patrons celebrate 30th anniversary in rome€¦ · every morning, breezing through the gendarmerie...

MessaggeroDecember 2013CALIFORNIA PATRONS

OF THE ARTS IN THE VATICAN MUSEUMS

SAVE THE DATE January 14, 2014 • Getty Museum, Brentwood

On Tuesday, January 14, 2014, we will enjoy the California Patrons first event of the new year: a complimentary docent-led tour for members of the exhibition

“Canterbury and St. Albans: Treasures from Church and Cloister,” which focuses on two rare masterpieces of English medieval art: stained glass from Canterbury Cathedral and pages from the St. Albans Psalter, an illuminated book of psalms. Invitations will be sent out to current members next month

so please renew your membership promptly when the notice arrives.

continued on page 7

Patrons Celebrate 30th Anniversary In Rome

The California Patrons celebrates thirty years of supporting the Vatican Museums this fall. As

the first Patrons group to be formed, we are proud of our heritage and how the California Patrons have grown and spawned so many other Patrons groups throughout North America and now around the world. The Museums arranged a wonderful series of commemorative events in Rome from October 16 through October 20, 2013. Some 350 Patrons from around the world attended, including 36 California Patrons. The Patrons enjoyed amazing opportunities: attending lectures on restoration and wandering a restoration projects fair, visiting the many sections of the Museums, enjoying cocktails in the Vatican Gardens and the Gallery of the Maps (a California Patrons project), listening to a choir sing in the Sistine Chapel, exploring the excavations of the Basilica of St. Paul Outside the Walls, and personally meeting Pope Francis. What a spectacular few days!

Patron Mary Ann Smith shares the following personal reflections on her experience on the trip with her husband Mike: The 30th Anniversary Celebration of the Patron of the Arts

was an intertwined cultural and spiritual pilgrimage. At the welcome reception under the moonlight on the Vatican lawn, we became a kindred spirit of three hundred and fifty strong, sharing a common interest in preserving art for future generations. Introductions and acquaintances were made as we privately toured the Vatican’s Carriage Room. We ended the evening exploring the Vatican’s newest exhibit celebrating the non-Christian faith of the Aborigines. The glorious and beautiful photography and antique ceremonial costumes captured their essence and spirit.

The second day was devoted to learning about the history of

Patrons with Pope Francis

The Patrons Roman staff

California Patrons in the Hall of Statues

CALIFORNIA PATRONS OF THE ARTS IN THE

VATICAN MUSEUMS

2 • December 2013 CALIFORNIA PATRONS OF THE ARTS IN THE VATICAN MUSEUMS

Michael Scott Feeley, Chairman • [email protected] • 213-891-7895Monica M. Lomenzo, Coordinator • [email protected]

California Patrons of the Arts in the Vatican Museums301 N. Lake Ave., Suite 900, Pasadena, CA 91101

t the celebrations of the 30th Anniversary of the Patrons in Rome this fall, Pope Francis held a private audience for the 350 Patrons in attendance on October 19, 2013. Prior to meeting each and every Patron personally, His Holiness delivered the following address:

Pope Francis Addresses The Patrons

Dear Friends,I am pleased to greet the Patrons of the Arts in the Vatican Museums on the occasion of

this pilgrimage to Rome marking your thirtieth anniversary of foundation. Over the past three decades the Patrons have made an outstanding contribution to the restoration of numerous treasures of art preserved in the Vatican collections and to the broader religious, artistic and cultural mission of the Museums. For this I thank you most heartily.

The establishment of the Patrons of the Arts in the Vatican Museums was inspired not only by a praiseworthy sense of stewardship for the Church’s heritage of sacred art, but also by the desire to advance the spiritual and religious ideals which led to the foundation of the papal collections. In every age the Church has called upon the arts to give expression to the beauty of her faith and to proclaim the Gospel message of the grandeur of God’s creation, the dignity of human beings made in his image and likeness, and the power of Christ’s death and resurrection to bring redemption and rebirth to a world touched by the tragedy

of sin and death. The Vatican Museums, with their unique and rich history, make it possible for countless pilgrims and visitors to Rome to encounter this message through works of art which bear witness to the spiritual aspirations of humanity, the sublime mysteries of the Christian faith, and the quest of that supreme beauty which has its source and fulfillment in God.

