The Central Institute for Restoration (ICR) in Rome, on 7th June, announced the restoration of the three famous Caravaggio paintings have began in the Contarelli Chapel of San Luigi dei Francesi Church, Rome. The intervention curated by the Central Institute for Restoration marks a new chapter for the long-standing connection between the institute and the masterpieces of the Lombard master.
The project is part of a comprehensive 10-year review program that is focussed on historic restorations, aiming to further thoroughly assess and discover new findings about the canvases. Coordinated with the Special Superintendence of Rome and the Pieux Établissements de la France à Rome et à Lorette, which oversee the management of the Church of San Luigi dei Francesi, this project is one of the most important conservations.
The investigations are entrusted to the Canvas Paintings Laboratory of the Central Institute for Restoration, a facility of excellence in conservation and diagnostic practices. So far, the team has begun a series of highly specialized technical operations such as detailed cataloging of the works, visual analysis using a digital microscope, and systematic photographic documentation.
The three canvases that are undergoing conservation are Vocation of St. Matthew, the Martyrdom of St. Matthew, and St. Matthew and the Angel, painted by Michelangelo Merisi between 1599 and 1602 to narrate the life of the Evangelist. The first Matthew painting can’t be chronologically dated exactly, whereas the latter two were painted between March of 1598 and April of 1599. Historically, the First Matthew painting was never meant to be placed at the site of the Chapel. The Second Matthew painting was conceived in another spirit and had a different style compared to the first one. Further, it is much taller than the first one. Maybe Caravaggio used a different style from conventional painting to satisfy the clergy of the San Luigi church. The Vocation of St. Matthew captivates with its dramatic light slicing through the scene from the right, illuminating the moment of divine calling. In stark contrast, the Martyrdom of St. Matthew immerses viewers in a tragic and chaotic atmosphere, evoking deep emotion. Finally, in the evocative St. Matthew and the Angel, the saint stands resolutely guided by the vigorous presence of the spirit, inspiring a sense of profound connection and purpose.
When these Contarelli Chapel paintings were displayed in Mostra del Barocco in 1923, they came as a revelation of the profundity of Caravaggio’s religious and psychological expression. These compositions are significant to study, as they display the beginning of the mature style of the artist. However, they don’t yet show the complete and perfect formulation of style and expression that we see in his great Roman altarpieces.
The paintings will be scrutinized through traditional observation techniques complemented by modern environmental diagnostic tools, which include monitoring the temperature and humidity of the masonry, analyzing dust, and checking for pollutants and pathogens that could compromise the integrity of the canvases. Further, a thermographic analysis will also be done to detect any structural anomalies in the canvas.
A crucial part of this restoration is to check the efficiency of the linings performed by the ICR itself between 1965 and 67, which represents a fundamental milestone in the history of Italian restoration, and their durability over time. This campaign also holds importance as it stands as an example of synergy between Italian and French institutions, cutting-edge technology and craftsmanship, historical knowledge, and diagnostic expertise. One of the significant points to note here is that the compositions don’t land in emergency restorations, which allows the experts to intervene regularly with a gentle touch, prolonging the life of the works and minimizing the impact of conservation operations.
Featured Image: Caravaggio paintings monitored by ICR in Contarelli Chapel in San Luigi Church; ICR.
Related Reads.
