The connection between art and the Holy Land seems never-ending. After the exhibition of the treasures of the Holy Sepulcher that took place in Versailles from April 16 to July 14, which saw close to 200,000 visitors, the gifts from European sovereigns have regained their place in the Holy Land. (See: the Custody amazes Versailles). But four paintings, remarkable examples of the Neapolitan Baroque art of Francesco De Mura and his school, made us wait more than expected, but not in vain.
Some had been restored prior to their exhibition at the Maison Chateaubriand at Chatenay Malabry as part of the Treasures of the Holy Sepulcher exhibition; others are still awaiting restoration due to unforeseen difficulties. Maurizio Canesso, proprietor of the Canesso Gallery in Paris, decided to offer a gift to the Custody of the Holy Land and assume the final costs of restoration. "They are not gold, but their value is cultural, historic and artistic; together, they create an object of eternal value, perhaps more than gold," said the generous donor.
We should be grateful to everyone who gives to the Holy Land and those who find creative ways to give. Maurizio Canesso having placed at the Custody's disposition his professional abilities, the church of Saint Catherine in Bethlehem is enriched with this series of paintings representing the Virgin Mary: the Annunciation, Joseph's Dream (with Mary in the background), the appearance of the risen Jesus to his mother (a local tradition), and finally the crowning of the Virgin. "De Mura cycle that had been completely dispersed," Maurizio Canesso tells us. "We knew that Father Yepes shipped the De Mura paintings, but we didn’t know where they were. Well, we found them, we restored them in Paris, and today we have found them a place… at Saint Catherine in Bethlehem.”
Arranged on the left wall of the church, “next to the Basilica of the Nativity”, this pictorial cycle is particularly significant, bringing the faithful step by step, in the rhythm of the Virgin’s life, without ever losing sight of the Savior who was born into this life a few meters away.
The generous gallery owner did not stop at restoring the paintings. He had a team of experts come to the Holy Land to study part of the immense artistic patrimony that has been given to the Custody of the Holy Land over the centuries. Researchers, specialists, restorers and museum directors passionately observed and discussed the works, seeking the best possible disposition for the De Mura paintings in Bethlehem. It was a long, difficult job, but bore fruit. “The paintings were placed in original, white and gold, 18th century frames in the Neapolitan Baroque style,” said Maurizio Canesso, still holding the ruler. “Finally, they were arranged in a temporal and iconographic sequence of the life of the Virgin. Here, they will take on an exceptional dimension and contribute even more to drawing attention to this church.”
These paintings do not only enrich the Holy Land, the Custody and Bethlehem, they also mark an important moment for the Palestinian Territories, which admire as they perhaps never could before the triumphant entrance of art into one of Christianity’s most important churches.
Hanging these paintings constitutes the final touch to the decoration and grandeur of the Church of Saint Catherine these past weeks. To enlarge the nave, the friars’ stalls were moved and placed around the large organ, freeing a large space for moving the altar and choir. According to Fra Stéphane Milovitch, who oversaw the work as guardian of the Nativity, “We gained close to 200 seats for Christmas Mass.” The gain is also meaningful at Sunday Mass because it is no longer necessary for so many of the faithful to be seated at side altars, where they can hardly see the choir. The new guardian, Fra Ricardo Maria Bustos, and the new pastor, Fra Nerwan Nasser Al Banna, are appreciative. As for the pilgrims – the paintings had barely been hung before they began coming to contemplate them.
See also the video from the Franciscan Media Center: click here
Some had been restored prior to their exhibition at the Maison Chateaubriand at Chatenay Malabry as part of the Treasures of the Holy Sepulcher exhibition; others are still awaiting restoration due to unforeseen difficulties. Maurizio Canesso, proprietor of the Canesso Gallery in Paris, decided to offer a gift to the Custody of the Holy Land and assume the final costs of restoration. "They are not gold, but their value is cultural, historic and artistic; together, they create an object of eternal value, perhaps more than gold," said the generous donor.
We should be grateful to everyone who gives to the Holy Land and those who find creative ways to give. Maurizio Canesso having placed at the Custody's disposition his professional abilities, the church of Saint Catherine in Bethlehem is enriched with this series of paintings representing the Virgin Mary: the Annunciation, Joseph's Dream (with Mary in the background), the appearance of the risen Jesus to his mother (a local tradition), and finally the crowning of the Virgin. "De Mura cycle that had been completely dispersed," Maurizio Canesso tells us. "We knew that Father Yepes shipped the De Mura paintings, but we didn’t know where they were. Well, we found them, we restored them in Paris, and today we have found them a place… at Saint Catherine in Bethlehem.”
Arranged on the left wall of the church, “next to the Basilica of the Nativity”, this pictorial cycle is particularly significant, bringing the faithful step by step, in the rhythm of the Virgin’s life, without ever losing sight of the Savior who was born into this life a few meters away.
The generous gallery owner did not stop at restoring the paintings. He had a team of experts come to the Holy Land to study part of the immense artistic patrimony that has been given to the Custody of the Holy Land over the centuries. Researchers, specialists, restorers and museum directors passionately observed and discussed the works, seeking the best possible disposition for the De Mura paintings in Bethlehem. It was a long, difficult job, but bore fruit. “The paintings were placed in original, white and gold, 18th century frames in the Neapolitan Baroque style,” said Maurizio Canesso, still holding the ruler. “Finally, they were arranged in a temporal and iconographic sequence of the life of the Virgin. Here, they will take on an exceptional dimension and contribute even more to drawing attention to this church.”
These paintings do not only enrich the Holy Land, the Custody and Bethlehem, they also mark an important moment for the Palestinian Territories, which admire as they perhaps never could before the triumphant entrance of art into one of Christianity’s most important churches.
Hanging these paintings constitutes the final touch to the decoration and grandeur of the Church of Saint Catherine these past weeks. To enlarge the nave, the friars’ stalls were moved and placed around the large organ, freeing a large space for moving the altar and choir. According to Fra Stéphane Milovitch, who oversaw the work as guardian of the Nativity, “We gained close to 200 seats for Christmas Mass.” The gain is also meaningful at Sunday Mass because it is no longer necessary for so many of the faithful to be seated at side altars, where they can hardly see the choir. The new guardian, Fra Ricardo Maria Bustos, and the new pastor, Fra Nerwan Nasser Al Banna, are appreciative. As for the pilgrims – the paintings had barely been hung before they began coming to contemplate them.
See also the video from the Franciscan Media Center: click here