Magnificent Veiled Christ or poor man in muddy gist?
Before start, we need a clarification. We remind at people that assimilate us to the authors of archaeological or scientific theses socks and patently false, or the heads of conspiracy theories that haunt the web, that our arguments are supported by reliable information.
After the interesting comment of Dr. Alessandra Padiglione about Veiled Christ, we are happy to be able to deepen the topic today, thanks to new files that we have received.
The Veiled Christ is a marble sculpture of 1753, preserved in the Neapolitan Sansevero Chapel and apparently made by Giuseppe Sanmartino. In fact there are many experts who have doubts about the real attribution of the work. And perhaps with good reason.
The unmatched realism of the veil that covers the Christ has even encouraged the legend that Prince buyer, the famous scientist and alchemist Raimondo di Sangro, would teach the sculptor calcification of tissue in crystal marble. For nearly three centuries, in fact, many visitors to the chapel, impressed by the wonderful carved veil, they consider it the result of a “marbling” alchemical performed by Prince, who would statue lying on a real veil, which is marbled through time a chemical process.
And if the entire statue was the true Christ chemically marbled?
But no, we joking of course. Sometimes we need to joke about theory-fetched.
The truth is different, and there is whispered by the expression of “Christ”, hidden just behind the invisible veil: the face has a relief expression.
It must remember that the statue represents the Christ’s torment.
So why the sculptor so attentive to detail and able to play so faithfully a veil laid on a human body, he overlooked an important element as the expression of pain caused by the martyrdom suffered?
To answer we must expose the theory formulated by Vasco Rosso, investigator in charge of the team that we have sent to Naples to study the work that linked together the pliers, the reed fence, the relief expression.
Here’s the story deducted:
A man wants to spend a beautiful day at the SPA. He don’t have the money to enter, so what he do? He brings a pliers to cut the hedge that protects the building, but a fragment of the hedge remains perhaps caught at the poor man. The bather decides to immerse himself in the hot mud and then lie on the couch and enjoy the balsamic effect, with an expression of relief on his face. The man, however, is flooded by lava of a volcano, and remains in this way still today.
We are in Pompeii in 79 A.D.
So the veil is not more than the dried mud on the man’s skin before the lava “marmified” it forever.
In 1753 during a trip to Pompeii, Giuseppe Sanmartino, struck by the similarity of the statue with Jesus, takes possession of the corpse of the poor man and claims to be the author.
This is not to “throw mud” on the reputation of the sculptor, author of valuable works, but in this case, the Sanmartino has a role of archaeologist more than a sculptor. His gesture, though not excusable, certainly has the merit of having preserved this exceptional heirloom, the most refined of all human sculptures of Pompeii.
And it is perhaps the only one that expresses serenity and bliss, perhaps because in that moment of enjoyment has reached the divine ecstasy. Or maybe not.
And how blame the Sanmartino: few would have resisted the temptation to claim a statue of Christ, after found a nice and beautiful work already done, with a crown of thorns on his feet.
But, as far as we are sensitive to the art, also natural as in this case, we propose to remove the poor man and to give him after so long, a dignified burial.