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Posted on November 20, 2022
The Patrons of the Arts in the Vatican Museums 2021 Annual Black Tie Dinner was a great success! His Excellency, Archbishop Christophe Pierre, graciously hosted the Washington DC Chapter at the Apostolic Nunciature. Being our first gathering since 2019, all were eager to once again enjoy each other’s company.
The evening kicked off with a festive cocktail hour and concluded with a sumptuous three-course meal held in the Nunciature’s grand Dining Room. During dessert, PAVM International Director, Fr. Kevin Lixey, L.C., gave an update on the Vatican Museums after struggling through Covid. In closing, Fr. Lixey presented former longtime Chapter Leaders, CEM & Judy Martin, with a limited edition print of the Vatican Museums along with a thank you letter from museum director, Barbara Yatta. We are all extremely grateful to the 19-years of service that CEM & Judy donated to the Patrons.
Please Click Here to see pictures of this wonderful event!
Posted on December 14, 2021
On July 1, the Museum of the Bible invited the Washington Patrons to a private VIP preview tour of the exhibition, Magna Carta: Justice. Liberty. The exhibition features the Hereford Cathedral Magna Carta, the King’s Writ sent from Runnymede Field in 1215, and the Sandwich Magna Carta, seen by Thomas Paine in 1759, among other important documents and historic artifacts.
After the tour, there was a reception with the officials from Hereford Cathedral, the British Embassy, the exhibition curators, and other special guests.
Posted on July 14, 2021
We are proud to announce the completion of our restoration project, the Croce Astile, a Tuscan crucifix which was sponsored by the Washington, DC Chapter. Thanks to your generosity, beautiful artifacts like this will remain a vibrant example of the beauty and artistry of the Vatican Museums.
Final Restoration Report
The Croce Astile is part of the Baroque collection which became part of the Vatican Museums collection in 2007, thanks to the donation of Carlo and Lucia Barocchi. The work is the fruit of Tuscan silversmiths. According to the information that we have, it would seem that the cross, the crucifix, and the graft with the globe belong to different periods.
The cross is made of gold-plated, silver-plated copper alloy. What differentiates this work from the most common processional crosses is the lack of a wooden supporting element, replaced by a sheet of silver-plated copper alloy with the ends of the two orthogonal poly-lobed arms.
An iron bayonet, welded to the lower end of the longer arm, in turn, is in the socket of the silver element. The ten gilded frames, five on each side, give volume and importance to the cross and the riveted pins attach the two faces of the bearing plate.
On the front of the cross is the figure of Christ, realized in silver and of excellent workmanship. At the top is a traditional scroll and in the lower part above the poly-lobed tile is a skull. On the back there are no inserted figures. The laboratory only noticed the presence of a hook in the upper part.
The Intervention
The objective of the restoration targeted the removal of the dark areas that cover the greater part of the work. In particular, these areas cover the light of the small model of the realization of Christ finely realized by expert hands.
After the preliminary documentation of the cross, restorers moved on to the disassembly of all constituent elements. In order to do this, it was necessary to remove the old metal pins that held the parts together. Restorers then used polar solvents, such as acetone and ethyl alcohol, to remove the old protective layer and the layer of organic substances.
They removed the brown patina, probably composed of silver sulfides, by means of complexing agents and a mechanical action with micronized calcium carbonate and demineralized water. The degree of hardness of this product prevented in-depth action and therefore fully respected the patina of the silver. The laser welder (Mark-uno 7500) restored the detached parts. At the end of the cleaning process, all the parts were thoroughly rinsed with demineralized water. Then a dehydration process took place and the usual procedures followed.
At the end of the restoration intervention, there was an application of protective film (ZAPON in acetone 30% p/p) to keep the surface’s tone, light, and brightness as long as possible.
In the substitution of the old pins in metal, removed during the phases of the disassembly of the work, the laboratory realized through 3D software that the new pins are from two elements. After being molded in castable resin, the pins are of copper alloy casting.
This new assemblage system is important because it does not require a deconstruction of the cross, which will be helpful for eventual new restoration interventions in the future.
Removing the old metal constraints
Castable resin pin printing and the new pins made of copper alloy
Constructed elements of the cross
Front and back of the cross after the restoration
Posted on May 24, 2021
Posted on December 25, 2020
Please join us on a four semester journey of faith and beauty that will take you behind the scenes to explore the history of provenance, patronage, and restoration of the Vatican Museums collection as never before recounted by the Curators themselves.
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Posted on October 9, 2020
The Astile Cross is part of a collection of thirty-seven objects – including processional and altar crosses, altar cards, chalices, monstrances, incense boat, holy water fonts – contributed to Carlo Barocchi’s generous personal gift to Pope Benedict XVI.
Sold by the Pope to the Vatican Museums (June 2007), the precious silvers enrich the collection of the Decorative Arts Department. From the moment of the acquisition, the department prepared an inventory, accurate photographic campaign and the revision of the conservation status of all the artifacts, including a structural verification, cleaning and restoration interventions.
The processional cross in embossed silver and gilded copper (Tuscan silversmith, XV century?), with crucifix in silver fusion (XVIII century) and polylobed elements without decoration, is one of the ancient liturgical furnishings of the Carlo and Lucia Barocchi Collection (Florence).
Posted on July 13, 2020
Father Lixey and his staff have been working hard to keep the Patrons informed and engaged during this world-wide crisis.
Although, we as Patrons, cannot physically go to Rome and visit the Museums or engage in any local Patron activities, Father Lixey and the New York Chapter have created a 4-week virtual lecture series available to our Patrons, “Raphael and His World,” led by Professor Elizabeth Lev.
If you are interested, please see the PDF in this link for details of the Zoom meeting. We hope you can join us in this wonderful lecture series!
Posted on April 25, 2020
We are pleased to announce the completion of our current restoration project! The wonderful statues and objects in the Chiaramonti Gallery Wall XIV have regained their beauty and splendor thanks to the generosity of our Chapter.
The works of art were treated with cleaning methods aimed at the specific type of problem. Here are some pictures of the restoration process and the final result:
Posted on March 8, 2020
On Sunday, December 8, the DC Patrons held a local event with a VIP Tour of the Bible Museum in Washington, DC.
The tour was highlighted with the unveiling of a sculpture created by Timothy Schmalz entitled “Silent Night”. Tim focuses on religious figures and also has many public pieces. One was recently installed at St. Peter’s Basilica in Rome and another at St. Matthew’s Basilica in Washington, DC.
The tour continued with a visit to the exhibit Inventors of the Alphabets from the Vatican Library. This is the first time they have been displayed outside the Vatican Walls.
Our next stop was The Tapestry of Light: Intersection of Illumination. This exhibit shows a contemporary glow-in-the-dark tapestry of epic scale using the Book of Revelation for inspiration. This unusual work of art was created by artist Dr. Irene Barberis over a period of 20 years.
A new exhibit is The Picture Books of the Past, a collection of paintings from the 14th to 19th century. The medieval Church used pictures as a tool to convey Bible stories. The curator did an outstanding job of pointing out key images enabling the viewer to “read” and understand the paintings.
Following a brief coffee break, our day concluded with a visit to Washington Revelations, an exciting 4 minute “flight” through the Nation’s capital pointing out the Bible’s influence on American Culture.
The Bible Museum is located at 400 4th Street, SW, and welcomes all denominations and all who believe in the Bible.
Please see the Bible Museum Image Gallery for pictures of our wonderful tour.
Posted on December 17, 2019
