The Technical Study of Bernini’s Bronzes
Gian Lorenzo Bernini (1598–1680) is famous for his contribution to Baroque Roman architecture and sculpture. Less well known is the fact that multiple bronze duplicates of his work were cast from his models. These have been generally neglected by art historians and conservators, partly under the influence of enduring myths about artistic genius and authorship. The Grimwade Centre’s Jonathan Kemp and Tim Ould recently hosted a pioneering international research project aimed at investigating Bernini’s Bronzes from multiple angles, bringing together art history, conservation, and materials science.
In July 2022 the core North American team – Evonne Levy, Distinguished Professor of Early Modern Art at the University of Toronto; Lisa Ellis, Conservator of Sculpture and Decorative Arts at the Art Gallery of Ontario, and Jane Bassett, Head Conservator of Decorative Arts and Sculpture at the J Paul Getty Museum — visited Australia to investigate examples of Bernini’s bronze multiples at both the NGV in Melbourne and the NGA in Canberra. Their visit was made possible by the generous support of the University of Melbourne-University of Toronto Joint Research Program.
During their visit, the team examined the NGV’s examples of the Bust of Cardinal Richelieu and Matilda of Tuscany statuette, and the NGA’s Sant’ Agnese statuette. They deployed their eyes and brains along with portable X-ray Fluorescence (XRF) and 3D mapping – as well as executing some micro-sampling for later analyses using Inductively coupled plasma mass spectrometry) (ICP-MS) and micro-computed tomography (micro-CT) – to understand both the production techniques used and the differences between the versions of each Bernini multiple.
We know that Bernini would produce a clay model, which the bronze founders would then use to make a wax duplicate over a core of brick or terracotta, in a process called lost-wax casting. The wax model would have a mould made around it, which is then ‘lost’ as molten bronze is poured into the void to produce the cast.
It’s in the production of both the wax model and the finished bronze that other hands can be seen at work on Bernini’s multiples. When compared to other casts made from the same clay originals their differences open up questions about the levels of intervention by the founders, either in remodelling the wax positive or cold working the final bronze. As such, the project can further our understanding of the potential for conceiving of a ‘layered authorship’ for these works by using a Technical Art History approach, combining technical analyses with exhaustive archival research.
The Grimwade Centre hosted two well-attended public-facing events linked to the project: a talk to introduce the project, and day-long series of seminars and discussion. Other experts on the project contributed from afar to the latter event, including Aaron Shugar, Professor of Conservation Science at SUNY Buffalo State; Branden Rizzuto from the University of Toronto; David Bougarit, archaeometallurgist at the Centre de Recherche et de Restauration des Musées de France (C2RMF), Paris; and Chandra Reedy, Professor and Director of the Center for Historic Architecture and Design at the University of Delaware.
A lively panel discussion moderated by the Grimwade’s Jonathan Kemp rounded out the day involving Evonne, Lisa and Jane being joined by world renowned metals conservator Ian MacLeod, Renaissance art historian Jaynie Anderson (UoM), and archaeometallurgist Chris Davey (UoM) to debate further aspects around the materiality and authorship of Bernini’s Bronzes.
The team and the Grimwade give a huge thanks to all the NGV staff involved, especially Michael Varcoe-Cocks, Laurie Benson and Di Whittle and to the staff at NGA Canberra, curator Lucina Ward and objects conservator Sarah Mchugh, all of whom helped to make the trip a great success. We are especially grateful to the project team and the NGV and NGA staff for their generosity in engaging with our students, who benefited enormously from this experience.