A DRAMATIC CARAVAGGIO NATIVITY PAINTING - BUT WHERE IS IT NOW?

For Christmas once again I thought it would be a good idea to write about an Italian old master painting with an appropriate subject and the one I want to show you today is a cracker (sorry about the pun!)

Caravaggio Self-portrait

I've always admired and been intrigued by the paintings of the Italian artist Caravaggio (1571-1610) so I was delighted that a bit of research revealed a picture I was unfamiliar with which was perfect for this seasonal post - for what better subject than the nativity itself. The painting is shown below.

The Nativity with San Lorenzo and San Francesco 1608-9

An emotional, tempestuous and often violent man (he was charged and sentenced to death for killing a man in 1606) Caravaggio began his relatively short career in Rome but ended up moving on to Naples and then Malta. In the autumn of 1608 he travelled to Sicily spending a year on the island and this is where this picture was commissioned and painted.

All of his hallmark characteristics are visible in this nativity scene  - a focus on the physical and emotional states of the participants, the use of ordinary people for models, dramatic lighting which serves to emphasize the drama of the moment and all the action taking place close to the picture plane (imagine this as a sheet of glass in the frame) with little else to distract the viewer from looking at the main subject - the birth of Jesus Christ.

Caravaggio's technique of working without preparatory drawings and quickly and  directly on to the canvas always produces amazing results and this is the case here. The realism in the depiction is startling - Jesus looks like a baby fresh out of the womb and lying on the hay. Mary, his mother, appears bedraggled and exhausted from the birthing. The foreshortening of the angel carrying a proclamation banner makes him almost fly out of the picture towards the viewer. The composition invites us the onlookers to take part in the event. It's genuinely dramatic and a moving scene.

The positioning of the painting in the Sicialin Oratory
church of San Lorenzo

The canvas was painted to hang in the Sicilian oratory of San Lorenzo in Palermo and it remained in this position for more than 350 years. Sadly, on a stormy October night in 1969, thieves broke in to the church and stole it by cutting it from its frame positioned above the altar. The image I've used here is a photograph of a poor reproduction that now occupies the space of the original. But who stole the painting and what has happened to it since that fateful event? Well - the whole story seems shrouded in mystery.

There are many theories concerning the theft of the painting. One suggests it was done by opportunistic amateurs. The picture had appeared in a TV programme broadcast shortly before the theft and the argument goes that this must have tipped off the thieves about the importance of the painting. Other theories involve the Sicilian Mafia and one such story recounts how the recipient of the painting was so distraught over its condition when he got it that he cried. Whatever the situation - Caravaggio's Nativity has never been seen again and it remains on the FBI's top 10 list of unsolved art crimes.

Art historians continue to be saddened by its loss for Caravaggio, who only painted about 70 pictures during his short life, was a key artist in the development of the Baroque style and hugely influential on the careers of such Masters as Rubens and Rembrandt later in the 17th century.

Ian Cox
December 2019

Happy Christmas to all my readers and please do have a look at some of my other postings which form part of this blog. My website is at bitsntrips.com
Thank you for reading this post.

THE SISTINE CHAPEL CEILING - IN GORING ON SEA - SUSSEX!!! - WHO WOULD BELIEVE IT???

I've found it's more difficult to feel the emotion of  surprise as I get older. This might be because of what some clever people have called "accumulated experience". All this means is that the older we become the more knowledgeable we get and the more we have lived the less likely are we to be surprised by what we come across. The kindly would say we get wiser like the old owl, the less kindly - the more jaded; who from the older generations hasn't experienced the feeling of "Oh I've been there, done that and got the T shirt". But surprise can be a wonderful emotion and when a pleasant surprise comes along its definitely something that should be savoured. This happened to me just after a visit to Rome several months ago.

