MessaggeroOctober 2016CALIFORNIA PATRONS

OF THE ARTS IN THE VATICAN MUSEUMS

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The Icon of the Blessing Christ Revived

Upcoming November Members Event

Church Of Our SaviorUniversity of Southern California, Los Angeles

The Catholic Center at USC has fashioned a remarkable church for its community, filled with world-class pieces of art created by some of the leading artists of our day. Current California Patrons will be invited to an afternoon in the church with some of the artists to discuss their works and with a member of the liturgical design team to explain the vision for the worship space.

By Brogan Feeley, Summer Intern

Due to the generosity of California Patrons Karen and Joe Knott, the

Icon of the Blessing Christ has undergone substantial restorative treatments to revive the vibrancy and beauty of this historic piece. Consisting of tempera on canvas applied to a wooden panel, the piece measures approximately 98 x 59 centimeters. The artist is unknown and the frame is lost to time.

The Icon depicts Christ straight on with his right hand raised in blessing while his left hand clutches a jewel encrusted book to his chest. The gold halo around his head is decorated with a cross of red and gold lines enriched with precious stones. The background is blue. This is a classic rendering of Christ Pantokrator, a beloved and ancient figure of the Eastern Church.

Created in the second half of the 12th century, the Blessing Christ Icon’s journey from its inception to its contemporary restoration is strongly connected to theological developments of the time. Specifically, this Icon emerged after the first millennium during a period of renewed theological debate and changes which affected both lay people and Church leadership. Indeed, the various Lateran Councils of the 12th century enshrined these doctrinal developments. The Lateran Councils brought forth reforms that combatted corruption and encouraged increased participation from the common people. For example, the Councils forbade the practice of selling Church offices and positions to the wealthiest bidders and instead promoted meritocratic ascension within the Church ranks. Importantly, the Fourth Lateran Council clarified and affirmed the theology of Transubstantiation:

Joe and Karen Knott with the Icon of the Blessing Christ

the transformation at Mass of the bread and wine into the body and blood of Jesus Christ.

The Blessing Christ Icon is linked to these theological developments. Christ Pankrator evokes the doctrine of Transubstantiation as the translation of Pankrator is

CALIFORNIA PATRONS OF THE ARTS IN THE

VATICAN MUSEUMS

2 • October 2016 CALIFORNIA PATRONS OF THE ARTS IN THE VATICAN MUSEUMS

Michael Scott Feeley, Chairman • michael.feeley@lw.com • 213-891-7895Monica M. Lomenzo, Coordinator • mmlomenzo@gmail.com

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

California Patron Restorers Explore Dunhuang Caves

The California Patrons are fortunate to have so many generous members. To

thank California Patrons who make an annual membership contribution of at least $1,200 per person, we arrange a special event each year. Over a third of all California Patrons contribute at this Restorer level. On August 31, 2016, some 30 California Patrons Restorers gathered at the Getty Museum in Brentwood to tour the exhibition “Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road.”

The Exhibition focused on the Mogao Grottoes, hundreds of cave temples carved into cliff faces in an ancient oasis near the Gobi Desert. The caves, created from the 4th to the 14th century AD, are decorated with Buddhist sculptures and wall paintings. Located on the Silk Road linking the East and the West, Dunhuang became a center of cross-cultural interaction.

One of the most intriguing discoveries in the Mogao Grottoes is the Library Cave. A Chinese Taoist, Wang Yuanlu, decided to become the guardian of the ancient caves at the turn of the 19th century. In June of Continued on page 3

Inside Mogao Cave 285 at the Getty Museum

The central Buddha of Mogao Cave 320

CALIFORNIA PATRONS OF THE ARTS IN THE VATICAN MUSEUMS October 2016 • 3

1900, while repairing a cave temple, Wang found a walled up area which had been untouched for centuries. Opening the false wall, Wang discovered an immense trove of manuscripts. In addition to religious texts, the documents contained works on music, mathematics, history, medicine, recreational games, and literature. Although most of the manuscripts are in Chinese, the cache included some of the earliest known Tibetan writing.

