Each of the seven days of creation bears within it a multiplicity of miracles. At the center of it all, lies the remarkably complex creation of man himself—the receiver of God’s affectionate love and His most amazing miracle to boot. Though the relationship was sacrificed by the disobedience of Adam and Eve, God continues to unceasingly draw every man to Himself, and the promise of His Covenant with His people can never be severed. God’s covenantal love, or sacred family bond, is inherent within each biblical family. God reveals to Noah that the covenant reaches beyond the family nucleus and “ is with [Noah] and with all his descendants after” (Genesis 9:9). Though others would not find favor with God and be swept away in the massive flood, Noah’s family mission is steadfast in guarding and communicating love.
The beginning of this perpetual covenantal story (which still, of course, continues today) is documented not only in the Bible, but makes its way into various early Christian artworks. Interest in the figurative and visual arts of early Christianity reached its height in the 16thcentury, during the Catholic response to the Reformation and knowledge of early Church and her works became key. In the 18thcentury,Pope Benedict XIV (1740-1758) successfully organized a “Christian Museum” in the Vatican, housing those works that give us a glimpse in to the culture and faith of the early Christian communities in Rome. Established in 1852 under the papacy of Pius IX (1846-1870), the Commission for Sacred Archaeology insured the utmost protection for these rich archaeological pieces of Christian heritage. Two years later, in an effort to save precious pieces that were unearthed, Pius IX transferred the artifacts to the Lateran Palace in a collection he called “Pius.” In 1963 the collection of Christian patrimony was moved to the Vatican, and became permanent residents of the “Pius Christian Museum.” Every visitor upon entering the Museums can turn a corner and listen to the testimonies of Christian families and martyrs from the 2ndto 4thcenturies,etched in the stone sarcophagi in this collection.
This frontal sarcophagus piece is one of many that bears witness to the precious Christian artifacts, and the precious covenantal bond of God with His people is carved into them. Here, Noah is seen sending out a dove to determine if, after forty days in the ark, the flood waters had subsided. The dove touches the head of another figure, perhaps one of Noah’s sons, who carries a bastion that leads the eye into the next scene. Three youths, refusing to worship false deities, sing the praises of the one true God afterthrown in the fiery furnace by King Nebuchadnezzar.
Lifting up their hands in prayer, they sing of their transgressions and the miracle of still being showered in God’s mercy. They are unconsumed by the flames. Noah’s family is spared from the flood. One miracle flows directly into another. The images decorate the tombs of the faithful who bore witness to the miracles of God in their own lives.
The next miracle is how the Vatican restorers brought back to life this piece of heritage and faith.This sarcophagus is a sculptural piece that had undergone maintenance, restorations and perhaps reworked interventions over time. During the preliminary “autopsy” of the work, certain findings helped determine the present state of intervention and “readability” of the piece. There was evidence of coherent deposits and stains, either from exposure to less than desirable conditions, or from the hand of a previous attempt at fixing the piece. Wax or paints were used to cover damages, and these exhibited deposits resultantly compromised the integrity of the carved surface.
Generally speaking the surfaces of sarcophagi often show widespread exfoliation phenomena andscratches. In the case of areas where dirt and deposits are more heavily encrusted, thus hindering the piece’s aesthetic integrity, the restorers have to remove these deposits using diversified laser technology. Oftentimes,Japanese rice paper will be affixed to the surface with a paste made from natural ingredients, which serves to stabilize the rest of the work while the area that is being tackled undergoes some “bumps and bruises” during the restoration process.
An indispensable part of the procedure involved cleaning the stone surfaces while maintaining scrupulous attention to individual elements and adherence to the pre-restoration analysis performed with the help of the Diagnostic Survey Laboratory. Great care was always taken in preserving and analyzing traces of polychrome and coatings, and special uses of material such as agar allowed for controlled, careful cleaning.
At first glance, one sees a piece of stone. A second look allows one to read through the miracles of the Bible on its surface. In these scenes is the promise of God’s never-ending, miraculous love for all His people. And the generosity of some of these people ensures that millions more can appreciate this piece of stone.
Miracles do happen every day…especially when you are one of them.