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Showing posts with label Italy. Show all posts
Showing posts with label Italy. Show all posts

Wednesday, April 19, 2017


The Cleveland Museum of Art and The Ministry of Cultural Heritage and Activities and Tourism of the Republic of Italy (Ministry) today announced that they have reached an agreement for the transfer of an early 1st century AD marble portrait head of Drusus Minor (Drusus Julius Caesar, 13 BC-AD 23) to the Republic of Italy.

Cleveland Museum of Art to transfer Roman sculpture of Drusus Minor to Italy
Head of Drusus Minor (13 BC-AD 23), probably after AD 23 and likely before AD 37. Roman, 1st cent. 
Marble; overall: h. 35 cm (13 3/4 in) [Credit: The Cleveland Museum of Art]
The sculpture, previously sold at a public auction in Paris in 2004, was acquired by CMA in 2012, after extensive research to confirm its ownership history. When the museum acquired the work, it was believed that the sculpture originally came from North Africa. When, more recently, CMA became aware of the fact that the sculpture may have been illicitly removed from a site near Naples towards the end of World War II, the museum promptly contacted the Ministry. Acting in cooperation with officials of the Ministry, and with the assistance of the Carabinieri for the Protection of Cultural Heritage, CMA was able to confirm the World War II events. As a result, CMA determined to transfer the sculpture to Italy

In 2008, the Cleveland Museum of Art entered into a cultural cooperation agreement with the Ministry that formed the basis for a new relationship between CMA and the Republic of Italy. That agreement also provided a framework for the museum to approach the Ministry and obtain the information necessary to allow the museum to decide to transfer the sculpture.

“We have had an excellent relationship with the Ministry for many years,” said William Griswold, CMA director. “When we became aware of facts that were inconsistent with our understanding of the provenance of the sculpture, contacting the Ministry directly was an easy decision in light of our many years of working with our Italian colleagues. We worked collaboratively with the Ministry first to determine the circumstances of the work’s removal and then to finalize the decision to transfer the work.”

"This return is the result of an important and fruitful cultural agreement and the full cooperation of CMA with the Italian authorities,” said the Minister of Cultural Heritage and Activities and of Tourism, Dario Franceschini. “Now we await the return of the work, which, once in Italy will be returned as soon as possible to Naples and its communities, from where it was removed."

Source: The Cleveland Museum of Art [April 19, 2017]

Cleveland Museum of Art to transfer Roman sculpture of Drusus Minor to Italy

The Cleveland Museum of Art and The Ministry of Cultural Heritage and Activities and Tourism of the Republic of Italy (Ministry) today annou...

Thursday, April 13, 2017


Italian police say a tourist from Ecuador has been cited for inscribing the names of his son and wife and "2017" inside the ancient Roman Colosseum.

Ecuadoran tourist cited for writing names on Roman Colosseum
A woman walks past a writing inscribed on a wall inside the Colosseum, Tuesday, April 11, 2017. Italian police say a tourist 
from Ecuador has been cited for inscribing the name of his son and wife and the year, 2017, on Monday, April 10, 2017 
inside the ancient Roman Colosseum. Carabinieri Major Lorenzo Iacobone said the tourist was observed in the act of 
vandalism by an official tour guide, who reported it to police [Credit: AP/Alessandra Tarantino]
Rome Mayor Vriginia Raggi denounced the alleged vandalism in a Twitter message on Tuesday, writing "Rome deserves respect. Whoever harms the Colosseum, harms all Romans and all who love the city."

Carabinieri Major Lorenzo Iacobone says the tourist was observed in the act of etching by an official tour guide, who reported it to police.

Ecuadoran tourist cited for writing names on Roman Colosseum
A view of a writing inscribed on a wall inside the Colosseum, Tuesday, April 11, 2017. Italian police say a tourist from 
Ecuador has been cited for inscribing the name of his son and wife and the year, 2017, on Monday, April 10, 2017 
inside the ancient Roman Colosseum. Carabinieri Major Lorenzo Iacobone said the tourist was observed in 
the act of vandalism by an official tour guide, who reported it to police [Credit: AP/Alessandra Tarantino]
It will be up to a judge to determine a penalty. In the past, tourists cited for defacing ancient sites have been handed fines as stiff as 20,000 euros ($21,000.)

Labor unions have complained about a lack of personnel to prevent visitors from leaving their marks on antiquities.

