Can you tell us about the challenging tasks to display Raphael's Tapestry in the Sistine Chapel during the Year of Raphael, providing preservation and perfect condition for the public to enjoy them for one week?

The exhibition of the tapestries was amazing! First and foremost, it was the last exhibition before all of Italy was closed for the pandemic emergency. Moreover, this exhibition consisted of mounting the original display of the Raphael Tapestries in the Sistine Chapel, not exhibited for over 400 years. The organization of this exhibition started years ago, with the study of documents about the making of the tapestries and the original display space in the Sistine. The most exciting moment was the actual setup that lasted 13 hours, performed by the Tapestry Restoration Laboratory and the Museums’ maintenance team. These two teams together did the miracle. They hung the Raphael tapestries on the original hooks of the Sistine’s walls. Their resonance was not only national but also worldwide. These outstanding artworks are typically on rotating display at the Vatican Museums and protected by glass. Here they gain new life and allow us to understand the real message of Pope Leo X and Raphael who, with the subjects represented in these tapestries, the Acts of the Apostles, wanted to complete a theological message started by Sixtus IV. Eventually, the Last Judgment would complete it.

 

During the week of display of the Tapestries in the Sistine Chapel, were you worried about the number of visitors that occurred to see them? 

Yes, I must admit I was a little worried. All of us were a little worried… you can imagine that having the tapestries on display in the Sistine Chapel with visitors is a little risky. However, we posted several signs to keep the public at a distance. In addition, the display of the tapestries in the Sistine Chapel was reduced to one week only to minimize the potential danger that might occur. The success of this exhibition was a surprise for all of us. The press worldwide was enthusiastic, and the number of visitors here in Rome was unbelievable; we had 15,000 to 20,000 visitors per day. The Vatican Museums also decided to stay open on Sunday to allow those who could not afford to pay for tickets to come for free to see the spectacular tapestries in the Sistine. It was unbelievable to see these incredible tapestries of gigantic dimensions hang on the ancient hooks of the walls of the Sistine Chapel. It was such an emotional moment for all of us, and I believe for those who came to visit the exhibition.

 

Tell us more about the Tapestries.

Leo X wanted to memorialize his Pontificate while advancing the theological context of the Sistine Chapel with this wonderful series of tapestries. He wanted Raphael to create and complete the drawings for these tapestries, and this was a brilliant idea. The Sistine Chapel had already been decorated under Sixtus IV, who commissioned the decoration to the most prominent artists of his times -from Umbria, Tuscany, and other regions of Italy, artists like Botticelli, Perugino, Cosimo Roselli. These painters completed the pontiffs’ decorations right above the frescoes which represent – in the central part of the sidewall – the stories of the Old and New Testament. They followed the traditional layout to represent the history of the life of Moses and Christ. In 1508, Julius II will commission Michelangelo the decoration of the Sistine Ceiling. A real challenge for this artist who will represent the stories from Genesis and of the Sibyls and prophets. Imagine entering the Sistine Chapel in 1515 in the very moment of the creation of a masterpiece for the Sistine by Raphael and Leo X. The only space available was the side walls originally painted with fake curtains decorations. The intention was to continue the religious message and the history of the Church, which initially started on the vault with the history of the creation of the world and human beings. Continuing on the walls with the Old and New Testament, are Moses, Christ, and the stories of the life of St. Peter and Paul, champions of faith, who would have delivered the evangelical message to the world. This painted narrative was completed years later, with the immense fresco of the Last Judgement. It represents the impetuous appearance of the Divine Justice and his providence- the end of life on earth and the beginning of a new life. The cost of these tapestries was expensive! Leo X invested a consistent amount of money for that period in history, almost 15,000 to 20,000 ducats. At that time, a gold ducat coin was the size of a two euros coin. Its weight was 10 grams, but it was in 24 karat gold. The amount given to complete the tapestries is even more if you consider that the total cost was five times the amount that Pope Julius II spent on the Sistine Chapel. Today this cost might surprise us, but, at the time, it was normal. The tapestries were among the most requested handmade artworks, and they were very precious. Princes, kings, and pontiffs used to have a conspicuous collection of tapestries, and they covered the walls of their palaces, villas, and castles. The tapestries had a double function: first, to reduce the humidity of the walls and secure more warmth in the room, but at the same time, they represented luxury, ostentation, and power. This was the main reason why they were highly requested and Henry VIII from England, in the mid-1500s, had a collection of 2,700 tapestries. Francis I, king of France, with his mother Luisa, had a very large collection and, among others commissioned, the famous tapestry of the Last Supper was donated to Pope Clemens VII in 1537, which is still today in our collections.

 

Why are these tapestries so expensive?

The reasons are the cost of the material and labor. To complete a tapestry, the weaver or business owner paid out of his pocket. First, he had to invest in the cartoons and pay the artists who were taking care of the initial drawing, which would have helped the tapestry maker to complete it. Secondly, the investment focuses on materials. The yarn, acquired in a raw state, is subsequently dyed and this is a very expensive process. No to mention the yarn in gold and silver are made with silk thread that was rolled around gold or silver handmade foil. Last, but not least, is the cost of the weaver. The most expert weaver could complete half a meter of tapestry in one month. If we consider the dimensions of the Raphael tapestries, we calculate that the work of four weavers is necessary for at least seven months. The tapestries were so precious that were often used instead of currency. When Leo X died in 1521, the Raphael tapestries paid the expenses of the funeral, the conclave, and the debts of Leo X and his papacy. At the end of the 1700s and during the French invasion, the Raphael tapestries were robbed and sold at an auction. They were acquired for 2800 pounds, considering that the normal person’s salary was around 50 pounds. Thus, they continued for centuries to have a very high price tag. Presently, it seems a little strange because, in general, tapestries are considered an older, less known, and a lower expression of art. They have less practical uses because there are very few spaces that are large enough to display these manufactured artworks. Moreover, the ravages of time discolored and faded them, and some became phantoms of themselves. Thus, it is hard for us to understand this love for Medici tapestries and other important sovereigns. However, looking at the back of the tapestries, where the weather, light, and humidity had less of an impact, we can partially see how they looked in the past. They were manufactured artworks, colored and beautiful, full of gold and silver reflexes and lights, which were the reasons why they were highly requested and appreciated.