which this piece was made stands molds. reconstruction as witness to the vast experience that • Chromatic retouching the artist held with this material. At the • Photographic documentation same time, it is proof of the remarkable Historical Collections

Dr. Sandro Barbagallo Two Jousting Shields

Artist: Unknown Date: XVI century Dimensions: Diameter 50 cm Materials: Wood, oil and canvas Inventory Numbers: 29531, 29532

Total Cost: € 10.700,00 184 185

Among the pieces exhibited in the in cardinals watched twenty Spanish State of Preservation the Sala Vecchia degli Svizzeri (the Old and Italian knights compete in various The imprimitura has been applied to Hall of the Swiss), the room where new events. both sides of the shields and supports. soldiers from Switzerland appeared in The shields are in good condition, front of Pope Julius II, are two exquisite The Two Jousting Shields were also except for some missing elements on Jousting Shields. These shields are part ad pompam vel ostentationem (to their fringe borders. On the painted of a larger set of sixteenth-century be shown and displayed), for they surface, especially towards the center armors from the armory of Pope were not only weapons but indicators areas, there are several scrapes, Urban VIII. of the prosperity and importance of missing parts and erosions. Some of the their possessor. The shields are indeed surface holes are so substantial that the Although art historians are not sure real works of art that were often original painting beneath is visible. Metal as to whom these Jousting Shields coordinated with other valuable armors layers are altered and there is an aged belonged, by analyzing the figures and flaunted on special occasions and coat of gray varnish on the surface. depicted in the shield’s scenes ceremonies, such as marriages. of “The challenge of Rodomonte and the combat of Gradasso” and The production of luxurious armor and Restoration Procedures “The challenge of Lampedusa with weaponry began in the fourth decade • Light cleaning of painted surface Orlando that kills Gradasso” – both of the sixteenth century. The decoration and metal layers referring to the poem Orlando of shields was often done by well-known • Color consolidation where needed Furioso by Ludovico Ariosto, it can be artists, as is the case with the famous • Filling of holes with stucco concluded that these shields were Head of Medusa shield by Caravaggio. • Detailed restoration of all missing included in the Armory of Pope Urban Artists following the Mannerist style, parts VIII as a memento of a remarkable pupils of Raffaello and Giulio Romano, • Final protective varnish knightly joust that took place in often decorated shields with images • Photographic documentation Belvedere Courtyard in the Vatican concerning ancient history and City on March 5th, 1565. classical mythology.

The joust was held on the occasion of the marriage between Annibale Altemps and Ortensia Borromeo, who was Pope Pius IV’s granddaughter. Six thousand spectators and twenty-five Drawing of the Pontifical Army Tabella

Artist: Unknown Date: Late XVIII century Dimensions: 66 x 101 cm Materials: Ink, tempera and watercolor on paper Inventory Numbers: 29354

Total Cost: € 3.500,00 188

Popes have always had their own Army in the eighteenth century, it private armies, as did the Emperor is understandable how Napoleon’s Constantine: after the Edict of Milan “Army of Italy” was able to conquer the promulgation in 313 A.D., he gave to Vatican. Pope Miltiades (311-314) and then to his successor Pope Sylvester Napoleon’s French supremacy spread (314-355) a group of armed soldiers through Italy, unfettered by the Pontifical for the defense of and honorable Army’s presence. Soon the towns of service to His Holiness. Loreto and Ancona capitulated. On June 23, 1796 Pope Pius VI (1775-1799) signed The first group of twenty-five armed a mortifying armistice in Bologna. On soldiers from the Middle Ages that day, the Pope not only ceded the increased in members over decades, regions of Bologna, Ancona, Ferrara, becoming a legitimate army to be Forlì, and Ravenna, but also paid twenty- conveniently used by the Pope. Pope one million ecus and ceded hundreds Julius II (1503-1513) did not hesitate to of artworks and valuable manuscripts employ his army to fight his enemies. from the Vatican Museum and Library to Pope Pius V (1566-1572) succeeded in Napoleon. Lepanto thanks in part to this armed force in 1571. In the 1700’s, based on This general framework of Pope Pius State of preservation Restoration Procedures the reforms passed by Cardinal VI’s troops, recently rediscovered in the The work, which has been preserved • Canvas dismantling and removal Alberoni, commanders were chosen storage of the Historical Collections at the Historic Museum at St. John of cardboard from back side from the members of noble papal Department, is a rarity of historical Lateran, appears to be in poor • Cleaning of front and back families rather than by a military documentation in that it provides condition. Its surface, painted with • Potential removal of old merit. After its defeat in the War of information as to how the Pontifical watercolor and tempera, not only restorations Spanish Succession, the Pontifical Army, Army was composed at the time of appears soiled and oxidized, but • Removal of surface spots which was generally ignored by the Pope Pius VI-its original structure, its also has instances of spots and • Restoration of tears and holes Pontifical Government, dwindled to a various military units before being stains. The work also displays areas • Restoration of painting thousand soldiers who spent most of defeated by the French army, its role in of surface unevenness surface and • Assembly and implementation of their time defending garrisons. With Papal State territory and the number of beveling, which compromise its proper new support these changes made to the Pontifical soldiers and officials it contained. preservation. • Photographic documentation Swiss Guard Uniform