Source: Associated Press [April 13, 2017]

Ecuadoran tourist cited for writing names on Roman Colosseum

Italian police say a tourist from Ecuador has been cited for inscribing the names of his son and wife and "2017" inside the ancien...

The European Commission is allocating almost €50 million from the European Regional Development Fund to the continuation of the renovation and preservation works on the iconic Italian archaeological site.

Pompeii: EU funds to highlight jewel of European heritage
Restoration crews work on a building at the ancient Roman city of Pompeii 
[Credit: Carlo Hermann/AFP/Getty]
After the completion of the restoration works co-financed by the EU Cohesion Policy, the Ancient Roman city of Pompeii, classified as a UNESCO World Heritage Site, is expected to welcome almost 200 000 additional tourists per year.

Regional Policy Commissioner Corina Creţu, who visited the project in February, said: "In Pompeii we restore and preserve works of art from the past, but we are really doing it for our future; so our grandchildren can enjoy this unique site, part of our common History and cultural identity. And we are also contributing significantly to the economic development of the Campania region, by boosting tourism and entrepreneurship."

The €50 million investment package finances the consolidation of the structures and ancient buildings of the archaeological site in order to restore its urban character, the construction of a water canalisation and drainage system, other restoration and enhancement works as well as training for the staff.

Background

The EU started supporting renovation works in Pompeii in the 2000-2006 financial period, and adopted the Pompeii "major project", worth €105 million overall, in 2007-2013. Today's decision will allow this project to be completed with funds from the 2014-2020 period.

The UNESCO site of Pompeii has been under excavation to varying degrees since 1748. Exposure of the excavated site as well as poor excavation techniques mean that the site has deteriorated over time.

The Pompeii major project aims to stop and reverse the deterioration of the site while consolidating disparate sites into a single excavated area. In 2016, the site was also made wheel chair accessible, with the help of EU funds.

Source: European Commission [April 13, 2017]

Pompeii: EU funds to highlight jewel of European heritage

The European Commission is allocating almost €50 million from the European Regional Development Fund to the continuation of the renovation a...

Wednesday, April 12, 2017


Archaeologists and scientists from the Universities of Bristol and Durham and the British Museum are using cutting edge technology to crack a conundrum surrounding the ancient trade in ostrich eggs.

Ancient trade in ostrich eggs investigated
Carved ostrich egg from Isis Tomb, Vulci (Etruria), BM1850, 0227.6 
[Credit: T. Hodos/Trustees of the British Museum]
Decorated ostrich eggs were traded as luxury items from the Middle East to the Western Mediterranean during the Iron Age (1200-300 BC).

Several beautiful examples -- both intact and in fragments -- have been part of the British Museum's collection since the nineteenth century.

The eggs were engraved, painted and occasionally embellished with ivory, precious metals and faience fittings. They were found in elite contexts from Spain to Iraq.

The research team wants to find out where the eggs were laid and whether the birds laying them were wild or captive.

Dr Tamar Hodos, Reader in Mediterranean Archaeology at the University of Bristol's Department of Archaeology and Anthropology, said: "Apart from noting their presence as unusual vessels in funerary and celebratory settings, surprisingly little is known about where they actually come from or who decorated them, much less how they circulated."

Ancient trade in ostrich eggs investigated
Carved and painted ostrich egg showing hoplites, BM1850, 0227.9 
[Credit: Trustees of the British Museum]
Using the British Museum's collection of ostrich eggs from the Mediterranean and Middle East, isotopic analyses of strontium, oxygen and carbon in the eggshells are being used to investigate where the eggs were laid and whether the ostriches were captive or wild, by detecting what and where the mother was eating and drinking during ovulation.

Detailed study of the eggshells' intricate decoration via scanning electron microscopy will allow the research team to compare carving techniques, helping them understand how they were created.

Dr Alexandra Fletcher, Curator in the Middle East Department at the British Museum, said: "We really want to find out more about how this trade worked. Were eggs gathered from nests in the wild, given that this was a potentially dangerous activity? Or is it possible that ostriches were kept in captivity to ensure the luxury trade had a supply of eggs readily available?"

The question of captivity is an important one. Images on objects such as cylinder seals from the same period show ostriches as dangerous and fierce creatures.

Ancient trade in ostrich eggs investigated
Ostrich eggshell fragment ready to be analysed under the Scanning Electron Microscope 
[Credit: A. Fletcher/Trustees of the British Museum]
One has an ancient king strangling an ostrich while the bird kicks him in the stomach, for example. It seems, however, that some members of these ancient societies were adept at catching and handling dangerous beasts.

