Stay up to date with notifications from The Independent

Notifications can be managed in browser preferences.

After two centuries, St Michael restored to Veronese's altarpiece

Renaissance work reconstructed after missing piece is discovered in Texas

Arts Correspondent,Arifa Akbar
Friday 06 February 2009 01:00 GMT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

He was part of an elite artistic triumvirate alongside Titian and Tintoretto, and his imposing altarpieces featuring saints, celestial creatures and supplicating patrons were the most admired in Renaissance Italy.

Then one of the 16th-century painter Paolo Veronese's largest works, an altarpiece, was cut up and sold off to different buyers across the world.

Until now, the face of St Michael from the Petrobelli Altarpiece, which was regarded as the work's crowning glory, had been missing and art historians thought it had been destroyed when the altar was dissected and sold.

But next week, the Dulwich Picture Gallery in London will reveal the reconstructed altarpiece in its full glory for the first time since 1780. The work is part of an exhibition opening next Tuesday. It will be the first show staged in Britain to focus on Veronese's work.

The reconstruction comes a year after the gallery's curator, Xavier Salomon, discovered the missing piece while on a visit to Texas. He had been researching for years and was convinced that the central image of St Michael was lost rather than destroyed.

"I knew about it from descriptions but nobody had seen it and people thought it had been destroyed when the altarpiece came down," he said.

Then, on a trip to Blanton Museum of Art in Austin, Texas, he came across an image catalogued as the "head of an angel" that struck him as familiar.

"I couldn't remember where I'd seen it before. Then it struck me suddenly. I thought 'St Michael was an angel' and when I examined it further, the picture joined up the jigsaw perfectly."

The altarpiece was painted around 1565 to sit in the family chapel of Antonio and Girolamo Petrobelli. As one of the largest altarpieces produced in Italy in the 16th century, it took pride of place there until the 18th century.

But it was torn down during the Napoleonic Wars, when the Order of the Franciscan Friars Minor Conventual was suppressed.

Writing about the altarpiece and its dismemberment, an Italian scholar noted how "it was sold in quarters, as one does with butcher's meat".

Veronese remained popular after his death, but as tastes shifted in the 20th century the work of his contemporaries came to be favoured above his own.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in