New Liturgical Movement - Raphael in The Sistine Chapel - A Unique Exhibition in London

4/3/2014 New Liturgical Movement: Raphael in the Sistine Chapel - A Unique Exhibition in London
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MONDAY, JULY 19, 2010
Raphael in the Sistine Chapel - A
Unique Exhibition in London
BY GREGORY DIPIPPO
n the occasion of the Holy Fathers visit to England in September, the
Vatican Museums and the Victoria and Albert Museum of London have put
together what promises to be one of the most interesting artistic exhibitions
in recent memory. Four tapestries designed by Raphael for use in the
Sistine Chapel will be loaned to the V&A, and displayed alongside the original
preparatory cartoons which were used to make them. The four tapestries are part of
a larger series of ten, which are kept nowadays in the Painting Gallery of the Vatican
Museums, in a room specially dedicated to the works of Raphael. The preparatory
cartoons have been the property of the royal family of England since 1623, when they
were acquired by the Prince of Wales, shortly before his accession to the throne as
King Charles I; they have been on permanent loan to the V&A since 1865.
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Duchesne
Vestments and Vesture by Dom
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Ordo Romanus Primus ed.
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Liturgical Prayer: its history
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Raphael's cartoon of The Miraculous Draught of Fishes, from the Victoria and Albert Museums.
On Wednesday, July 14, at a press conference given in the Sala Regia, (the room
immediately behind the Sistine Chapel), Dr. Antonio Paolucci, director of the Vatican
Museums, along with his colleagues, Drs. Arnold Nesselrath and Anna Maria de
Strobel, gave the formal presentation of the upcoming exhibition, along with an
explanation of the history of these famous tapestries. Afterwards, those who were in
attendance were given the unique opportunity to see several of the tapestries hung in
the space they for which they were first created. The last time they were placed on
display in the Sistine was in 1983, as part of the celebrations of the 500th
anniversary of Raphaels birth.
Lucky admirers of Raphael see his tapestries in the Sistine Chapel for the first time in almost 30
years. Pictured is the tapestry of the Healing of the Lame Man at the Beautiful Gate (Acts 3).
Three more tapestries, displayed beneath paintings by Perugino, Botticelli and Ghirlandaio.
The full-sized preparatory designs on heavy paper, called cartoni large papers in
Italian, (whence the English cartoon), were produced by
Raphael for Pope Leo X, in the years 1515 and 1516. A young
and prodigiously talented artist from Urbino, only 32 at that
point, Raphael had already been in Rome for a number of years.
Under the previous Pope, Julius II, (whose grand projects
included the rebuilding of Saint Peters Basilica), he was one of
several famous painters hired to decorate a new set of Papal
apartments in the Apostolic Palace. Julius was so pleased with
what he saw in the beginning of Raphaels work that he fired all
of the other of the painters, and engaged him to do the entire
project on his own. While Raphael was still working on the
second of four rooms, however, Julius died in February of 1513,
Roman Rite
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liturgy, 1215-1945 by W.
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The Liturgical Altar by G. Webb
Liturgical Latin by Christine
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The Organic Development of
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Turning Towards the Lord:
Orientation in Liturgical
Prayer by Fr. Uwe-Michael
Lang
The Veneration and
Administration of the
Eucharist: 1996 CIEL
Proceedings
Altar and Sacrifice: 1997 CIEL
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Ministerial and Common
Priesthood in the Eucharistic
Celebration: 1998 CIEL
Proceedings
Theological and Historical
Aspects of the Roman Missal :
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The Presence of Christ in the
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Proceedings
Faith and Liturgy: 2001 CIEL
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The Genius of the Roman Rite:
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The Byzantine-Slav Liturgy of
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Casimir Kucharek
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Sundays in Proper Seasons
before and after the Second
Vatican Council by Lauren
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Looking Again at the Question
of the Liturgy with Cardinal
Ratzinger edited by Alcuin
Reid
The Mass and Modernity by Fr.