The famous Assyrian reliefs at the British Museum show that royal 'lion hunts' were staged affairs. Captured lions were released from cages directly into the path of their hunters. Could the ostriches also have been captive creatures?

It is hoped that the information held in the ostrich eggshells themselves will tell us more about how they were obtained, decorated and traded, which will in turn reveal more about both the people who supplied these luxury goods and those who coveted them.

Source: University of Bristol [April 12, 2017]

Ancient trade in ostrich eggs investigated

Archaeologists and scientists from the Universities of Bristol and Durham and the British Museum are using cutting edge technology to crack ...

Tuesday, April 11, 2017


Archaeologists have discovered a pair of ancient teeth in northern Italy that show evidence of primitive dental work, each containing an unusual hole that extends down to the pulp chamber.

Earliest example of dental fillings found In Italy
A scan of the two teeth with bitumen filling [Credit: Stefano Benazz/New Scientist]
In what likely would have been a very painful procedure, researchers say the Ice Age ‘dentist’ used a sharp stone to remove diseased cavity tissue, and then filled the holes with the tar-like substance bitumen.

The teeth were discovered at the Riparo Fredian site in Italy, and are thought to date back to the Upper Paleolithic, between 13,000 and 12,740 years ago.

While a previously discovered set of teeth indicated that dental practices occurred as far back as 14,000 years ago, the researchers say the new find marks the earliest example of the use of a filling, according to a study published in the American Journal of Physical Anthropology.

In a microscopic analysis of the Ice Age teeth, which came from the same person, the researchers found scratches and other marks on the inner walls that would have come from something other than chewing.

Each of the teeth has a large, deep hole, indicating they had been ‘drilled’ into with a sharp object.

And, the researchers found evidence that they had once been filled with bitumen, a tar-like binding substance.

Earliest example of dental fillings found In Italy
Humans developed therapeutic dental practices thousands of years before foods such as cereals 
and honey entered our diet [Credit: Gregorio Oxilia/New Scientist]
Along with this, they found bits of straw and what could be hair.

While it’s not yet clear what purpose these substances served, it’s thought that they may have been used as an antiseptic or to reduce pain.

Holes of this kind may also have been drilled for ornamental purposes, the researchers say, allowing for the insertion of jewelry.

But, the discovery of bitumen suggests the procedure was done out of medical necessity to remove decayed matter from the teeth and prevent further loss.

According to the researchers, this ancient patient lived before the widespread introduction of agriculture, when increased intake of high-carb, grain-based foods led to a rise in dental problems.

While the sample size is small, with just two teeth from the same person, the researchers say the find suggests dental care – including drilling and filling teeth – was widespread in the Ice Age.

The discovery ‘confirms the practice of dentistry – specifically, a pathology-induced intervention – among Late Pleistocene hunter gatherers,’ the authors wrote.

‘As such, it appears that fundamental perceptions of biomedical knowledge and practice were in place long before the socioeconomic changes associated with the transition to food production in the Neolithic.’

Author: Cheyenne Macdonald | Source: DailyMail [April 11, 2017]

Earliest example of dental fillings found In Italy

Archaeologists have discovered a pair of ancient teeth in northern Italy that show evidence of primitive dental work, each containing an unu...

Until now, a heavy glass pane weighing approximately 80 kilos has prevented a valuable, centuries-old silk tunic attributed to Saint Ambrose from being restored in Milan. With a team of restorers and art transporters, an archaeologist at the University of Bonn has now managed to free the work of art, the tunic, from its heavy load, preserve the fabric and thus retain it for posterity.

Long-awaited rescue for valuable silk tunic
The valuable silk tunic is now accessible for the upcoming conservation work 
[Credit: © Sabine Schrenk]
Already in the early Christian church, relics were widespread. The religiously revered legacies of the saints also include, for instance, textiles. Valuable silk garments in Milan are thus attributed to Saint Ambrose. The patron saint of the city lived in the fourth century, and his remains rest there in the Basilica of Sant'Ambrogio, which bears his name. As bishop of the imperial residence of Milan, Ambrose pushed for the veneration of relics, and the Ambrosian chants, for instance, also date back to his time.

