Art
Vatican monsignor dies, leaving behind mysterious art collection
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ROME – As Pope Francis continues to press his campaign for financial reform in the Vatican, a new reminder of why the campaign for transparency matters has arisen with a mystery surrounding an extensive art collection left behind by an elderly monsignor who died over the holidays.
The body of Italian Monsignor Michele Basso was discovered in his Vatican apartment on Jan. 6, the feast of the Epiphany, believed to have been the victim of a cardiac arrest related to advanced age. Basso had served as one of 24 canons of St. Peter’s Basilica, meaning senior clergy who celebrate Masses and lead prayers at the basilica.
Basso was also an avid art collector, and therein lies the tale. Some years ago, Basso bequeathed to the Fabbrica of San Pietro, the administrative office for the basilica, 30 fireproof containers which hold a vast treasury of roughly seventy paintings, sculptures and other precious objects, mostly on religious themes, the market value of which has never been assessed.
The collection also contains a finely executed copy of the famous “Euphronius Krater,” an ancient Greek terracotta bowl that had been illegally excavated from Italy in 1971 and held by the Metropolitan Museum of Art in new York until it was repatriated in 2008. The copy in Basso’s collection supposedly was made in the early 19th century, but since the original was lost at that point, it’s not clear how a copy could have been made – leading some to speculate that perhaps Basso’s version actually is the original.
Since Basso transferred ownership of the collection, the containers have sat in a locked storeroom under the main dome of St. Peter’s Basilica gathering dust, amid questions about ownership and provenance. It’s not clear how Basso obtained the works, but clearly his modest stipend as a canon wouldn’t have been enough to fund such acquisitions.
Over the years Basso always insisted that the items had been legally acquired in regular fashion, mostly through gifts, but didn’t provide any details according to media reports.
According to the Italian newspaper Il Messaggero, a police investigation had been opened in the early 2000s but was closed without any charges or conclusions about how Basso acquired the collection.
Asked by Messaggero about it in 2021, Basso’s replies were cryptic.
“I donated everything to the Fabbrica di San Pietro,” he said. I’m not the owner anymore. I don’t know anything more.”
Pressed about how he’d acquired the collection, Basso said only: “It’s like having a lot of shoes in your closet. Some of them were bought, others were gifts.”
It will now fall to authorities at the basilica, and also in the Vatican’s Secretariat of State, to decide what to do with the collection. Two years ago Pope Francis ordered an inspection of the management of St. Peter’s Basilica, but it’s not clear whether the Basso collection was part of that review.
In the meantime, the mayor of Cerveteri, a town that makes up part of the greater Rome metropolitan area and that’s home to the Etruscan graveyard where the original Euphronius Krater was discovered, has asked that Basso’s copy also be turned over to the town’s museum.
“Cerveteri has always been home to extraordinary artists capable of reproducing the most complex techniques of Etruscan art, and it’s not a stretch to hypothesize that the author of this reproduction was one of ours,” said Mayor Elena Gubetti.
“It would be beautiful to enrich this patrimony with a work like the reproduction of the Euphronius Krater in Monsignor Basso’s possession,” Gubetti said.
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.
The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.
Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”
With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.
The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.
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