Dear friends, may your patronage of the arts in the Vatican Museums always be a sign of your interior participation in the spiritual life and mission of the Church. May it also be an expression of our hope in the coming of that Kingdom whose beauty, harmony and peace are the expectation of every human heart and the inspiration of mankind’s highest artistic aspirations. To you, your families and associates, I cordially impart my Apostolic Blessing as a pledge of enduring joy and peace in the Lord.

Pope Francis

Pope Francis addresses the Patrons

Pope Francis greets Fr. Mark Haydu

A

The Blake Family greets Pope Francis

7-Year old Patron Gerard Blake snapped a close up of Pope Francis

CALIFORNIA PATRONS OF THE ARTS IN THE VATICAN MUSEUMS December 2013 • 3

The California Patrons have sponsored the restoration of a magnificent Terrestrial Globe

created by Dutch cartographer and engraver, W. J. Blaeuw (1571 to 1638). Blaeuw founded a dynasty of cartographers who dominated the European scene for no less than fifty years, delivering at a high level, both qualitatively and numerically, the production of maps and globes. As both a pupil and friend of mathematician and astronomer Tyco Brahe, Blaeuw had a profound knowledge of the earth; he was responsible for measuring the degree of the earth’s surface, a key element in the art of navigation. Thanks to his skill and professionalism, Blaeuw was nominated as the official cartographer of the East India Company, receiving the task of providing departing ships with all necessary tools, including terrestrial and celestial globes. His production of globes became so famous and sought after that special editions, made in larger sizes and characterized by luxury finishes such as hand-coloring of the continents’ interiors and features made in gold leaf, were commissioned for kings, princes, and emperors. The Terrestrial Globe in the Vatican collection was made for Maurizio di Nassau, captain general of the Dutch army, and its dedication appears in its text and is represented by a colorful coat of arms. This Globe, paired with Blaeuw’s Celestial Globe (which the California Patrons are also restoring), is part of a small but precious body of globes from the Vatican Apostolic Library that were brought to the Museum in 1999.

The Globe is very old and its materials are extremely fragile. Before this restoration, the Globe appeared to be in a very poor state of conservation. Under the expert hand of Dr. Chiara Fornaciari of the Vatican’s Paper Restoration Lab, a thorough cleaning and restoration revived the amazing artistic value of this unique piece. Representations of figures and animals

can now be seen on its continents. In fact the label “California” has emerged! Many details are finally visible in the area of the sea, thanks to a cleaning which removed the thick layer of Prussian blue color and dammar resin. These harmful materials had been used in several previous “restorations”

performed during the late nineteenth and early twentieth century.

The paper surface of the Globe was badly damaged: some areas had been torn, and other portions were completely eroded by insects. Unfortunately, the main problem with this Globe—which also has been the reason for its lengthy restoration timeline—was that the original blue pigment and paint had been absorbed into the original paper, and, furthermore, the quantity of remaining color (i.e., its level of absorption) varied throughout the Globe, depending on the state of conservation of the paper itself. Because of this issue, cleaning the paper with a laser—an absolute novelty in the field of paper restoration—was selected as the best technique. However, this method was only chosen after a long and complex series of tests were

completed by the Scientific Restoration Laboratory so that restorers could identify the exact parameters of the laser before attempting a removal of the blue pigment on the Globe itself. The cleaning was carried out and completed with the use of a light solvent.

Upon the completion of this long cleaning process, areas of the paper were replaced where necessary. The missing parts were replenished with Japanese paper of the same thickness as the original and then painted in order to achieve a homogeneous tone throughout the Globe. Once the entire paper surface was cleaned and restored, a thin layer of protective varnish was applied all over the object. This wonderful, restored Globe has been relocated to the Gallery of the Ancient Library and is now protected in a transparent display case.