"The silk garments that are venerated as relics of the saint also include an exquisitely beautiful tunic," says Prof. Sabine Schrenk from the department of Christian Archaeology at the University of Bonn. The ravages of time have taken their toll on the valuable textile, yet it was not possible to perform new preservation work because the silk tunic has been stored in Milan for many years under a heavy glass pane weighing around 80 kilos. "The glass was intended to protect the relic," reports Schrenk. "However, the silk textile created waves underneath, and the great weight of the glass pane thus damaged the centuries-old fibers."

Experts have extensive experience with valuable silk textiles

Preserving the garment was a major challenge: how can the glass be removed from the silk cloth without it breaking or it tearing the fibers that have adhered to it? As Sabine Schrenk and the Colgne-based textile restorer Ulrike Reichert had already successfully preserved numerous silk fabrics in Sant'Ambrogio both of the experts have long been considering how such a tricky venture could succeed.


Schrenk and Reichert devised a plan with those in charge at Sant'Ambrogio, Abate Erminio de Scalzi and Monsignore Biaggio Pizzi, as well as with the curators of monuments from the diocese and city, Dr. Carlo Capponi and Dr. Antonella Ranaldi. The art transporting company APICE from Milan played an important role in this: well accustomed to shipping heavy paintings and sculptures, the experts led by Fabiano Panzironi took on the heavy task of transporting and lifting the glass pane installation.

The silk tunic measuring an impressive approx. 170 x 280 centimeters was stored in a drawer cabinet in the gallery of Sant'Ambrogio. However, this room was unsuitable for the preservation work. The transporters thus packed the glass panes with the valuable cargo between two large wooden boards, and the huge artwork was then carried vertically along the narrowest, winding corridors into the basilica's archive, which was transformed into a workshop for a month. "This transportation was highly risky," reports the restorer Ulrike Reichert. In some places, the art transporters had to proceed millimeter by millimeter to ensure the transit was ultimately successful.

A sandwich made from wood, glass and silk tunic

Once they arrived in the workshop, the six art transporters heaved the glass, silk tunic and wood sandwich onto a large table. The most dangerous moment of the preservation was now imminent. While the art transporters lifted the glass pane very slightly using suction handles, Ulrike Reichert used a flat stick to very carefully separate adhering parts of the silk tunic from the glass pane square centimeter by square centimeter. "This work took a long time -- for the helpers, it was a feat of strength to keep the heavy pane in the air the whole time," says Schrenk.

Then came the key moment: will the upper glass pane break when lifted and tear the tunic? Very carefully, the specialists lift the heavy pane centimeter by centimeter using the suction handles. The silk fibers remain intact! The carriers quickly lift the glass pane to one side and place it down on the table. The valuable fabric is now accessible for preservation. The fine silk fibers are carefully freed from dust and the valuable tunic is then protected against environmental influences with a lightweight acrylic glass. "The success shows that it was right to take the gamble," says Schrenk. "The great team mastered this challenge together."

Source: Universität Bonn [April 11, 2017]

Long-awaited rescue for valuable silk tunic

Until now, a heavy glass pane weighing approximately 80 kilos has prevented a valuable, centuries-old silk tunic attributed to Saint Ambrose...

Thursday, April 6, 2017


The spring special exhibition at the Glyptotek plunges deep beneath the surface and explores archaeological finds from shipwrecks off the coast of Sicily. The exhibition will be presenting a wide selection of treasures from shipwrecks, ranging across exclusive bronze wares, vases and weapons reflecting the many facets of Antiquity. With a time frame of almost 3000 years the exhibition also sheds light on the significance of the Mediterranean for trade, cultural encounters and perilous journeys and demonstrates that the ancient world was also globalised.

'War and Storm: Treasures from the Sea Around Sicily' at the Glyptotek, Copenhagen

Trade, Perils and Mythology

By virtue of its geographical position alone, Sicily has always been a natural trading nexus for merchants from near and far. So such races as the Phoenicians, Greeks, Romans, Byzantines, Arabs and Normans have exchanged goods, knowledge and cultural customs and have contributed to the island’s reputation as an exotic marketplace. This diversity has also led to the playing out of cultural strife on Sicily. This often resulted in naval battles and the exhibition also displays the legacy of this in the form of, for instance, war helmets and ships beaks for the ramming of enemy vessels. Today, shipwrecks form a wreath around the island like a unique pearl necklace - from warships sunk in historical sea battles to merchant vessels which foundered under the assault of wind and weather.

At the same time Sicily and the surrounding sea have always been an area where reality and mythology meet. One example of this is the way the island constituted a setting for the tale of how the narrow, dangerous Straits of Messina were the domain of the sea-monsters Scylla and Charybdis. The sea was clothed in mystery, and the exhibition illustrates the ancient world’s notions of sea-monsters, sirens and sea gods.

