Tea at Trianon: The Veiled Christ

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Sunday, April 1, 2018

The Veiled Christ

From Aleteia:

The Cristo Velato (that is, the Veiled Christ) is a sculpture completed in 1753, originally (mis)attributed to Antonio Corradini and considered one of the world’s most remarkable pieces of art. In fact, the great neoclassical maestro Antonio Canova, who tried to buy the work, said he would gladly give up ten years of his life to produce such masterpiece.

Although Corradini was in fact commissioned with the job in the first place, he died having only produced a clay model for what would later be a definitive piece sculpted in marble. It was Giuseppe Sammartino, then, who ended up producing the astonishing sculpture of a dead Jesus, covered by a transparent shroud carved out of the very same marble block shared with the rest of the statue. Sammartino’s mastery – the veil covering the figure of Jesus being in fact “transparent” — didn’t only gain him a well-deserved place in the history of Western art, but also turned his artwork into the stuff of legend.

Some stories claim Sammartino covered his sculpture with a linen veil he managed to transform into marble by means of complex chemical-alchemical processes. Those very same legends would also claim that Raimondo di Sangro, the commissioner of the sculpture, was himself an alchemist who taught Sammartino the mysteries of his pseudo-science. Of course, these are but legends. (Read more.)

Also from Aleteia, an article about a statue made from the Shroud of Turin:

This statue is the three-dimensional representation in actual size of the Man of the Shroud, created following the precise measurements taken from the cloth in which the body of Christ was wrapped after the crucifixion,” explains Giulio Fanti, teacher of mechanical and thermal measurements at the University of Padua, who studies the Shroud. Based on his measurements, the professor has created a “carbon copy” in 3D which, he claims, allows him to affirm that these are the true features of the crucified Christ.

“Therefore, we believe that we finally have the precise image of what Jesus looked like on this earth. From now on, He may no longer be depicted without taking this work into account.” The professor granted exclusive coverage of his work to the weekly periodical Chi, to which he revealed: “According to our studies, Jesus was a man of extraordinary beauty. Long-limbed, but very robust, he was nearly 5 ft. 11 in. tall, whereas the average height at the time was around 5 ft. 5 in. And he had a regal and majestic expression.” (Vatican Insider)

Through the study and three-dimensional projection of the figure, Fanti was also able to count the numerous wounds on the body of the man of the Shroud:

“On the Shroud,” the professor explains, “I counted 370 wounds from the flagellation, without taking into account the wounds on his sides, which the Shroud doesn’t show because it only enveloped the back and front of the body. We can therefore hypothesize a total of at least 600 blows. In addition, the three-dimensional reconstruction has made it possible to discover that at the moment of his death, the man of the Shroud sagged down towards the right, because his right shoulder was dislocated so seriously as to injure the nerves.” (Read more.)