Blaeuw Terrestrial Globe Restored

Museum Director Antonio Paolucci examines Globe with Curator Chiara Fornaciari


The California Patrons fund a one year internship at the

Patrons office in Rome beginning in the fall. We are delighted that the 2013-2014 California Intern is Madeline Amos, the daughter of Patrons Dr. Edwin and Christine Amos. Maddie sends the following introduction:

Walking through St. Peters Square every morning, breezing through the Gendarmerie guarding the Porta Sant’Anna, climbing the beautiful back marble staircases of the Apostolic Palace, having a Swiss Guard unlock a grand iron door of the Prima Loggia—my daily routine—still feels like a dream.

Much of this is surely due to the fact that I hail from the wildly different setting of Pacific Palisades, California, which, although beautiful and undoubtedly one of my favorite places on earth, lacks the history and architectural wonder of Rome and Vatican City. I owe my interest in Art History to a wonderful AP class I took in my senior year when attending Marymount High School. which continued and developed into my focus of study at Northwestern University, where I graduated from just last June (2013) with a Bachelor of Arts in both Art History and Art Theory and Practice.

Though this internship truly feels like a dream, I have never felt so prepared for a job opportunity in my life. Apart from my studies at Northwestern, my extra curriculars focused largely on publication and the arts: I spent all four years of college as editor and eventually became President of the Northwestern Art Review. I’ve held internships in both Decorative Arts and Sculpture restoration and Book and Paper conservation, at the J. Paul Getty Museum and the Northwestern

University Library, respectively. Having the opportunity to live in Rome also feels like it was meant to be. While I am still learning my way around certain areas, I feel surprisingly familiar with the city after having studied its architecture and layout so extensively. My Art History thesis focused

on Roman urbanism, specifically on monumental staircases of Baroque Rome— a period which is largely responsible for many of the basilicas of the city as well as the shaping of the city itself as we know it today.

So far, I’ve been able to work in some facet in three major projects/areas—our online development, our annual publication, and our special 30th Anniversary Celebration. For the launch of our new website I initially assisted Carolina Rea in populating the website and I have also written and will continue to write content for the website. Additionally, I launched two new social media outlets for the Office,

our new Twitter account (@Vatican_Patrons) and our new Instagram account (“VaticanPatrons”).

Much of my time here thus far has consisted of writing and editorial work. Assisting Romina Cometti with WISHBOOK 2014 has proven to be the largest endeavour of this type; the editing process was very rigorous and required many read-throughs, adjustments, translations, and additions to make it just right. I was also able to practice my editorial skills on Fr. Mark’s wonderful new book, Meditations on Vatican Art, working in close communication with his editors at Liguori Press.

Preparations for the 30th Anniversary kept everyone in the office (especially our superwoman, Sara Savoldello) very busy during September and early October. I worked closely with our Italian intern, Chiara Lorenzetti, on a series of Powerpoint presentations which each restoration laboratory presented to the Patrons during a “Restoration Fair” hosted by our office. Another task involved translating and/or editing biographies of event speakers and our office staff. After completing that, I was even able to translate and edit a few of the lectures given at the 30th Anniversary, which was exciting work and a valuable learning experience. So far, translating texts from Italian to English has been one of my favorite duties, as it lets me practice and improve my Italian and enables me to learn more about restoration, the Museums’ collections, and the exciting work made possible by the Patrons. Your generous support truly fosters incredible things here at the Vatican Museums, and I am so grateful to be experiencing it firsthand by working in the Patrons’ Office for the year. Thank you all for your support—being the “California Intern” is both an honor and a dream come true!

— Maddie AmosInterns Chiara Lorenzetti, Giselle Betino-Clarke and Maddie Amos

Maddie Amos

Meet Madeline “Maddie” Amos, Our California Patrons Intern in Rome


Patrons Restore Pukamani Funerary Poles

Due to a restorantion grant by the California Patrons and Patron Jeffrey Littell, ten carved and

painted Pukumani wooden poles, from the island of Melville within the Tiwi Islands in the Northern Territory of Australia, are now on prominent display in a new section of the Missionary Ethnological Museum. The Natives of the Tiwi Islands donated the sacred objects through the Missionaries of the Sacred Heart to the Vatican Museums. The Missionaries used the significance of the wooden poles in the indigenous culture as a means of introducing Christian teachings on the cross and resurrection.