'War and Storm: Treasures from the Sea Around Sicily' at the Glyptotek, Copenhagen
Bronze ram from a warship, 8th cent. BC. Discovered off the west coast of Sicily, 2010 
[Credit: Glyptotek]
The Globalised Past

'War and Storm. Treasures from the Sea Around Sicily' shows how the sea shaped Antiquity’s world picture, while, at the same time demonstrating that global links and cultural encounters are anything but a purely modern phenomenon.

On the contrary: the sea formed the basis for a large part of the modern world, and mariners and merchants of Antiquity can be seen today as the forerunners of the European economic community.

The luxury items shown in the exhibition were transported round the world by water. For example: in this exhibition you can experience a life-sized elephant’s foot in bronze, which in all probability was part of a complete elephant. Even though the rest of the enormous figure is thought to lie at the bottom of the sea, the find is a reflection of the extraordinarily active and diverse world of ancient trade.

'War and Storm. Treasures from the Sea Around Sicily'will run until Aug. 20, 2017.

Source: Glyptotek [April 06, 2017]

'War and Storm: Treasures from the Sea Around Sicily' at the Glyptotek, Copenhagen

The spring special exhibition at the Glyptotek plunges deep beneath the surface and explores archaeological finds from shipwrecks off the co...

Wednesday, April 5, 2017


A 2,300-year-old aqueduct uncovered by workers on Rome's new Metro line has been hailed as "a sensational discovery of enormous importance" by the city's Superintendency for Archaeology.

Rome Metro workers discover ancient aqueduct
The aqueduct dates from the 3rd century BC and is the oldest in Rome
[Credit: Archaeological Superintendency Rome]
The find was made in the heart of the city, in Piazza Celimontana, during construction work for line C of Rome’s metro, right in front of the Celio military hospital. Here – almost 20 metres deep, where it is normally impossible to dig and study in safety – there lies what archaeologists have called “a sensational discovery of enormous importance, because it is almost certainly the most ancient Roman aqueduct, dating from the third century before Christ”.

Stratigraphy of the city revealed

The discovery was announced on Monday, 3 April, but occurred in late 2016, confirmed Simona Morretta, the heritage department’s head archaeologist for the Celio area: “The ruins emerged during work on a ventilation shaft about 32 metres wide and involving an area of about 800 square metres for line C of the metro, which started over two years ago”.

Details of the discovery, that we are reporting here for the first time, will be presented on Wednesday, 5 April at a conference at Rome’s Sapienza university. Morretta and Paola Palazzo, who directed the excavation with the “Archeologia” cooperative, will illustrate to the academic community their report, entitled “a stretch of a Republican aqueduct discovered during excavation work for line C of the Metro in Piazza Celimonana”.

“It is only thanks to the concrete bulkheads built for work on the metro,” explained Morretta, “that we could get down to that level, studying for the first time the entire stratigraphy of Rome – starting from the existing houses and descending to an Iron Age tomb with grave goods, including two bowls, from the late 10th-early 9th century BC”.

Rome Metro workers discover ancient aqueduct
The section unearthed of the 2,300-year-old construction is 32 metres long. An Iron Age tomb 
with grave goods also found [Credit: Archaeological Superintendency Rome]
At a depth of 18 metres

The tomb, found at a depth of 18 metres below the current ground level, is the first find of its kind in the Celio district, “but Rome, as we know, has always been built on itself, layer upon layer, often using former constructions as foundations”.

The discovery also includes a 3,000-year-old tomb, then, but of much greater interest is the aqueduct: “There emerged at a depth of 17.40 metres a stretch of aqueduct as long as the entire diameter of the ventilation shaft – 32 metres – and about two metres high, built in blocks of grey ‘cappellaccio’ tuff. It surely continues, both east and west, beyond the bulkheads.”

A ten-metre section of aqueduct has now been dismantled block by block, catalogued, and “piled up” back on the surface. There are plans to to reassemble it where the public can see it: “It was not possible to visit it 20 metres below ground, so we hope to rebuild it elsewhere in the future. It must be said, however, that such discoveries are only possible thanks to the work being done for the metro; excavations do not usually go so deep, and on this occasion were only possible because of the bulkheads. It was an extraordinary opportunity for us archaeologists”.


