Preface

Author(s): ELIZABETH CROPPER

Source: Studies in the History of Art , 2012, Vol. 76, Symposium Papers LIII:
Orsanmichele and the History and Preservation of the Civic Monument (2012), pp. vii-
viii
Published by: National Gallery of Art

Stable URL: https://www.jstor.org/stable/42622565

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 Freface

years in her three-volume publication on

that a group of masterpieces of Orsanmichele, produced by Franco Cosimo
When that monumental themonumental
a group sculpture
news offrom
sculpture began masterpieces to circulate from of Panini in 1996. As Carl Brandon Strehlke
Orsanmichele in Florence might be exhibited notes, Zervas not only documented individ-
at the National Gallery of Art in Washington, ual aspects of the history of the building and
the response in many quarters was amaze- its sculptures but also revolutionized the
ment, not to say disbelief, and even a degree study of the monument in its urban and
of concern. Looking back on the exhibition communal context, making possible much of
of Lorenzo Ghiberti's Saint Matthew , Nanni the subsequent interpretation proposed here.
di Banco's Four Crowned Martyr Saints, and Soprintendente Acidini refers to the decades
Andrea del Verrocchio's Christ and Saint of highly skilled scientific conservation of
Thomas , which took place at the Gallery in the Orsanmichele statues in a campaign that
2005, we can now see the boldness, generos- was reaching a conclusion in 2004, when, as
ity, and vision of the project. In her foreword soprintendente of the Opificio delle Pietre
to this volume, Cristina Acidini, Soprinten- Dure e Laboratori di Restauro of Florence,
dente per il Patrimonio Storico, Artistico ed she was responsible for their care (and I can
Etnoantropologico e per il Polo Museale only endorse wholeheartedly her tributes to
della Città di Firenze, provides a brief but all those who contributed to this campaign
highly significant account of the thinking throughout those decades). The loan of a
behind the temporary loan of such precious group of sculptures to the National Gallery
artistic patrimony. For this was no symbolic (especially the stupendous Ghiberti Saint
or political gesture, though it did much to Matthew) was a dramatic way to recognize
consolidate the special relationship that has the outstanding work of conservation, while
always existed between the National Gallery also highlighting the predicament of the pres-
of Art and the cultural heritage of Italy, and ervation of a unique civic monument for the
beyond that, the special affection and pro- future. Paradoxically, a radical decontextual-
found respect that generations of students in ization of works that had hitherto somehow
the United States have expressed toward the managed to remain associated with their
art of the Italian Renaissance, and of the original setting might also help provide per-
Florentine Renaissance in particular. One spective on the future "museification" of the
earlier, remarkable outcome of this special tabernacle sculpture inside Orsanmichele.
relationship, it should be noted, was Diane From the first conversations with colleagues
Zervas' dedicated research into the history of in Florence, it was agreed that the Center
the monument. This resulted after many for Advanced Study in the Visual Arts would

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organize a symposium designed to provide the Andrew W. Mellon Foundation made it
an intellectual context for these displaced possible for the final product to be worthy of
works, and that a similar event would follow the subject at hand.
the sculptures' return to Florence. Without It was with great sadness that we learned
the support of the late Robert H. Smith, of the passing of Luciano Bellosi on April 26,
president emeritus of the Board of Trustees 201 1, just as first proofs were received. Born
of the National Gallery and a passionate col- in Florence, Bellosi studied with Roberto
lector of Renaissance bronzes, none of this Longhi, writing his thesis on Lorenzo Monaco.
could have been attempted, casva's Robert After ten years working for the Soprinten-
H. Smith Grant funded the symposia in denza alle Gallerie di Firenze, he took up a
Washington and Florence, as well as a study position at the Università degli Studi di Siena,
day at the National Gallery, when a group where he was an inspiring teacher. Professor
of experts were able to examine the statues Bellosi represented the very best in Florentine
at close range. The concert dedicated to scholarship, whether concerning Buffalmacco,
"Legenda Aurea: La lauda trecentesca in Giotto, Cimabue, or Donatello, and we were
Orsanmichele," performed by the early-music honored by his participation in the sympo-
group laReverdie under the direction of sium. It is good to know that he and Carl
Blake Wilson and held in Orsanmichele itself, Strehlke were discussing his essay on the
was supported by the International Exhibi- Saint Peter for the tabernacle of the butcher's
tions Foundation, with contributions from guild just days before his death, and that he
Barry B. Scherr and Dickinson College. We knew the volume was well under way.
remain grateful to the cardinal archbishop To all of our colleagues and friends in
of Florence and the Chiesa di Orsanmichele Florence we offer our deepest thanks for
for their hospitality, as well as to Nora B. their collaboration, and our support for
Dempsey, then consul general of the United their continuing commitment to the under-
States of America in Florence, for her support. standing and protection of this endangered
With so many contributors from the two building and its precious contents, which
symposia combined - writing from very dif- are neither ornaments nor autonomous
ferent viewpoints, whether historical or tech- works of art, and for which time has never
nical, and in several languages - this volume stood still.
of Studies in the History of Art has presented Both Carl Strehlke and Caroline Elam, in
unusual challenges. We have been extraordi- their respective introduction and afterword,
narily fortunate in having Carl Strehlke of emphasize the importance of taking seriously
the Philadelphia Museum of Art, former the question of the past, present, and future
Edmond J. Safra Visiting Professor and for- use and abuse of Orsanmichele, seen as a
mer board member at casva, as our schol- paradigmatic example of the problems of
arly editor. His deep knowledge of Florentine protecting cultural heritage. The discussions
art, and of the city of which he is at least a they both raise are still current, and will
part-time citizen, have been essential to keep- likely never cease. This is, however, a good
ing the publication on course. As always, sign, for it shows that deeply knowledgeable
Therese O'Malley, associate dean of casva, people - whether scholars, conservators, or
and Bailey Skiles, coordinator of special members of the public - continue to care
meetings and publications, have worked in about Orsanmichele. Agreement, no less than
tireless and patient cooperation with Cynthia silence, can lead to neglect.
Ware, casva's managing editor, to produce a
volume that we hope all involved will see as ELIZABETH CROPPER

worth waiting for. A publication grant from Dean, Center for Advanced Study in the Visual

viii ORSANMICHELE AND THE HISTORY AND PRESERVATION OF THE CIVIC MONUMENT

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