The curator gave the California Restorers an introduction about the Exhibition, setting the context and highlighting important themes before we set out on a three-part tour. First, we experienced a virtual visit to Cave 45 which was decorated in the 8th century. Using 3-D glasses, we viewed large panoramic projections as if we were inside the cave. Then, we visited exact replicas of three important caves, Cave 275 from the 5th century, Cave 285 from the 6th century, and Cave 320 from the 8th century. Painstakingly created by the Dunhuang Academy, we were amazed by the colors and detail of the decorations in each cave. Not only did the styles and subjects of the painted walls evolve with the centuries, but the sculptures also reflected the different artistic periods. After our visit to the caves, we toured a collection of objects from the caves, including sculptures, artifacts, and documents. Indeed we viewed the oldest known complete printed book in the world: The Diamond

Dunhuang CavesContinued from page 2

Sutra printed in 868 AD!Following our tour of the Exhibition, we

gathered for lunch at the Restaurant of the Getty. Each Restorer selected whatever they fancied from the attractive menu. Enjoying delicious food and drink while conversing with fellow Restorers from throughout California was such a treat. We are grateful for the generosity of our members. n

The Restorers gathering in front of the Exhibition with the Curator

The Wolfs and the Romanos at table

The Dalbys and the McLoons enjoying lunch at the Restaurant at the Getty

The Haubs with Michael Feeley and Kathleen McCarthy Kostlan

4 • October 2016 CALIFORNIA PATRONS OF THE ARTS IN THE VATICAN MUSEUMS

“Sustainer of the World.” Indeed, through participation in Holy Mass, the faithful consume the body and blood of Christ and are thus physically and spiritually sustained by Jesus. The Icon serves as a visual reminder of this relationship between Christians and the Savior. In addition, the Icon was connected to populist religious movements of the time. Grand processions around pilgrimage sites featured the Icon. Stylistically, the Icon evokes the older Byzantine technique of flat figures and a gold background, so its popularity reflects an appreciation for the Church’s Byzantine heritage as well as embodying the doctrinal developments and reforms of the 11th and 12th centuries.

The history and significance of the Blessing Christ Icon extends prominently into the 19th Century. The Icon resided for centuries at the Convent of Santa Maria in Campus Martius in Rome along with two other important works, the “Last Judgement” and “Madonna Advocata”. After the suppression of religious orders by Napoleonic decree in 1810, the French transferred the Icon to the Capitoline Museums. With the end of French rule, many paintings never returned to their original sites and were instead deposited in the Vatican, in storage, or (as in the case of the Icon of the Blessing Christ), in the Museum of Sacred Art in the Vatican Library. In 1932, the work became part of the Picture Gallery in the Vatican Museums.

Since joining the Vatican Collection, the Icon has undergone various restorations. A 1929 restoration report

The IconContinued from page 1

documented evident damages to the wood support, ravaged by termites and showing cracks along its entire length. In addition, the work appeared very blurred, the features appeared redone, and it looked like earlier restorers had made deliberate color changes to Christ’s tunic. Another scientific intervention occurred in 1960 and since then, the condition of the work has remained physically stable, but the surface showed alterations in the painting conservation by wax, blurring and flattening the differences between colors.

The recently completed major restoration was necessary to address a variety of concerns. The wood panel was in fragile condition, both on the back and on the front, and filled with woodworms. There were also various cracks and fissures in need of repair, as well as alterations in the colors due to oxidation and aging of the varnishes.

First, restorers began disinfectant treatments to chemically cleanse the Icon and combat insects and encroaching bacteria. Then, after a first application of solvent to remove the resinous component of the paint, a scalpel was used to remove the wax elements, which had accumulated in uneven

areas and with gaps. Although the conditions were stable, the wooden fixed grate applied on the back side raised concerns. Thus, restorers decided to make it slide with the application of Teflon, rather than remain fixed and rigid This allows the wood to “breathe” with changing temperatures and other environmental conditions.

After the removal under the microscope of the paint and traces of over-painting, the tone of the canvas was lowered with the use of pastels, and the addition of cooler colors. Now, diminished in intensity and saturation, the gaps fall into the background, bringing back to life this precious painting. In addition, restorers took into account the original opacity of the painted surface, so they applied a semi-matte coating, achieved not only by alternating an opaque paint with a glossy one, but also by spraying the surface to obtain the thinnest layer possible.