These Pukumani poles are part of a series of objects used in funerary ceremonies and are among the best preserved in the world. Each pole has its own individual style and design, with recurring motifs such as carved bird heads, dotted decorations, and structural openings like windows. Each pole is made to be given to the deceased during commemoration ceremonies. In fact, the funerary ceremony itself involves the making of a Pukumani pole. The family of the deceased delegates specific individuals the tasks of cutting, preparing, carving, painting, and placing the pole in the burial grounds. Each pole is fashioned from a single carved tree trunk. The lower part of the trunk, which serves as the support (and was inserted into the sand at funerals), is not decorated and has a diameter narrower than the pole itself.

The poles vary in shape. For example, some resemble the head of a bird, symbolizing the spiritual world. For the funeral ceremony, baskets used for storing food are made from beaten bark painted with natural pigments. The baskets are decorated in the same

manner as the poles. At the end of the ceremony, these baskets are used to cover the apex of the poles and are usually left to decay naturally by the sea.

The drawings on the poles correspond with the clan of the deceased. Each pole is unique: their individual shapes, decorations, and overall appearances are designed differently, and their forms take on figures of women, men, and animals. The decorations are

geometrical, and the circular and tablet shapes refer to stylized zoomorphic figures from the world of dreaming and dreamtime. The materials used for these decorations come from the land of origin. Some decorations were colored with juice from orchid flowers and additional water, which allowed the pigment to stick to its wooden support. The use of animal glue is more recent. The Pukumani poles were usually made from Eucalyptus trees because they provide a softer type of wood that is easier to carve.

The initial conservation status of these poles was mediocre. The main problem was the de-lamination of the pigments, since the natural glue used was probably partly absorbed by the wood and resulted in a decreased adhesive power. Despite the separation of their

pigments, it is possible to see that the colored dots are still in relief. After a complete disinfection of the poles with an anoxic solution, the restorers took samples to determine the nature of the pigments used. The fragility of most of the pigments used, along with that of most lower parts of the poles, inhibited a complete dusting of their surfaces. Only the most stable pigments could be dusted, using soft brushes and a micro vacuum cleaner fitted with micro

nozzles and with the an application of filter. Other areas were cleaned with a sponge and a rubber pad.

For more than ten years, the activities of the Mixed-Material Laboratory (“Laboratorio Polimaterico”), assisted by the Diagnostic Laboratory for Conservation and Restoration directed by Professor Ulderico Santamaria, have been devoted to the study of the properties of natural materials often present and co-present in the Ethnographic collections, experimenting with new techniques of intervention that utilize materials most suitable for restoration compatible with the environment. The Pukamani Pole project has resulted in new discoveries in conservation techniques and the restored objects are a centerpiece of the Vatican Ethnological Museum.


Opening Night At The Bowers: Gods & Gifts

Some 50 California Patrons toasted the opening of the exhibition “Gods & Gifts” on September

27 at the Bowers Museum in Santa Ana, California. Patron Peter Keller, the president of the Bowers, provided a warm welcome—along with wine and hors d’oeuvres and musicians. Bishop Kevin Vann of the Diocese of Orange gave a beautiful invocation and Congresswoman Loretta Sanchez offered her congratulations for assembling such an exhibition. Fr. Nicola Mapelli, the director of the Vatican Ethnological Museum, reminded us of the remarks of Pope Benedict XVI that beauty leads us to the divine.

Made possible by funding from the California Patrons, the 65 sets of objects on view is the largest trove to ever leave the Vatican Ethnological Collection. Indigenous peoples from across the globe created most of the pieces. The collection, begun in 1692 by Cardinal Stefano Borgia, illuminates diverse religious beliefs and practices through works of art and includes gifts presented to the Pope from heads of state and spiritual leaders as well as pieces collected by missionaries. The Vatican Ethnological Collection, comprised of over 80,000 pieces, illustrates the many expressions of humanity’s spiritual journey and the Church’s respect for different cultures.

The Bowers Museums’s mission “to celebrate world cultures through art” fits well with the Vatican Ethnological Museum’s emphasis on pieces from Asia, Oceana, Africa, and the Americas. We look forward to future collaborations between the Vatican Museums and the Bowers. And more lovely opening night festivities! “Gods & Gifts” is on display until February 9, 2014.