Artist: Unknown Date:XIX century Dimensions: 70 x 45 cm (shoulders) Materials: Cotton, felt and wool Inventory Number: 30631

Total Cost: € 4.200,00 192

Many believe that the renowned the uniform under Pope Leo XII, and they uniform of the Swiss Guard was remained largely unchanged until the designed in 1500 by Michelangelo present uniform was introduced in 1914. Buonarroti. This fact could not be more dubious, however, the uniform as we This doublet jacket was recently found know it today was officially introduced in the warehouses of the Department on November 22, 1914 by Swiss Guard of Historical Collections. It is a very Commander of the Corps Colonel Jules rare example of a nineteenth-century Repond. The commander redesigned uniform, much in keeping with the the uniform as a set of 154 pieces heraldic motifs of Pope Leo XIII. It according to a sixteenth-century model continues to reflect the yellow and studied and approved by the newly blue colors linked to the oak crest elected Pope Benedict XV. of the family of Pope Julius II and the red of the Medici family of Pope There is little information in historical Clement VII – the two popes historically records regarding the uniform worn connected to the origins of the Swiss by the first Swiss guards welcomed in Guards in the Vatican. The shape of Rome by Pope Julius II on January 22, this jacket, however, is completely 1506. This is because the guards did not different from the uniform we recognize then have a special dress, but wore the today. This uniform of the nineteenth same clothing as other soldiers during century made its first and only public their service: a loose shirt and tights, appearance on May 6th, 1915. The feast metallic armor covering the chest of the Pontifical Swiss Guard Corps is still and arms, a halberd, and a sword. held on this same day in remembrance Shortly after 1506, however, Raphael of the tragic massacre perpetrated by represented a group of four Swiss the Lanzichenecchi during the famous will be a rich addition to the permanent Restoration Procedures Guards in his painting Mass at Bolsena Sack of Rome of May 6, 1527 when, installation of the Swiss Guard collection • Anoxic treatment in the Room of Heliodorus in Julius II’s together with the commander and his in the Vatican, which displays selected • Precise micro aspiration system of apartments in the Vatican. Here the wife, 147 guards lost their lives in order to pieces of antique armor related to the interior and exterior guards are shown wearing loose and allow Pope Clement VII to flee from the history of the Holy See. • Restoration through steam cleaning colorful trousers ending at the the knee Vatican, finding refuge in the nearby • Preparation for adequate additional and a cassock or tunic and doublet Castel Sant’Angelo. fabric that extended to the hip. State of Preservation • Restitching on missing areas of the The restoration of this uniform is therefore The uniform is made of wool and fabric On several occasions over the very significant, not only because this cotton and presents several holes, • Photographic documentation centuries, the uniform of the Swiss item is a rare heirloom linked to the deformations (such as wrinkles) and Guard has undergone changes. In the centuries-old history of the uniform of stains. A layer of dust covers the entirety 1820’s, new modifications were made to the Papal Guard, but also because it of the surface. Procession of Pope Pius IX

Artist: Michelangelo Pacetti (Rome, 1793 - 1855) Date: 1853 Dimensions: 99 x 136 cm Materials: Oil on canvas Inventory Number: 45252