Due to these restorative changes, the Blessing Christ Icon appears brighter and sturdier, and these efforts ensure that the historical, religious, and artistic significance of the Icon will continue to be available to the many visitors to the Vatican Galleries. The restored Icon is again on display in the Pinacoteca. n

An Infrared Image of the Icon

The Icon prior to the 1929 Restoration

The Icon after the 1929 Restoration

The Recently Restored Icon

CALIFORNIA PATRONS OF THE ARTS IN THE VATICAN MUSEUMS October 2016 • 5

Bundu Mask & Costume RestoredBy Brogan Feeley, Summer Intern

As a result of the generosity of Bill and Debra Shaw of the California Patrons, a

female Bundu mask and costume has been restored to its previous shiny and sturdy state. Bundu masks originate from the West African region of Liberia and Sierra Leone and play a key role in the unique cultural practices of differing communities of the region. For example, the Vatican Collection’s mask originates from the Sande Society of Sierra Leone a secretive organization in which West African women are initiated into adulthood and specialized societal roles through rituals and ancient cultural practices. The ritual processes and beliefs of this female dominated society are unique for the continent, as women led communities are rare in the region.

Indeed, the Bundu mask reflects the uniqueness of the Sande Society as elevating and enshrining the power of women in West African society. Specifically, the Sande Society is one of the only communities in Africa in which women, rather than men, wear wooden masks during initiation ceremonies and important civic events. The recently restored Bundu mask would have likely been used to demarcate the transition from childhood into womanhood, as well as to demonstrate the high social standing of particular women. In addition, the mask incorporates the religious beliefs and traditions of West African communities through its connection to sowo, a supernatural concept concerning fertility and power.

For members of the Sande Society, the wearing of the wooden Bundu mask serves as a connection to the spiritual realm and the blessings that stem from this unity. However, before women could obtain these blessings and display their social status, they had to construct the mask and accompanying costume outside of the established community. Indeed, during the initiation period, women could only return to the society if they were clothed in the Bundu outfit. The construction of the mask is no simple task, as typical Bundu masks require depictions of animals, religious symbols, natural imagery, and household icons. Besides the wooden mask itself, West African women also had to bind together plant fibers to create a body-covering costume.

These diverse elements are portrayed on the Vatican Collection’s Bundu mask, yet prior to the restoration they were obscured and had been chipped away. Substantial restoration efforts were required not only out of respect for the West African cultural significance of the mask, but also to effectively convey the skill and dedication required by the artists themselves in the construction of the outfit. In particular, the Bundu costume is one of the only fully complete

costumes in the Vatican Collection. The display arrived intact in 1925 as a result of missionary outreach by the Order of the Fathers of the Holy Spirit.

After nearly nine decades of existence in the Ethnological Museum, the Bundu mask required

significant restoration and stabilization efforts to ensure

that the outfit could continue to be displayed to the public for

decades to come. Specifically, the mask had become opaque, losing its shine, and there were numerous abrasions on the surface. Similarly, some

of the crown elements were gone. Underlying plant fibers, bound with lanyards, were missing and had been replaced with new black-colored twine. These fibers had become stiff and weakened, resulting in a considerable loss of material.

The Vatican Restoration team, headed by Alessandra Rocco, first initiated an anoxic disinfestation treatment, and due to severe stability issues, this cleaning treatment alone took 24 days! After the disinfection, the conservators carried out a series

The Bundu Mask and Costume from Sierra Leone

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6 • October 2016 CALIFORNIA PATRONS OF THE ARTS IN THE VATICAN MUSEUMS

Patrons Admire Guadalupe ExhibitionOn Sunday, October 9,

some 70 Patrons visited the opening day of

“Virgin of Guadalupe: Images in Colonial Mexico” at the Bowers Museum in Santa Ana, California. The Exhibition was created exclusively for the Bowers and included over 60 pieces, many of which came from private collections in Mexico as well as the Museum of the Basilica of Our Lady of Guadalupe in Mexico City.

In 1531, an indigenous peasant named Juan Diego encountered the apparition of the Blessed Virgin Mary on Tepeyac Hill in the vicinity of present day Mexico City. Our Lady spoke to Juan Diego in his native language and directed him to ask the bishop to build a church in her honor so her compassion would be known in New Spain. To convince the bishop that the apparition was true, the Virgin instructed Juan Diego to gather Castilian roses from the hill in his tilma, an apron worn at the time, and deliver them to the bishop. Juan Diego gathered the roses and carried them in his tilma to the bishop. When he opened his tilma, the image of Our Lady of Guadalupe appeared on his tilma and the bishop believed in the authenticity of the apparition. These events set off a seismic wave in the culture with repercussions felt to this very day. The exhibition explores the remarkable religious, social, and political impact of the appearance of the Virgin from the Mexican colonial period forword.