An impressive work

The Aqueduct is a serial structure, but is still able to provide a great deal of precise, and new information. “We still do not know how the aqueduct developed, i.e. where it started and ended. The authority to turn to in this case, as always, is Frontinus, author of a famous treatise on Rome’s aqueducts, written in 102 AD. Frontinus describes them all, and also tells us that some aqueducts passed through the Celio district. However, nothing had ever been found. In addition, on the basis of the dating of the material found, our aqueduct must have been built shortly before the middle of the 3rd century, in the mid-Republican Age, i.e. about 2,300 years ago."

"The question is: which aqueduct does the find belong to? We do not know yet. The Anio Vetus – whose name came from the Anio valley, the source of its waters – dates back to 272 BC. The period matches, yet even though this coincidence would seem to suggest a link, Frontinus says the Anio Vetus did not pass through Celio. It is thus more likely to be part of the Aqua Appia, the first aqueduct built in Rome. We must assume that a public work of this impressive size would have taken decades to build, so the dating could in fact coincide. We also know that the Aqua Appia was extremely deep, as is the section unearthed”.

Later used as a sewer

Moreover, the work was found completely buried. “It is precisely the intact layers of earth,” concluded Morretta, “that allowed us to establish when it ceased to be used, namely in the early Imperial Age. Subsequently, in late antiquity, the aqueduct was used as a sewer. Another curiosity is that the layers of earth revealed large amounts of leftovers from meals, which were an exceptional mine of information for our archaeozoologist. I have just received their report, which was extremely interesting. And now we know exactly what was eaten by Roman aristocrats living in the large villas in the area. All sorts of things were found in the sewers: remains of pets, parts of wild boars, plenty of rare birds, and exotic foods. There were not only the remains of hens, cocks and capons, but also of swans and pheasants, as well as huge seawater fish such as grouper”.

Author: Edoardo Sassi, transl. Simon Tanner | Source: Corriere Della Sera [April 05, 2017]

Rome Metro workers discover ancient aqueduct

A 2,300-year-old aqueduct uncovered by workers on Rome's new Metro line has been hailed as "a sensational discovery of enormous imp...

A wooden crucifix sculpted by Michelangelo at 18 has been restored to pride of place in Florence's Santo Spirito, the church the Renaissance master had created it for.

Restored Michelangelo crucifix gets pride of place at Santo Spirito basilica in Florence
View of a wooden crucifix sculpted by Italian artist Michelangelo at the Santo Spirito basilica in Florence 
[Credit: Alberto Pizzoli/AFP]
After the death of his first benefactor Lorenzo de Medici in 1492, Michelangelo lived for a year with a community of Augustine monks associated with the famous basilica, studying anatomy in the hospital they ran.

Restored Michelangelo crucifix gets pride of place at Santo Spirito basilica in Florence
Michelangelo crucifix hangs in new location in the basilica of Santo Spirito in Florence 
[Credit: Niccolo Cambi/Massimo Sestini]
As a thank you for their welcome, he left them a 1.40 metre (four and a half foot) sculpture of a nude Jesus Christ on the cross.

Restored Michelangelo crucifix gets pride of place at Santo Spirito basilica in Florence
Detail of crucifix hanging in Santo Spirito in Florence 
[Credit: Niccolo Cambi/Massimo Sestini]
The masterpiece was thought lost for decades before it was found in the 1960s, in a convent corridor and so badly overpainted it was barely recognisable.

Restored Michelangelo crucifix gets pride of place at Santo Spirito basilica in Florence
Side view of crucifix hanging at Santo Spirito in Florence
[Credit: Alberto Pizzoli/AFP]
Now restored, it recently went on tour in Italy before returning Tuesday to take up a new setting in Santo Spirito: suspended above the church's old sacristry in a way that allows visitors to inspect it from all angles.

Restored Michelangelo crucifix gets pride of place at Santo Spirito basilica in Florence
Restored Michelangelo crucifix hanging at Santo Spirito in Florence 
[Credit: Maurizio Degl'Innocenti, ANSA]
"The Santo Spirito district, with its extraordinary basilica, is a place that needs protecting and to be brought to life," said Simonetta Brandolini d'Adda, president of the Friends of Florence group which helped organise the new installation for "this serene, sublime Christ."

Source: AFP [April 06, 2017]

Restored Michelangelo crucifix gets pride of place at Santo Spirito basilica in Florence

A wooden crucifix sculpted by Michelangelo at 18 has been restored to pride of place in Florence's Santo Spirito, the church the Renaiss...

 

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