Update on the Missing Botticelli

Botticelli St Augustine restored bannerIt was a stormy afternoon (not night), when I nervously entered Florence’s Ognissanti Church to check if Botticelli’s St. Augustine had finally returned. My last meeting had run late and I was out of breath. Tomorrow my flight was leaving at sunrise, so this would be my last chance. I walked at top speed nearly the whole way, because it was close to closing time. There was no time to take more than a few irresistible last looks at the city (Santa Maria Novella, the Arno).  Luckily, a thunderstorm had just ended, thinning the crowds of tourists, but the stone pavement was slippery in spots along the way.

For the past three years, I had made this pilgrimage, only to experience disappointment. Ognissanti, one of the important neighborhood parish churches of Florence, has quite a few treasures, like its beautifully restored, spectacular 15 foot tall crucifix by Giotto. It is also the final resting place of Sandro Botticelli, his tomb near the feet of his unrequited love, Simonetta Vespucci, the model for The Birth of Venus and other masterpieces. Visitors from around the world leave love notes addressed to the artist there.

But one of my favorite Botticelli frescoes, St. Augustine in his Study (1480), has been missing for years, its place taken by a mounted, fading color photocopy. Just across the aisle hangs a fresco designed to be the other half of a pair — Domenico Ghirlandaio’s St. Jerome in his Study (1480).  St. Jerome appears to be looking across at St. Augustine. Leaning his head in his hand, he seemed to, while trying to be philosophical, share my frustration looking across at the poor copy.

Domenico Ghirlandaio, St. Jerome in his Study (1480)

Domenico Ghirlandaio, St. Jerome in his Study,  1480

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Triumph and Travesty in Florence: Baptistry cleaned and Museum reopens

Baptistry before and during cleaning

Baptistry before and during cleaning

This fall, there is good news and bad news from Florence. Lovers of the city rejoiced during the last week of October when, just before the visit of Pope Francis, the scaffolding and giant canvas tarps around the Baptistry finally came down. Since February 2014, the nearly thousand year old Florence Baptistry has been wrapped and blocked from view while its walls were given their first top to bottom cleaning in seventy years. Like a giant gift box finally opened, all can finally see what has been missing from the heart of the city for almost two years.

The cleaned walls of the Florence Baptistry

The newly cleaned walls of the Florence Baptistry

The $2 million restoration was a huge undertaking not just because of the size of the building or its age, but also due to the variety of marble found on the Baptistry’s exterior. According to the Opera di Santa Maria del Fiore, which manages all the historic buildings in the piazza, its cladding ranges “…from Apuan [Carrara] marble to the oldest marble recycled from ancient Roman buildings and tombs.” Most difficult to handle of all is the green serpentine of Prato, a very fragile stone. Depending on the material, conservators used chemical softeners, sponges, scalpels and lasers along the eight sided building.

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Roman relief sculpture in Baptistry wall

Roman relief sculpture in Baptistry wall

Yet I am happy to report from a visit earlier this month that the results are simply spectacular. The white marble looks bright and fresh. It contrasts beautifully with the black and green marble, which now appear deep and resonant. The Baptistry’s designs seem crisper and more abstract than before – almost modern.  In comparison, the nearby 19th century facade of the Duomo’s entrance, cleaned not so long ago, seems not just overly complicated, but also tired and grimy.

Detail of Baptistry wall

Detail of Baptistry wall

Perhaps most shocking is the change in the Baptistry’s roof. In the past, it had a gray metallic color with what looked like some random splashes of whitewash.  Now, one can see that it is not made of lead at all but stark white marble.

Marble roof of the Baptistry

Marble roof of the Baptistry

The success of the restoration is good news to art and architecture lovers. Unfortunately, the news is not so good concerning the long awaited expansion and reopening of the Museo dell’Opera di Santa Maria del Fiore. The two and a half year renovation tripled the exhibition space of the museum and allowed for a complete reconsideration of its exhibits. It now has a great hall, the largest exhibition space in Florence, which features a life-size reconstruction of the original Medieval façade of the Duomo and the newly cleaned Baptistry doors by Lorenzo Ghiberti, “the Gates of Paradise”. Continue reading