Jonathan Robinson
Cardinal Reflections: Active
Participation in the Liturgy
by Cardinals Arinze, George,
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Losing the Sacred: Ritual,
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barely four months after Michelangelo had completed the re-decoration of the Sistine
Chapels vaulted ceiling. (Pictured right - self portrait of Raphael from his early teens.)
His successor, Card. Giovanni de Medici, elected at the age of only 37, and the
last non-priest to be elected Pope, was a member of the
famous family who had de facto ruled over Florence for
much of the Renaissance. His father Lorenzo is usually
referred to as the Magnificent, for the arts and the
sciences flourished amazingly in Florence during his
lifetime, due in no small degree to his patronage. As Pope
Leo X, his son continued the traditions of his family and his
papal predecessors in spectacular generosity to the arts,
along with very considerable charitable works. While
painters, poets and sculptors flocked to Rome, Raphael was
appointed Conserver of the Roman Antiquities, a sort of
superintendent of Pontifical works; under the Leos
patronage, he ran a combination workshop-and-school, with literally dozens of artists
to assist him on countless commissions for the Pope and others. (Pictured right -
Raphael's portrait of Pope Leo X with two cardinals. On the left is the Pope's cousin, Giulio de'
Medici, the future Clement VII, and on the right, Luigi de' Rossi.)
Raphael knew full well that his tapestries, although movable, and therefore capable of
being shown anywhere, would most frequently be seen in the Sistine Chapel, the
religious center of the Papal court. This meant that they would also be displayed next
to some of the finest frescoes of the Italian Renaissance, not only those on the ceiling,
finished just 3 years before by Michelangelo, but also a whole series of elaborate
panels, executed on the walls of the chapel more than 30 years earlier, by some of
the best painters of the later fifteenth-century.
Part of the right wall of the Sistine Chapel. From the bottom: painted draperies in silver and
gold, with the crest of Pope Sixtus IV; two scenes from the Life of Christ, left side by Perugino
and Signorelli, right side by Cosimo Rosselli; four sainted Popes. At the top, a few of the
hundreds of figures added by Michelangelo to the upper part of the chapel between 1508 and
1512. Raphael's tapestries were made to cover the bottom stages.
Many artists would balk at such an intimidating prospect, but not Raphael. In an age
in which imitation was considered the very essence of art, which is to say, the
imitation of the classical past, no-one had a keener eye for seeing what was good
about the styles of other artists, taking it into his own, and improving upon it. The
tapestries show his complete mastery of the figures of his teacher Perugino, for
example, one of the original painters of the Sistine; other images are clearly based on
the newer style of Michelangelo. A colleague pointed out to me, as we discussed the
position of the tapestries and their relationship to the paintings above them, that
they are indeed so absorbing that Raphael is effectively keeping the viewers eyes
away from his rivals famous ceiling.
Reform by David Torevell
The Reform of the Roman
Liturgy by Msgr. Klaus
Gamber
After Writing: On the Liturgical
Consummation of Philosophy
by Catherine Pickstock
A Pope and a Council on the
Sacred Liturgy by Fr. Aidan
Nichols
Looking at the Liturgy: A
Critique of its Contemporary
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Claude Barthe
The Heresy of Formlessness by
Martin Mosebach
The Banished Heart by Geoffrey
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Beyond the Prosaic ed. Stratford
Caldecott
Sacrosanctum Concilium and
the Reform of the Liturgy ed.
Kenneth D. Whitehead
The Development of the
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Giampietro
The Second Vatican
Ecumenical Council: A
Counterpoint for the History
of the Council by Agostino
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The Spirit of the Liturgy by
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Laurence Hemming
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Romano Guardini
Liturgy and Architecture by
The Handing of the Keys to St. Peter, by Perugino and Signorelli, painted in the Sistine Chapel in
1482.
