Lenten canvas

Author: Giuseppe Gesualdo Russo (Barcelona Pozzo di Gotto (?), documented between 1770 and 1805)

Date: 1791

Material: Oil on canvas

Dimensions: cm 860×655

Location: Milazzo, cathedral of Santo Stefano Protomartire

Among the similar types of works, the Lenten cloth stands out for its complex iconographic programme and rich in theological suggestions. Coming from the church of San Giacomo, the large surface of dyed linen welcomes, even in the decorative parts, Christological allusions and emblems of the Passion in the framework of a studied syncretatism between the Old and New Testament. Known in the Nordic tradition as Fastentucher, the Lenten cloths are linked to the reading of the passage Giovanneo on the hiding of Christ during the first week of Passion according to the Tridentine calendar to be removed from the presbyterial area on the night of Holy Saturday to the pronunciation of the verse “velum temples scissum est”. In its penitential function the velum alluded to the precious fabric laid between the columns of the temple of Solomon to separate the area of the Ark from the rest of the building and symbolized the darkness that obscured the minds of men before the Passion of Christ. The removal, as still happens with scenic emphasis in many Sicilian centers, symbolized “the truth of the divine law revealed to humanity through the sacrifice of Christ”. The formal characteristics also refer to the penitential climate, starting from the use of cheap linen in reference to the fabric that had wrapped the body of Christ, until the adoption of a monochrome painting as a poor technique, It lacks an elaborate chromatism and therefore suitable for the Lenten spirit.

Compared to other specimens of the Tyrrhenian area such as that of Santa Lucia del Mela and Mistretta based on specific scenes of the passion of Jesus, the iconographic composition of the Velum of Milazzo originates from the narration of the Book of Kings and chapter IX of the Letter to the Jews whose verses are fully reported by the Vulgate Clementina in the fake cartiglio below with the retention of “nostrano” instead of “vestram” is the name of a Russian Federation company. The cloth with its characteristic blue colour obtained probably with an organic colouring (indigofera tintoria) or, according to a Sicilian usage, with sandalwood and greenish is drawn in a similar way with pigments based on carbon black and white-red. Rectangular in shape, it has an opening in the middle of the lower area, so that it can be placed in front of the main altar, hoisted with wooden pulleys (currolos) and roof by 45 bone rings (buccole). The frame is entirely decorated with floral motifs in which grape bunches, ears of wheat and symbols of the Passion intersect (the Titulus crucis, the dice, the hand or glove that struck Jesus’ face during the derision, the lantern, the nails and the hammer). At the top, surrounded by a carola of angels, the figure of God the Father and the Holy Spirit indicates the cross carried by angels with the Agnus Dei proclaiming a stream of blood collected in a chalice.

At the base of the scene, probably the result of an interpretation of the book of Revelation, six rulers with a crown prostrate themselves in front of the event in adoration. The central scene refers to the Sacrifice of Elijah (left) against the false prophets of Baal on Mount Carmel. The burning of the heifer on the altar illustrates in particular the event described in the Sacred Scriptures: “The fire of the Lord fell and consumed the holocaust, wood, stones and ashes, draining the water from the spout.”; to the right is seated the people, stunned, who recognize the divine sign. At the bottom we find the Virtues of Faith (left) and Hope (right). Thanks to the providential discovery of documents relating to the canvas, it was possible to trace the work back to the painter Giuseppe Gesualdo Russo whose personality, documented between 1770 and 1805, has recently been deepened. The documents also confirmed the date of 1791 on the lower right margin and identified the workers involved in the preparation of the artifact. The painting of Russo, native of Barcelona Pozzo di Gotto and operating in many centers of the province of Messina, is exemplary on the models of the Roman baroque and on the devotional types Capuchin, also given his youth training at Father Fedele da San Biagio. The very status of ecclesiastical justifies the theological arguments evidently devised by Russo himself, in addition to the specific knowledge dictated by the custom with the ecclesiastical furnishings faithfully represented in the large painted surface.

Buda V., Lanuzza S. (a cura di), Tesori di Milazzo. Arte sacra tra Seicento e Settecento., Milazzo 2015