A recently restored fresco in a Rome church has ignited a firestorm of controversy due to its striking resemblance to Italy’s Prime Minister, Giorgia Meloni. The likeness, which was initially met with shock and outrage, has prompted church officials to take decisive action, resulting in the removal of the offending features by the artist responsible for the restoration.
The Scrubbing of an Angel
The fresco in question, located in the Basilica of St Lawrence in Lucina, depicted an angelic figure whose newly restored face bore an uncanny likeness to Meloni, the leader of the right-wing Brothers of Italy party. Following public outcry, the artist, Bruno Valentinetti, initially refuted the claims but later conceded that the facial features were indeed inspired by the Prime Minister. At the age of 83, Valentinetti has since stated that he was instructed by the Vatican to erase the features, claiming the revised image was meant to reflect the original work.
Church and Government Response
In response to the uproar, officials from both the church and the Italian government have launched an investigation into the matter. Cardinal Baldassare Reina of Rome issued a stern statement expressing his dismay, asserting that sacred art should not be exploited or misrepresented. “Images of sacred art and Christian tradition cannot be misused or exploited,” he emphasised, highlighting the gravity of the situation.
The Basilica, situated just a short walk from Meloni’s office, has recently seen a surge in visitors, many of whom are more interested in the scandal than in spiritual reflection. Rev. Daniele Michelett, the basilica’s priest, noted a notable shift in visitor behaviour: “There was a procession of people who came to see it and take selfies, not to pray.” Michelett admitted that he had not initially perceived the resemblance, but agreed that the restoration did not align with the church’s traditional iconography.
A Historical Context
The Basilica of St Lawrence in Lucina is one of Rome’s oldest churches, adorned with the works of Baroque luminaries such as Gian Lorenzo Bernini and Guido Reni. However, the controversial fresco itself is relatively modern, painted in 2000 and not protected as a heritage site. Located in a chapel dedicated to Italy’s last king, Umberto II, the fresco depicts the cherubic figure holding a map of Italy, a representation that has now become embroiled in political symbolism and artistic integrity.
In light of the incident, the agency responsible for safeguarding Rome’s cultural heritage has mandated that any future restoration work must receive prior authorisation, along with a detailed proposal of the intended changes.
Meloni’s Reaction
In a light-hearted response to the controversy, Giorgia Meloni took to Instagram to address the situation, stating, “I am definitely not like an angel,” and accompanied her comment with a laughing emoji. This post underscores the mixed sentiments surrounding the incident, reflecting both the seriousness of artistic representation in sacred spaces and the potential for political satire.
Why it Matters
This incident illuminates the delicate interplay between art, politics, and tradition in contemporary society. It raises important questions about the role of public figures in sacred representations and the responsibilities of artists in maintaining the integrity of religious iconography. As Italy grapples with its historical legacy and modern political identity, the erasure of an angel’s face serves as a poignant reminder of the complexities that arise when art intersects with the political landscape.