In a previous post I wrote about Michelangelo's Sistine Chapel frescoes and a trip we'd made to see a presentation about them whilst in Rome. At that time I had no knowledge of what I am about to tell you now. On returning to England I did a little more background Michelangelo research for the posting and discovered there are very few copies of the Sistine Chapel ceiling in the entire world. I was stunned to find out one of the best is located just 20 minutes from where I live in Sussex. So there's my surprise - the discovery of a reproduction of one of the planet's most renowned works of art here on my doorstop and I hadn't known about it! With the surprise came excitement and many questions - what would it look like? - would it be full size? how had the artists achieved it? and above all - would it be any good??? We made plans to visit immediately - and this posting tells the story behind this amazing find.

It was a 20 minute journey by car from our cottage to the church where the ceiling painting is located in the small Sussex town of Goring-on-Sea just two miles to the west of Worthing. Located on a side road just off a busy dual carriageway the catholic church is nothing to write home about for it's a 1960's building attached to what used to be the former church building - an old brick and flint barn which now serves as the parish hall. Who would ever have thought that inside this undistinguished building was a hand painted reproduction of one of the most famous ceilings in the world?

As suggested on the church's website we'd rung ahead to make sure it would be open to visitors. They obviously close during services and when weddings, funerals and christenings are taking place. There was a hive of activity round the entrance to the parish hall where an auction was due to take place that evening and we were directed to the main entrance of the church next door. When we walked in to the main body of the church I think my jaw dropped to be quite honest, for the reproduction of the Sistine Chapel ceiling was much more than I had anticipated. It might not have a grain of the originality or the fulsomeness of Michelangelo's ceiling but in it's own way it was and is a remarkable tribute to the original to say the least.

GARY BEVANS
SIGN WRITER TURNED ARTIST
PAINTER OF THE CEILING AT MARTYRS CHURCH GORING

In 1987 Gary Bevans, a parishioner who'd converted to the catholic faith at 17, went on a pilgrimage aged 33 to the Vatican in Rome and saw Michelangelo's Sistine Chapel frescoed ceiling for the first time. So inspired was he by the experience that he returned to his local community and approached his Parish priest with an idea. He'd noticed that the curved and vaulted ceiling of his own church was in some ways similar to and not of a dissimilar size to that found in the Sistine Chapel. Despite having no formal art training, (he was a sign-writer by trade) he proposed painting a reproduction of the Sistine ceiling on the vaulted ceiling of this church. Members of the congregation and the priest Father Naughton were all keen on the idea, but it was Bishop Cormac Murphy O'Connor who finally granted permission for the work to go ahead.

Bevans first covered the ceiling with plain plywood panels which he painted with white emulsion and then began using acrylic paints to reproduce Michelangelo's fresco finish. This was the time that the original ceiling in the Vatican had been undergoing restoration and Bevans matched his colours to the cleaned Sistine ceiling colours. He intially produced full sized drawings to ensure correct proportions and perspectives and reduced them in size to 2/3 of the original to cover the 3,500 square feet of the church ceiling. The original frescoes covered 5000 square feet. Bevans then proceeded to start painting sections of  the ceiling which included 500 figures. He mainly worked in the evenings, often late in to the night, sometimes in the hot conditions of high summer and also in the deep cold of Winter. It took him five years to complete the ceiling - interestingly this was comparable to the length of time Michelangelo's took to finish the Vatican one. It was finally completed in 1993 and it remains, as far as I am aware, the only near full-sized copy of the original in the world.

THE CHURCH CEILING DURING THE PAINTING OF THE CEILING
WITH BEVAN'S DRAWINGS VISIBLE AND THE SCAFFOLDING HE
USED TO CREATE THE REPRODUCTION OF THE SISTINE CHAPEL CEILING

Having recently seen the original I could remember all the main panels taken from stories in the Book of Genesis including the separation of sky from water, the creation of Adam, the creation of Eve, the expulsion from the Garden of Eden, the Great Flood and the drunkenness of Noah. Careful accommodation had been made to represent the ignudi figures, the Sibyls and the relatives of Jesus Christ. When you look at the photographs below you will see how clever Bevans has been in reproducing the illusions of depth and perspective in the lower reaches of the vault. Bevans is known to have said that he did little to introduce himself as an artist in to the work. He wanted it to be as convincing as possible.