Total Cost: € 5.400,00 197

At the end of the Via Sacra, the State of Preservation procession then followed the Via The painting has a pronounced Merulana, ending with the arrival at craquelure with diffused deformations the Lateran and the entrance to the on its surface but despite these Basilica. deformities, there are no issues concerning the areas of the painting The procession marched in the in contact with the frame. The canvas following order: a picket of dragoons tension presents no problems. Oxidized on horseback, a unit of carabinieri or yellowed varnishes, which could on horseback, two other groups of damage the the general aspect of the dragoons, a column of grenadiers, the painting, are not present. equestrian lancers, the bussolanti on horseback, two lay manservants with swords and capes, and two Secret extra Restoration Procedures muros Manservants in red dress and • Removal of surface layer of dust hoods. They were followed by all the • Disassembly of previous framework other Lay Manservants in black uniforms, • Improvement of deformations using This work by Michelangelo Pacetti This ceremony, which still takes place by the secret manservants unit and the low pressure documents the historical event of Pope today, has origins from the time of honor guard. The commander of the • Assembly of frame and support Pius IX “taking possession of Rome.” Pope Pope Boniface VIII in 1295. Winding Swiss Guard rode on horseback, with • Surface cleaning with varnish Pius IX and his entourage are seen in through the streets of Rome, the armor, and the governor of Rome, in removal procession as they traverse the Roman procession commenced with the the dress of a prelate, on a horse with • Chromatic restoration and final Forum to arrive near the Coliseum. exit of the Pope from the Vatican a violet-colored blanket was followed painting Palace on the Quirinale, heralded by the noble guard. Pope Pius IX blessed • Amending deep craquelure Among pontifical ceremonies, the by a cannon shot fired from Castel the people from the doors of the grand • Application of final protective varnish “taking possession” is of particular Sant’Angelo. The procession reached gala carriage. • Photographic documentation importance. With this ceremony, the the territory of the Capitol where the recently-elected pontiff, immediately Pope, arriving at the top of the hill, following his solemn coronation Mass, received homage from the Senate takes “possession” of his episcopal of Rome. He then descended to seat in the pontifical cathedral of St. the Roman Forum and continued John Lateran, Mater et Caput of all the around the Coliseum through the churches of the city and by extension of ancient triumphal arches of Titus and the world. Constantine. Funeral Procession of Pope Pius VII

Artist: Unknown Date: 1823 Dimensions: 18.5 x 32 cm Materials: Ink, watercolor and white lead on paper Inventory Number: 73473

Total Cost: € 3.300,00 200

201

rank and placed the corpse on a high State of preservation bed surrounded by torches. During the The painting has a pronounced night, Catholic priests continued to craquelure with diffused deformations pray next to the pontiff’s corpse while a on its surface, but despite these issues, group of noble guards kept watch. the areas of the painting in contact In terms of the painting, the building with the frame are not damaged. The facades shown in the background canvas tension presents no problems. allow for the identification of the Oxidized or yellowed varnishes, which setting as St. Mark’s Square (today could damage the general aspect of known as Piazza Venezia). On the right the painting, are not present. side of the painting is the Palazzo This rare and detailed drawing of ink carried to the church of St. Vincent Venezia in Via del Plebiscito; on the left and white heightening represents the and St. Anastasius and then, at exactly side are the walls of its ancient cloister Restoration Procedures funerary procession for Pope Pius VII at 1.00 a.m. on August 23rd, a funeral and the facade of the Palazzo dei • Removal of surface layer of dust to the Vatican. The pontiff died at the procession from the Quirinal Apostolic Frangipani. • Disassembly of previous framework Quirinal Apostolic Palace on August Palace took place so as to transport the • Improvement of deformations using 20, 1823 after the Apostolic Penitentiary pontiff’s corpse to the Vatican. Concerning the exact location of what low pressure Cardinal Francesco Saverio Castiglioni is depicted in the drawing, it appears • Assembly of frame and support (later Pius VIII) recited for him pro infirmo The convoy descended the Quirinale that the funeral procession is shown • Surface cleaning with varnish pontifice morti proximo. towards Via delle tre Cannelle; then, it making a stop at the majestic front removal walked along the Papal Route to cross door of the Palazzo d’Aste Rinuccini • Chromatic restoration and final On the morning of August 21st, the Ponte Sant’Angelo, passing through the where, from 1818 Maria Letizia Ramolino, painting corpse of Pius VII was embalmed, Borgo Nuovo and arriving at St. Peter’s emperor Napoleon Bonaparte’s • Repairment of deep craquelure covered with pontifical vestments such colonnade and then at the Colossus of mother and adversary of Pope Pius VII, • Application of final protective varnish as a white soutane, a surplice, a red Constantine where four Catholic priests lived in exile. • Photographic documentation mozzetta (a short elbow length cape) of St. Peter’s removed the corpse from and a camauro (a cap). The body was the stretcher and brought it inside the then venerated by the faithful for two Sistine Chapel. days. In accordance with tradition. On August 22 at midnight the vase They clothed him with pontifical containing the pontiff’s organs was garments appropriate to his highest Fellowships 205

As the Patrons of the Arts continues to The Fellows greatly help the Patrons Twelve-month grow and expand, so do the number of the Arts in handling its duties, of projects, events, and patron visits. function as reliable members of In order to keep up with this increased the team by taking on mid to long- Patrons’ Office activity, our Vatican office has created term responsibilities, and assist with Fellowship positions for twelve months, a variety of events, patron visits, and renewable for a maximum of three daily interactions. Fellows should also Fellowship years upon decision of the Director of enthusiastically promote the mission of the Patrons Office and the Direction of the Catholic Church through this non- the Vatican Museums. profit organization.

