A recent church restoration project at the historic Basilica of San Lorenzo in Lucina has stirred a minor yet significant controversy, as a newly unveiled cherub bears an uncanny likeness to Italy’s Prime Minister, Giorgia Meloni. This unexpected resemblance has prompted a swift investigation from both the Vatican and Italy’s Culture Ministry, highlighting the sensitive intersection of religion and politics in the country.
The Unveiling of the Cherub
The cherub, part of renovation work carried out due to water damage sustained by the basilica, has attracted considerable attention since photographs of the artwork surfaced in national media. The basilica, a renowned religious site located near Rome’s prestigious Spanish Steps, has seen an influx of visitors, many of whom are eager to snap photographs of the controversial angel. This surge of curiosity, however, has occasionally disrupted ongoing Mass services, showcasing the depth of public interest in this peculiar situation.
In response to the burgeoning scandal, Meloni sought to downplay the situation, humourously stating, “No, I definitely don’t look like an angel,” accompanied by a laughing emoji on her social media. Her comments reflect an attempt to ease any tensions arising from the public’s fascination with the resemblance.
Investigations Underway
The Italian Culture Ministry has reacted promptly, dispatching officials to the basilica to assess the situation. The ministry’s special delegate, Daniela Porro, has been tasked with determining the nature of the restoration work and its implications. The ministry’s statement emphasised the importance of preserving the integrity of sacred art, asserting that such images should not be exploited or misrepresented.
Despite the scrutiny, Rev. Daniele Micheletti, the parish priest, has downplayed the significance of the resemblance, noting that many artists throughout history have drawn inspiration from real-life figures. He referenced the works of Caravaggio and Michelangelo to illustrate his point, suggesting that artistic interpretation often transcends mere likeness.
Historical Context and Cultural Sensitivity
The cherub’s resemblance to Meloni is particularly controversial given the political context surrounding her right-wing party, which has roots in Italy’s neo-fascist movement. The cherub is depicted in a position of deference to the last king of Italy, Umberto II, a monarchy that was abolished in the post-World War II era following its association with the fascist regime led by Benito Mussolini. This historical backdrop adds layers of complexity to the current situation, raising questions about the appropriateness of political imagery in sacred spaces.
The restorer, Bruno Valentinetti, has defended his work, denying any intentional modelling of the cherub after Meloni. He insists that the restoration aimed to revive the original artwork from 2000, which he originally created. This assertion has not quelled the controversy, as investigations continue to ascertain the cherub’s original appearance.
Reactions from the Church
Cardinal Baldassare Reina, the vicar of Rome, has taken a firmer stance, expressing dissatisfaction with Micheletti’s casual approach to the matter. He announced an investigation into the circumstances surrounding the cherub’s restoration and reaffirmed the diocese’s commitment to maintaining the sanctity of its artistic heritage. The diocese’s statement underscored that sacred art should serve to enhance liturgical practices and spiritual reflection, rather than becoming a platform for political discourse.
Why it Matters
This incident not only highlights the intricate relationship between art and politics in Italy but also raises broader questions about the role of religious institutions in contemporary society. As Italy grapples with its historical legacy and the resurgence of far-right ideologies, the cherub’s likeness to Meloni serves as a potent reminder of how art can evoke powerful cultural and political currents. The outcome of the investigations may set a precedent for how religious spaces navigate the complexities of modern governance and the representations that inhabit them.