TEMPTATION & EXPULION FROM THE GARDEN PANEL
MARTYRS' CHURCH GORING ON SEA

After five years of working on the ceiling Bevans lost none of his enthusiasm for his mission and so inspired was he that he subsequently trained as a Deacon to work alongside the Parish Priest. Now in his 60's the ladies on duty told me he is still very much involved in the church's work and only occasionally has to touch up the ceiling paintings. They are surviving incredibly well.

Today people visit the church from all over the world and there were some other visitors there with us. Evidently 15,000 visitors a year is now the  norm. At one point I saw a lady wheeling what looked like one of those gilded hostess trolleys down the aisle and I thought it was someone going to make the tea. I then realised it was a visitor using the trolley which had a mirror inserted on the top shelf making it possible to view the murals without having to crick her neck! A nice touch I thought.

As I write this posting once again I'm intrigued and baffled by the coincidence of making the visit to see the original ceiling in Rome with my discovery and viewing of this church ceiling in Goring-on- Sea. I would recommend a special trip to see it if you can.

I'm indebted to the church information leaflet which I bought for 25 pence which helped me with background for this article and for another article which appeared in the local daily rag - The Argus - in June 2009 - the month Gary Bevans was inaugurated as a Deacon of the Martyrs' church.

The Church of the English Martyrs is at Goring Way, Goring-by-Sea, West Sussex. Tel 01903 506890. Parish Priest 01903 242624. Information about opening times is available on the internet.

Ciao
Ian

This is just one post of many Pleasethat focus on my Italian interests. I'd be thrilled if you choose to read others! Please share this post if you know someone who might be interested in it. Many thanks - Ian

BAGNO VIGNONI - A GORGEOUS TUSCAN HOT SPRING TOWN

A few weeks ago I watched a programme on the BBC about a group of celebs who followed the ancient pilgrimage route from the Italian Alpes to Rome using the centuries old Via Francigena route to get there. One of their many stops was an Italian spa town in Tuscany called Bagno Vignoni. The TV programme brought back memories of several visits I've made there in recent years and I just had to tell of it here in my Italian blog.

THE GORGEOUS COUNTRYSIDE OF THE VAL D'ORCIA,
TUSCANY - THE SETTING OF BAGNO VIGNONI

Bagno Vignoni and its neighbouring hamlet San Quirico d'Orcia, is situated up on a hill above the famous Val d'Orcia - in my book one of the most beautiful and memorable parts of Tuscany. The little spa town of Bagno Vignoni has been a stopping place for pilgrims for centuries but even before that it was frequented by Roman visitors who were well versed with its geothermal springs associated with rejuvenating benefits to health and well-being.

HOT SPRING WATER DRAINS FROM THE BAGNO VIGNONI CISTERN
TO THE VALLEY BELOW - IT'S HERE THAT MEMBERS OF THE
PUBLIC CAN BATHE THEIR FEET IN THE RESTORATIVE WATERS

My last visit to Bagno Vignoni was in Spring 2018 and on a superbly sunny day we parked in the car park beneath the village. It was a five minute walk up to the square and on the way it was possible to view the water channels which make their way down from the village over open ground before they flow over a steep precipice which conducts the waters to the valley below. It's quite dramatic really, but what's even more fascinating is the opportunity there is to take off one's shoes and socks, sit beside one of the channels and bathe one's feet in the warm flowing waters! Aaaaah - I can remember and savour the moment now!

After this brief moment of bliss we donned said shoes and socks and carried on up the path to the village. In the centre of the village is the "square of sources" which essentially is a walled water tank of 16th century origin which contains a bath of the waters that spring up from the heated volcanic reservoirs below. It's a beautiful and alluring spot and its mesmerising to stand and watch the ripples and bubbles form which reveal the continuous spring activity feeding the pool! The bathing pool has an official title of The Old Baths of St Catherine (Antiche Terme di Santa Caterina).

