Baptismal font of the Siena Cathedral, side with the Capture of the Baptist by Lorenzo Ghiberti after the restoration | Photo: © Bruno Bruchi | Courtesy Opera Laboratories
Interventions of the highest and innovative technical level, conducted by the staff of the Opera and that of the Opificio delle Pietre Dure, led first by the late Marco Ciatti, and subsequently by Emanuela Daffra, now return the sculpture entirely made of marble to the view of the guests of the Cathedral.
The restoration intervention, financed by the Siena Metropolitan Opera, is the result of a synergy between the Fabbriceria, the Superintendency of Archaeology, Fine Arts and Landscape for the provinces of Siena, Grosseto and Arezzo and the Opificio delle Pietre Dure of Florence (OPD), which was entrusted with the direction of the restoration, coordinated by art historians Laura Speranza and Riccardo Gennaioli.
Baptismal font of the Siena Cathedral after restoration | Photo: © Bruno Bruchi | Courtesy Opera Laboratories
“Maintain, conserve, restore and enhance the assets entrusted to us. These are some of the institutional tasks of the Siena Metropolitan Opera” – states the Rector Giovanni Minnucci – and, by will of the Board of Directors whom I sincerely thank, we have rigorously adhered to them even on this very happy occasion. Giving back, admirably restored – to the Church, to the city of Siena, and to the many people who visit the monumental complex – an asset of enchanting and unparalleled beauty, such as the baptismal font, was a mission to which we willingly dedicated ourselves, together to all the staff of the Opera, that of the Opificio delle Pietre Dure, the university professors and the technicians external to the two institutions”.
Positioned in the center of the Baptistery, the baptismal font, among the major masterpieces preserved in the monumental complex of the Siena Cathedral, is a small jewel in marble, bronze and enamelled copper which saw the light between 1417 and 1431. Inside the six gilded bronze mirrors are inserted into the hexagonal basin which tell the story of the life of the Baptist, punctuated by the statues of virtue, two of which, Faith and Hope, created by Donatello. Among the most representative episodes is the Baptism of Jesus by Lorenzo Ghiberti of 1427, or the touching Herod’s Banquet by Donatello.
Focal point in the definition of the principles of the Renaissance, the Fonte required complex conservative interventions especially with regard to the gilded bronze works and the marble elements.
Baptismal font of Siena Cathedral, Tabernacle after restoration. Photo: © Bruno Bruchi | Courtesy Opera Laboratories
“Dealing with such a complex and significant work for the history of art is always difficult – explains Emanuela Daffra, Superintendent of the Opificio delle Pietre Dure -. In this case the difficulties were increased by other factors: on the one hand the use value of the Fonte, born as an ‘instrument’ for the administration of a sacrament, which this function still maintains today. On the other hand, environmental conditions are not ideal for conservation, especially of bronzes. The OPD staff has taken up the challenge of maintaining both the completeness and the original destination of the monument for now, but it is precisely from this that the program of six-monthly inspections and the invitation to monitor and scrupulously control environmental parameters was born. Only constant attention will allow us to promptly detect signs of deterioration and immediately identify the most suitable measures.”
The intervention allowed us to observe the creations of Giovanni di Turin, the result of an ingenious assembly of portions cast separately. The careful study of Donatello’s panel, Herod’s Banquet, it also revealed the presence, in the past, of tie rods applied between the arches overlooking the scene and which were intended to increase the perspective and realistic effect of the architecture depicted.
The Baptistery can be visited every day from 10am to 7pm.