The opportunity to provide one or Sponsorship from our Patrons ensures more of these Fellowships rests on the that the high standards of service to generosity of our Patron community. our Patrons will be met. Fellowships are Since its commencement in 2010, hired by the International Director of the these special positions have become Patrons of the Arts, and can be named a crucial part of our Vatican office after the sponsoring Chapter. The cost operations. In contrast to the short to support a single Fellowship includes periods of volunteer work provided the stipend for the fellow as well as by our interns, the longevity and administrative costs and insurance fees. commitment required by one or more Fellowships affords the office an essential level of continuity and, in turn, a more comprehensive work experience for the Fellows.

The Patrons of the Arts in the Vatican Museums offers this opportunity to recent graduates and beginning professionals in several areas. Our Fellowship program provides the opportunity to learn about the operations of a non-profit art organization and to work in collaboration with competent museum Total Cost: € 34.000,00 professionals. 207

North American Office Fellowship

The Patrons of the Arts in the Vatican The Patrons will be most keen Museum has always held a particularly to consider applicants with an strong presence in North America, academic and/or professional and has recently established an office background in nonprofits, space in Chicago as a resource center communications, business for Chapter leadership and individual administration, IT management, patrons in North America. and public policy.

In light of this, the Patrons of the Arts is The Fellow will be hired by the offering the possibility of supporting the International Director of the Patrons of North American Office Fellowship. This the Arts in conjunction with the North part-time Fellowship has been created American Office Coordinator. The cost for the purposes of aiding the new of this part-time fellowship includes North American Service Office with its the Fellow’s stipend as well as some increasing responsibilities. administrative costs.

Total Cost: € 18.000,00 Wishbook 2019

Colophon 210 211

DIRECTION OF THE VATICAN MUSEUMS PUBLICATION CURATED BY Barbara Jatta, Msgr. Paolo Nicolini, Guido Cornini, Roberto Romano Romina Cometti

CURATORS TRANSLATIONS Christian Antiquities Department - Umberto Utro Mary Angela Schroth, Sophia Bevacqua Collins, Clarissa Subissi Greek and Roman Antiquities Department - Giandomenico Spinola Gregorian Etruscan Department - Maurizio Sannibale COPY EDITING Decorative Arts Department – Maria Serlupi Crescenzi Fr. Kevin Lixey L.C., Sophia Bevacqua Collins, Romina Cometti, Martina Suozzo Medieval Byzantine – Adele Breda EDITORIAL DIRECTION XV-XVI Century Art Department – Guido Cornini Chiara Lorenzetti XVII-XVIII and Textiles Department - Alessandra Rodolfo Oriental Antiquities Department - Alessia Amenta GRAPHIC DESIGN Missionary Ethnological Department - Fr. Nicola Mapelli Chiara Lorenzetti Department of the Historical Collection - Sandro Barbagallo

Architectural Heritage of the Vatican Museums - Vitale Zanchettin GRAPHIC CONSULTATION

Vincenzo Alfidi & Reverse Studio HEAD RESTORERS Painting Restoration Laboratory - Francesca Persegati PHOTOGRAPHS Marble Restoration Laboratory - Guy Devreux FOTO © MUSEI VATICANI, GOVERNATORATO SCV - All rights reserved Paper Restoration Laboratory - Chiara Fornaciari

Metal and Ceramic Restoration Laboratory - Flavia Callori IMAGES AND RIGHTS Tapestries and Textiles Restoration Laboratory - Chiara Pavan Office for the Vatican Museums - Rosanna Di Pinto, Filippo Petrignani Polimatheric Laboratory - Stefania Pandozy Mosaic Restoration Laboratory - Roberto Cassio PHOTO LIBRARY Scientific Research Laboratory - Ulderico Santamaria Paola Di Giammaria

Special thanks to the Secretary of the Departments, Restoration Laboratories, PRINTED BY Photographic Archive and Edizioni Musei Vaticani. Tipografia Vaticana