The Exhibition is divided into five parts and a docent staffed each one. The Patrons formed five smaller groups and rotated through the Exhibition, receiving a presentation from each docent. Among the many paintings,

sculptures, vestments, and silverwork, a number of pieces stood out with special significance. In particular, the Patrons admired the two-sided painting entitled “Virgin of Guadalupe of the Pledge of Patronage.” Painted in 1743 by Jose di Ibarra. it depicts the Virgin with St. Juan Diego and contains a piece of St. Juan Diego’s tilma.

Following the visit, the Patrons gathered on the historic covered balcony overlooking the courtyard. Sponsored by Monica and Don Fischbeck and Linda and Roger Chaix, the Patrons enjoyed wine, Mexican beer, and lovely meats, cheeses and desserts selected by our own Monica Lomenzo. We were welcomed by the president of the Bowers Museum, Peter Kerber, and the curatorial team.

As a special treat, Dr. Romina

Cometti from the Patrons Office in Rome was on hand to thank the California Patrons for their great support and announce an upcoming Exhibition. Romina curated the recent exhibition in the Vatican Museums entitled: “The Life of a Swiss Guards: A Private View.” The California Patrons sponsored the Exhibition and it is coming to the Cathedral of Our Lady of the Angels in Los Angeles this December for five weeks. The California Patrons are sponsoring the Exhibition. It will go to Boston, Washington, Chicago, and London after Los Angeles. Current Patrons will be invited to a special viewing of the Exhibition with a talk from a current Swiss Guard.

The “Virgin of Guadalupe: Images in Colonial Mexico” continues at the Bowers Museum until January 29, 2017. n

Patrons gathered on the historic Bowers

Balcony

Sponsors Don and Monica Fischbeck flank Jenifer Feeley

Chairman Michael Feeley introducing Dr. Romina Cometti from the Rome office

CALIFORNIA PATRONS OF THE ARTS IN THE VATICAN MUSEUMS October 2016 • 7

GuadalupeContinued from page 6

Patron Ladies ready for the Tour

Michael Feeley with Bowers President Peter Kerber and the Exhibition curatorial team

The Curator setting the context for the Exhibition in

the Museum Lobby

of scientific investigations in collaboration with the Laboratory for Conservation and Restoration Diagnostics that included X-ray images and sampling of fibers.

After extensive research, restorers decided to apply jun funori diluted to 1% in a solution of distilled water (60 %) and ethyl alcohol (40 %) using an airbrush spray. This allowed the team to verify the actual condition of the jacket and plant fiber strips sewn on it. Given its critical condition, Dr. Pandozy,

Bundu Continued from page 5

director of the Laboratory of Polimaterico Restoration, together with restorers Dr. Brunori and Dr. Passerini, decided to proceed with the temporary removal of the bands of fibers in order to be able to perform the consolidation in a more accessible manner. The final process included the removal of the trousers from the support, followed by dusting and reintegration using a medieval canvas in the most critical area of the restoration of the cloth.

Through research,

collaboration, and intervention, the restoration efforts proved successful for the Bundu mask and costume. These improvements would not have been possible without the hard work of all involved. These restorative processes culminated in a sturdier foundation of steel mesh for the Bundu costume, allowing for continued display of the outfit for years to come. The Bundu mask and costume is exhibited in the recently renovated Ethnological Museum. n

Patrons conversing and noshing at the ReceptionPatrons gathering in the Bowers

CALIFORNIA PATRONS OF THE ARTS IN THE

VATICAN MUSEUMS

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

The 2017 Wishbook Is Coming In November!

The 2017 Wishbook will offer wonderful opportunities to sponsor projects that are priorities for the Vatican Museums. The California Patrons are ready to step up as a group and many individuals enjoy personally adopting projects. Please peruse the 2017 WishBook when it comes on-line at the beginning of November: http://www.vatican-patrons.org. Please contact Michael Feeley if you have any questions regarding a sponsorship: 213-891-7895 or Michael.Feeley@LW.com