Opening Night for the Exhibition

The Chaix Family with Fr. Mapelli

Bowers President and Patron Peter Keller, Fr. Mapelli, Bishop Kevin Vann, Msgr. Lawrence Baird, Bowers Chair Anne Shih, and Danny Shih

Patrons Kristan O’Donnell, Wendi and Gunnar Gunderson, James and Audrey Low

Helen and Bill Close with Janet and Michael Feeley

Fr. Mapelli describes a piece to Congresswoman Loretta Sanchez


2014 WISHBOOK Available On Line!

The Vatican Museums has issued the 2014 WISHBOOK. This catalogue sets forth many diverse opportunities that the curators of the various collections have deemed their priority projects for the coming year. The WISHBOOK is

on-line at: http://www.vatican-patrons.org.Please visit the site to view the many interesting objects and items that are in need

of sponsorship. Please contact Michael Feeley if you have any questions regarding a sponsorship: 213-891-7895 or [email protected]

Patrons Celebrate from page 1

Patrons gather for vespers and lecture in the Sistine Chapel

Patron Ursula Hyman lectors in St. Peter’s Basilica

Patrons Mike and Mary Ann Smith

restoration, in addition to enjoying a unique Restoration Fair. It was very special to be able to interact with the Vatican restorers and see the benefits of their delicate handiwork to preserve and strengthen sculptures, jewelry and headdresses, paintings and textiles. As we marveled at the restorers’ artisan gifts, we continued to realize the importance of supporting the Vatican to preserve faith-filled art for the millions of people who visit each year. That evening we enjoyed Mass, led by Cardinal James Harvey, Archpriest of the Basilica of St. Paul’s Outside the Walls.

Each day the important mission of the Patrons was revealed. On the third day we heard from top Vatican officials in the Hall of Blessings. We are the ones who felt blessed as Greg Burke, the Vatican’s Senior Communications Advisor, described the Holy Father in 10 words. Afterwards, we visited the recently restored Pauline Chapel, the Holy Father’s personal place of worship. The whole day felt like a miracle.

We dined among the great works of Caravaggio, Raphael and DaVinci in the Pinacoteca Gallery, the rooms of great painted masterpieces. Again, the stories of the Gospel came alive through art, and our souls rejoiced in the beauty of its teachings and the sharing of our personal stories.

The highlight of the experience came on Saturday: the audience with His Holiness, Pope Francis. Although only a few were scheduled for the receiving

line, Pope Francis made the decision to greet each one of us individually. The Pope, a living example of the Gospel, deeply touched us as he showed us we all mattered. That evening Vespers in the Sistine Chapel with the men’s choir was magical. Afterwards, Dr. Elizabeth Lev seemed to channel the voice of Michelangelo as she brought the Last Judgment alive through her love of art history and her gift of storytelling. “There are no women in hell,” she exclaimed. We all laughed. A beautiful cocktail reception followed in the Gallery of Maps followed by a gourmet dinner in the Hall of the Roman Sculptures. Again, art and faith continued to bring us together on a deeper level and the need to support the Vatican Museums was evident.

Our last day, in St. Peter’s Basilica, the President of the Vatican, Cardinal Giuseppe Bertello, presided over a farewell Mass. It was magnificent. And finally, overlooking the city and above the fray, we enjoyed our final meal together at the private Villa Miani where we continued to give our thanks and appreciation to the extraordinary endeavors of the Patrons. We are looking forward to the next pilgrimage and celebration. — Mary Ann Smith

CALIFORNIA PATRONS OF THE ARTS IN THE

VATICAN MUSEUMS

301 N. Lake Ave., Suite 900Pasadena, CA 91101Return Service Requested

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GLENDALE, CA PERMIT NO. 383

The international Director of the Patrons, Fr. Mark Haydu, has published Meditations on Vatican Art. It has skyrocketed to the top of Amazon’s Religion and Art category! Fr. Mark offers reflections based on St. Ignatius of Loyola’s Spiritual

Exercises with accompanying art from the Vatican collection. What a wonderful gift! Order several!

patrons celebrate 30th anniversary in rome€¦ · every morning, breezing through the gendarmerie...

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