Michelangelo’s Pieta’ getting new high-security barrier before Jubilee Year July 23, 2024By Carol Glatz Catholic News Service Filed Under: Arts & Culture, Feature, News, Vatican, World News VATICAN CITY (CNS) — The Vatican is installing a new set of nine bullet-proof and shatter-proof glass panels in front of one of its most famous works of art, Michelangelo’s marble “Pietà” sculpture in St. Peter’s Basilica. The new glass panes were crafted for improved security and “maximum transparency” to improve visibility for the thousands of visitors who stream through Christianity’s largest church each day, according to the Fabbrica di San Pietro, the office responsible for the upkeep of the basilica. “Specially designed by a team of experts, it will be equipped with an innovative high-tech anchoring system, carefully studied in every component for the best protection and enjoyment of the venerated and admired sculpture,” the office said on its website July 22. In the runup to the Holy Year 2025, restoration work on the side Chapel of the Pietà, housing the sculpture, and the glass barrier in front of it began in May. Work is expected to finish in September, the website said. Because the sculpture will not be visible to the public during that time, the basilica was showcasing its “official” copy, a plaster replica created by Francesco Mercatali in 1943. It moved the replica in mid-July from the basilica’s museum in the Vatican sacristy to the front of the chapel that is blocked off to visitors for the restoration. The enormous sculpture, carved from a single block of Carrara marble, has been protected by a transparent barrier ever since a 33-year-old, Hungarian-born Australian geologist, Laszlo Toth, attacked it with a hammer in 1972. It was restored after his blows shattered the left arm of the Virgin Mary and also chipped her nose, left eye and the veil covering her hair. The sculpture depicts a disproportionately large Mary holding the limp body of her dead son, Jesus, in her lap after his crucifixion. Michelangelo was just 23 years old when he sculpted the piece in just nine months between 1498 and 1499, according to the Fabbrica website. It is the only sculpture the artist signed when he inscribed his name on a ribbon falling from Mary’s shoulder. Also see Cultural trends and technology threaten contemplation, Cardinal Roche says She sings – and plants make the music Radio Interview: Protecting the Environment BMA exhibition highlights how Matisse reimagined the Stations of the Cross ‘Rebirth’ art project offers counternarrative for Father Rupnik accusers, abuse survivors Visitor breath, sweat and climate change prompt work on Sistine Chapel masterpiece Copyright © 2024 Catholic News Service/U.S. Conference of Catholic Bishops Print