"Pasce oves meas - Feed my Lambs." (John 21) Raphael's preparatory design for a tapestry, from
the V&A. Notice that the figures of Christ and Peter are very similar to the same figures in the
work by his teacher Perugino shown above.
The finished tapestry, displayed in the Sistine Chapel. In the process of transfer from cartoon to
tapestry, the image is reversed. Other changes can also be made, as with the color of some of the
garments.
Louis Bouyer
The Mass: The Presence of the
Sacrifice of the Cross by
Cardinal Journet
Gregorian Chant: A Guide to
the History and Liturgy by
Dom Daniel Saulnier, OSB
Catholic Church Architecture
and the Spirit of the Liturgy
by Denis McNamara
Heaven and Earth in Little
Space by Fr. Andrew Burnham
1962 Missale Romanum (Recent
altar edition printed in Germany)
1961 Breviarium Romanum
(Latin edition of Roman
Breviary)
1961 Latin-English Roman
Breviary (Baronius Press)
Liber Usualis (1961-62 edition)
Liber Brevior (1954 edition)
Rituale Romanum
Roman Ritual (3 volumes)
The Roman Missal 1962
(Baronius Press; Summorum
Pontificum edition)
The Layman's Missal
Missale Romanum Editio iuxta
typicam tertiam (Latin altar
edition of modern Roman
missal)
Book of the Gospels (Matching
edition to Latin Missale
Romanum)
Lectionarium (Latin edition of the
modern Roman lectionary)
Shorter Roman Ritual / Rituale
Parvum (Latin-English)
Liturgia Horarum (Latin Liturgy
of the Hours)
Daily Roman Missal (Revised
English edition of the Roman
Missal.)
Adoremus Hymnal (Ignatius
Press)
Simple English Propers
(Vernacular propers for the
English liturgy)
The Monastic Diurnal (St.
Michael's Abbey Press)
Kyriale (Paraclete Press)
Gregorian Missal (Paraclete
Press, 2012)
St. Paul delivered from the prison at Philippi by an earthquake, (Acts 16), here represented as a
large human figure. The tapestry is made to fill the wall-space between the cantors' balcony and
the marble screen which divides the chapel into two parts.
The muscular figure of the earthquake owes much to the powerful, sculptural style of
Michelangelo's paintings.
The original plan called for a total of sixteen tapestries, with eight scenes each from
the life of Saint Peter and that of Saint Paul. Once the preparatory cartoons were
ready, they were sent to Brussels, to be woven into tapestries in the workshop of
Peter van Aelst, known at the time as one of the finest such workshops in Europe.
The first seven were delivered in 1519, and Pope Leo was so extraordinarily pleased
with them that he decided to display the set, though less than half completed, in the
Sistine for the Mass of St. Stephens day. In his diary, the Master of Papal
Ceremonies, Paride de Grassis, notes the universal admiration, and indeed
astonishment, with which they were received. De Grassis himself says that while the
motto of the Papal Chapel at the Lateran, the Sancta Sanctorum, was Non est in toto
sanctior orbe locus there is no holier place in all the world, that of the Sistine was
now Non est aliquod in orbe nunc pulcherius Now there is nothing in the world
more beautiful.
Three more tapestries were completed and sent to Rome within two years, but, with
the premature deaths of both Raphael in 1520, and of Leo X the following year, the
project came to a halt, and the remaining six were never finished. It should be
remembered that although the frescos of Raphael and Michelangelo are now the main
attraction at the Vatican Museums, in their time, and long after, tapestry was in
some ways a more prestigious medium, and in every way, vastly more expensive.
Between the monies paid to Raphael for the design, and the cost of the actual
weaving, Leo X paid greater than five times as much for the completed tapestries as
Julius II had paid Michelangelo for the whole painting of the Sistine ceiling.
The cartoons remained in Brussels, and enjoyed as great a fortune as the tapestries
Graduale Romanum (Paraclete
Press)
Martyrlogium Romanum (2004
Latin Edition)
The Ceremonies of the Roman
Rite Described (revised in
accordance with Summorum
Pontificum by Alcuin Reid)
Manual of Episcopal
Ceremonies by Aurelius
Stehle, OSB
The Celebration of Mass by J.B.