THE OLD BATHS OF ST CATHERINE OF SIENA
IN THE CENTRE OF BAGNO VIGNONI

These days bathing in the pool is not allowed for obvious reasons but over the centuries, since Etruscan and Roman times, many famous people have come here to take the waters. Eminent personalities such as Pope Pius II. Saint Catherine of Siena and Lorenzo the Magnificent Medici have all travelled here to partake. Despite tumult and devastation in the region due to wars and other such events - this place has remained virtually unchanged and its very special.

BUBBLES AND RIPPLES ON THE SURFACE OF THE BATH
ARE TESTAMENT TO THE CONTINUOUS GEOTHERMAL ACTIVITY
THAT CONTINUALLY REPLENISHES THE BATH 24/7

Visit the town and there are a few cafes, restaurants and hostelries to provide succour and I think there's a hotel offering contemporary spa treatments at a hefty price no doubt, but I didn't visit there. If challenged though - I would have to say this is one of my favourite spots in the whole of Italy and hope it's not long before I make a trip to the village again!!

Ciao
Ian

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THE ITALIAN ARTIST BATONI'S TAKE ON OLD AGE

I've mentioned before that getting old is not a subject to relish but something I have to learn to live with!

This week, thanks to a former colleague sharing an image of a picture presently in the collections of the National Gallery in London, I've had cause to reflect on this thorny issue yet again. I don't remember seeing the picture myself - probably because it's rarely on show - but no matter - there's a truth to be told in viewing it which I think is worth sharing.

The painting was done in the middle of the 18th century by renowned Italian artist Pompeo Batoni (1708-1787) who specialized in portraits. He's famous for painting full length pictures of English gentlemen grand tourists - suitably framed with a background of classical ruins. Such works were commissioned by them whilst they were in Italy and acted as souvenirs of their trips - often taking pride of place in their grand houses back home. Like many portrait painters however, Batoni also liked to do "history paintings" with subjects taken from the bible or classical mythology and why should this be the case one might ask? Well - in the 18th century history paintings were considered to be at the top of the hierarchy; an opportunity for an artist to deal with grandiose subject matter concerned with the essence of the human condition. Pictures that expressed universal truths about the nature of being human were highly valued by the intelligentsia and its not surprising that today such "old master paintings" are found in museum and gallery collections round the world.

The picture I want to show today is just such a history painting and entitled TIME ORDERS OLD AGE TO DESTROY BEAUTY.  It was commissioned from the artist by collector Bartolomeo Talenti in 1744 and it's signed and dated on the rock on the right - "PB 1746".

In the dramatic composition "Time", represented by the figure of a bearded winged man holding an hour glass, has ordered "Old Age" (the elderly haggard crone) to destroy and take away the good looks of "Beauty" personified in the face and body of the young woman on the left. The crone reaches out a hand to claw her face.

Looking at this painting one is reminded of the universal truth or cliche that "time waiteth for no man". No matter what we do or how we live - ultimately the hour glasses will run out for us all. Inevitably, in the process of the sand running through the glass, ageing will also claim our youthful looks and appearances through wastage and decay. Looking at this arresting image has made me reflect on not only my own mortality but on the process of getting old most of us go through. Yes - there is an inevitability about the ageing process, but the old adage of "three score years and ten" seems a bit outdated these days. People talk of 60 being the new 50 as life expectancy in Britain increases. Can we make the passage of time, the sand running through the glass, happen more slowly?? Does a positive attitude, going to the gym three times a week, a healthy diet and abstinence from the vices of drinking and smoking slow down the passage of the sand grains through our own personal hour glasses? There are many who would say that leading such a lifestyle will arrest the wrinkles  and banish the old crone to the shadows,might but others might argue what is the point of postponing the inevitable when "living for the day" and doing what floats one's boat is the best strategy to adopt. And me, (as I suspect is true for many) - well I try to subscribe to a bit of both really. Taking each day as it comes and enjoying it the full is important, but with a nod and a wink to the importance of exercise and reasonably healthy eating. One thing's for sure though - one day that personal hour glass will run out and I think the best thing to do is GET ON WITH IT and not to watch it doing its work too closely!!