Christ – Timeless Italy Travels

He who works with his hands and his head and his heart is an artist.”
― St. Francis of Assisi

Cimabue's damaged Crucifix — **Cimabue’s damaged Crucifix**

The flood of 1966 in Florence devastated millions of art masterpieces and rare books. The Franciscan Basilica of Santa Croce was one of many buildings left in terrible conditions. Swirling river bottom mud settled inside the church, causing heavy damage to valuable works of art. It took a long time and a lot of effort to remove all of the debris. Because of its geographical location, Florence often flooded, always leaving behind a muddy mess.

Volunteers from around the globe came to clean the city of refuse, mud, and oil. They removed works of art, books and other valuables from flooded rooms. Conservators worked tirelessly to restore these pieces to as close to their original condition as possible. These volunteers became known as Angeli del fango–angels of the mud.

On my first visit to the Basilica of Santa Croce, I passed Cimabue’s Crucifix, painted in 1272. It was heart wrenching to see the degree of water damage that had altered the painting. 60% of its paint was missing. Housed in the refectory of the Museo dell’Opera di Santa Croce, the flood waters had risen to twenty feet, taking most of the paint off of the over 700-year-old Christ figure.

The wooden crucifix absorbed so much water that it expanded by three inches and doubled its weight. It took years for the cross to shrink back down to its original size. I could see spots with sections missing. The wood had cracked, it grew mold, and paint began to flake off even after it was removed from the refectory. Later on, the cracks were filled in with prepared Poplar from the Casentino Forest, where Cimabue obtained the original Poplar. Little restoration which can be seen with the eye has been applied to the Crucifix, and it still bears the effects of water damage.

cimabue-best — Cimabue’s Crucifix before the flood (photo credit Wikipedia)

santa-croce

“What we were doing was dictated by the desire to give back the traces of the history of the past to future generations, so that it could be used for the spiritual growth of people who perhaps had yet to be born….it was the international community that worked to try to save Florence, this unique patrimony that belonged to the whole world.”

Mario Primicerio, Speciale Alluvione

santa-croce-3 — Majestic Basilica of Santa Croce -photo credit Wikipedia

As I continued my walk through the church, I felt a deep respect and appreciation for the many old works of art. They were all beautiful and rich with color, painted by famous art masters of the late medieval and early renaissance. I was touched by how an international community of caring people pitched in together to help in a time of crisis, to save a heritage that is precious to everyone. It can be said that Cimabue’s Crucifix is a part of us all.

*St. Peter, Eternal Guardian, Keeper of the Keys to the Kingdom, Apostle and Founder of the Christian church in Rome. Martyred under Nero in 64 AD.*

Bones….a pile of bones. Discovered below St. Peters Victory Monument at his grave site deep underneath the main altar of the basilica by his own name. Could they be his actual bones? In a rush of excitement, world-famous anatomist from Sicily, Professor Venerando Correnti, was called in on the scene to analyze them. In three years time he had an answer.

The bones found in the Vatican hill underneath the victory monument were of a woman, two men, and some small animals. What a blow!

However, stories often bring about unexpected twists and turns, and this was no exception. In 1941, a buttressing wall supporting the tomb and built around 250 AD was discovered by excavators. This wall, covered by plaster, was inscribed with Christian graffiti, including references to Mary, Peter and Christ. But the most amazing find was a marble-lined repository the size of a safe deposit box, hidden within the wall. Figuring these possibly contained the bones of a pope, the workmen removed them for later analysis. They had assumed the pile of bones found underneath the victory monument were St. Peters.

Epigraphist, Dr. Margherita Guarducci, was brought in to analyse the graffiti on the wall. In the process, she saw the empty repository and asked to see the contents.

Inside, she found a large piece of red plaster, which came from the repository that buttressed the red wall behind the tropian. On this fragment was a fourth-century inscription. Petr(os) eni. The word in Greek meant “Peter is here.”

necropolis — *Necropolis underneath St. Peters Basilica*

The bones were analyzed by the same Professor Correnti. After eight years of careful analysis, he concluded that the bones found in the graffiti walls depository were of a man who died between the age of 65-70. This corresponds with the approximate age of Peter at his death.

Oldest St. Peter — *St. Peter-Oldest known depiction found in a catacomb in Rome*

The only bones missing were that of his feet. According to ancient writings, Peter was crucified upside down. The feet likely separated from the body in the process.

What I found very interesting is that the bones had been covered with royal purple and gold cloth. The purple had stained some of the bones, leading to the belief that they were wrapped after he had decomposed. Also, the bones themselves had dirt embedded in the pores, indicating that they had been in the earth a long time.

Pope XII announced to the public that the bones of St. Peter had indeed been found and rested in his tomb under his basilica. There seems little room for doubt….yet it does exist.

What kind of man could capture the hearts and devotion of millions throughout the centuries? Why would his tomb, since his death, be visited by throngs of pilgrims, embellished by the emperor Constantine, refined by three successive popes, and display Michelangelo‘s gloriously ornate dome?

“And I tell you that you are Peter, and on this rock I will build my church, and the gates of Hades will not overcome it.” Matthew 16:18 New International Bible