A painting of a cherub at the Basilica of San Lorenzo in Lucina, which closely resembled Italian Premier Giorgia Meloni, has been painted over following public outcry. The decision to erase the angel’s face comes after the artwork attracted significant attention and controversy, prompting investigations by both the diocese of Rome and the Italian Culture Ministry.
The cherub, crafted by restorer Bruno Valentinetti, had been on display for only a short time before the church authorities requested its alteration. On March 15, 2023, the church opened its doors to reveal the cherub’s body intact, but its face obscured by a haphazard application of paint or plaster. This change was executed overnight, reflecting a swift response to the growing speculation surrounding the artwork.
La Repubblica, which first reported on the angel’s resemblance to Meloni, revealed that Valentinetti acknowledged the inspiration behind the cherub’s face but did not provide a reason for the choice. The painting, created in 2000 during renovations, was not considered part of the church’s historic patrimony, yet the presence of a political figure in a religious context was deemed inappropriate by Cardinal Baldassare Reina, the pope’s vicar for Rome.
The public’s reaction to the angel had turned the basilica into a point of interest, with both locals and tourists flocking to take photos. This surge in visitors occasionally disrupted Mass services, highlighting the tension between artistic expression and religious decorum. The Culture Ministry’s statement emphasized the need for prior authorization for any future alterations to the cherub’s face, including the requirement for a sketch of the proposed image.
Valentinetti initially created the cherub to complement a bust of Umberto II, the last king of Italy. After water damage necessitated restoration efforts starting in 2023, the cherub resurfaced with features reminiscent of Meloni, sparking the recent controversy. The ongoing investigations aim to ascertain the original appearance of the cherub from 2000, with the goal of restoring it to its initial design.
Amid the controversy, Premier Meloni took to social media to address the situation humorously. “No, I definitely don’t look like an angel,” she remarked, accompanying her comment with a laughing emoji and a photograph of the artwork.
As this story unfolds, it raises questions about the intersection of art, politics, and religion, reflecting broader societal debates on representation and expression within sacred spaces. The Basilica of San Lorenzo in Lucina, a historic site, finds itself at the center of a dialogue that extends beyond its walls, touching on the very essence of cultural heritage and political identity in Italy.
