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Reuters
Reuters
Entertainment
Philip Pullella

In Italy, a glimmer of resurrection for art damaged in 2016 quakes

Archbishop Francesco Massera points to a fresco at a new museum for art recovered and restored from churches damaged in a series of earthquakes in central Italy in 2016, in San Severino Marche, Italy June 11, 2016. Picture taken June 11, 2022. REUTERS/Philip Pullella

At the opening of a new museum in the picturesque Italian town of San Severino Marche, the guests of honour did not dress up. They were firemen in gear worn when they rescued artworks damaged in earthquakes in 2016 and now restored and on display.

The three main quakes, which hit central Italy between Aug. 24 and Oct. 30, 2016, killed more than 300 people and caused extensive destruction to homes, churches and museums.

Art restorer Nella Salvini works on a wooden statue of a Madonna and child from a church damaged in a series of earthquakes in central Italy in 2016, now housed in a high-tech restoration and storage facility where thousands of other works of art await possible return to their place of origin, in Spoleto, Italy, June 20, 2022. Picture taken June 20, 2022. REUTERS/Remo Casilli

Six years on, some of the recovered art has found a permanent home. Other pieces are waiting to go back to their rebuilt churches or be relocated.

In the Archdiocese of Camerino and San Severino Marche in the Marche region, 1,970 works of art were damaged, about half of them seriously. In bordering Umbria, thousands more were damaged when small churches and large basilicas crumbled.

"Art can be an inspiration for reconstruction, joy and hope," Francesco Massera, archbishop of Camerino and San Severino Marche, said at the recent opening of the museum.

Art historian Giovanni Luca Delogu pulls out a vertical storage panel with paintings from churches damaged in a series of earthquakes in central Italy in 2016, now housed in a high-tech restoration and storage facility, where thousands of other works of art await possible return to their place of origin, in Spoleto, Italy, June 20, 2022. Picture taken June 20, 2022. REUTERS/Remo Casilli

Its name, Museo dell'Arte Recuperata (Museum of Recovered Art), conveys the passage from sickness to health

"I feel like I am in a field hospital where survivors are treated until they are well," said prominent Italian art critic Vittorio Sgarbi.

Some of the restored works are displayed next to photographs or videos showing dust-covered firemen rescuing them from the ruins.

A visitor looks at an artwork at the opening of a new museum for art recovered and restored from churches damaged in a series of earthquakes in central Italy in 2016, in San Severino Marche, Italy June 11, 2016. Picture taken June 11, 2022. REUTERS/Philip Pullella

EARTHQUAKE-PROOF ART 'HOSPITAL'

After a 1997 quake hit Umbria, damaging the Basilica of St. Francis in Assisi, the regional government decided to prepare for the next big one.

Since 2006, an industrial area outside Spoleto has been home to Italy's first purpose-built facility to receive and restore art damaged in earthquakes.

Paintings from churches that collapsed in a series of earthquakes in central Italy in 2016, now housed in a high-tech restoration and storage facility, where thousands of other works of art await possible return to their place of origin, are pictured in Spoleto, Italy, June 20, 2022. Picture taken June 20, 2022. REUTERS/Remo Casilli

The huge earthquake-proof elastic building with cutting edge technology is divided into hermetic sectors holding thousands of works of art.

The first, an emergency receiving area, is large enough for trucks to enter and unload. Huge vacuum tubes hanging from the ceiling remove dust.

The other sectors are individually climate-controlled for each purpose - preventing further damage or deterioration, restoration, and storage while awaiting discharge.

A visitor looks at an artwork at the opening of a new museum for art recovered and restored from churches damaged in a series of earthquakes in central Italy in 2016, in San Severino Marche, Italy June 11, 2016. Picture taken June 11, 2022. REUTERS/Philip Pullella

The mesmerizing array of paintings, frescoes, statues, chalices, candelabra, vestments, reliquaries and ornate wooden crucifixes can be overwhelming for the visitor. Outside, dozens of church bells are lined up like sentries.

"It is very important to see the overall picture and that includes regular maintenance," said art historian Giovanni Luca Delogu, 55, the Spoleto facility's director.

"You can't just intervene when there are tragedies like earthquakes. Some pieces already were in bad condition. Art needs constant care," he said, walking amid hundreds of chunks of the shattered Church of San Salvatore in Campi, parts of which dated back to the 12th century.

Paintings and crucifixes from churches that collapsed in a series of earthquakes in central Italy in 2016, are pictured in a high-tech restoration and storage facility, where thousands of other works of art await possible return to their place of origin, in Spoleto, Italy, June 20, 2022. Picture taken June 20, 2022. REUTERS/Remo Casilli

The chunks, many with parts of frescoes still attached, have been sorted, tagged and assembled like puzzle pieces. They rest next to photographs of sections taken before the quakes.

The church's two rose windows and an intricately carved stone screen panel that once joined the sides of an arch have been pieced together.

St. Benedict's Basilica in nearby Norcia, the crown jewel of medieval architecture in Umbria's Nera River Valley and a major tourist draw, is being rebuilt.

But the fate of smaller gems like San Salvatore in Campi or Santa Maria della Pieta in Preci is unclear.

Delogu allows parish groups into the depository to see the statues they once prayed before. Some are lent to towns for religious events of deep local pride, such as processions on the feast day of a patron saint.

"Even an earthquake cannot rupture some bonds," he said.

(This story corrects paragraph 4 to show the figures refer to the archdiocese, not region)

(Reporting by Philip Pullella; Editing by Emelia Sithole-Matarise)

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