O'Connell
Rubrics of the Roman Breviary
and Missal
Learning To Serve (Server's
guide, including pronunciation)
Ceremonies of the Modern
Roman Rite by Msgr. Peter
Elliott
Ceremonies of the Liturgical
Year by Msgr. Peter Elliott
How To Serve - In Simple,
Solemn and Pontifical
Functions by Dom Matthew
Britt
The London Oratory
The Toronto Oratory
The Oxford Oratory
The Birmingham Oratory
Canons Regular of St. John
Cantius
Our Lady of the Atonement
(Anglican Use Parish)
Our Lady of Walsingham
(Anglican Use Parish)
Fraternity of St. Peter
Institute of Christ the King
Clear Creek Benedictines
Abbaye St-Madeleine du
Barroux
Monastre Saint-Benot
Abbaye Notre Dame du Randol
Canons Regular of the New
Jerusalem
Institute of St. Philip Neri
Fraternity of St. Vincent Ferrer
(French only)
Canons Regular of the Mother
of God
Apostolic Administration of St.
John Vianney
Institute of the Good Shepherd
in Rome; they were studied and imitated by many artists, among them Albrecht
Drer, while new sets of tapestries from the same designs were later executed for
several courts, including those of England, Spain, and the duchy of Mantua.
Eventually, they were bought by the Prince of Wales, the future Charles I, and yet
another set executed; the Victoria and Albert show will also include a version of The
Miraculous Draught of Fishes woven at the tapestry-works at Mortlake. For those
who are traveling to London, the show at the Victoria and Albert will provide a
unique opportunity to see one of the greatest artists to ever work in Rome, in his one
of his finest moments; even Raphael himself never saw both the cartoons and the
finished tapestries together.
The Raphael tapestries, the preparatory designs, and related items will be
displayed at the Victoria and Albert Museum in London from September 8 to
October 17 of this year. Admission to the V&A is free.
On Friday, September 17th, the London Oratory and the V&A will present a private
viewing of the Raphael show, together with a concert in the Oratory of sacred
music from the Roman school, performed by the Choir of the London Oratory,
directed by Patrick Russill, with organist John McGreal.
The concert will be at 7.00pm, and the private viewings will be 5.30pm-6.45pm
and 8.30pm-9.45pm. Tickets (unreserved) are 18 (concert and viewing) and 15
(concert only), available only through the V&A Bookings Office.
Posted Monday, July 19, 2010 Comment
Comments for this thread are now closed.
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Dominican Tertiary Father
Augustine...this is wonderful news. Do
you, or anyone else reading this
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retreat for young men, which took place last weekend. 25 young men from several Juventutem
chapters attended and it was preached by Rev. Carlos Hamel, FSJC, visiting from his diocese of
Frjus-Toulon, at the Church of St John the Baptist in Allentown...
Christopher Malloy on What Is a Reactionary
With a plethora of excellent Catholic blogs these days, it can be hard to keep up with them all. Given
the limits of time and the complexity of our responsibilities, it can feel at times like trying to answer
ten phone calls simultaneously. I sometimes wonder if the ephemerality, effervescence, and sheer
volume of the medium tends to limit the exte...
1974 Graduale Romanum available for free download
Thanks again to the tireless labors of the folks at Corpus Christi Watershed, we now have available
for the first time, as a downloadable PDF, the entire Graduale Romanum published in 1974 by
Solesmes.The Church Music Association of America made the Gregorian Missal available some years
ago, and it has of course the advantage of English translation...
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Spanish Bishop Celebrates
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New Liturgical Movement - Raphael in The Sistine Chapel - A Unique Exhibition in London

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4/3/2014 New Liturgical Movement: Raphael in the Sistine Chapel - A Unique Exhibition in London

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