Listen to the article
Even Michelangelo’s David is not immune to the accumulation of dust. Bi-monthly, this exemplar of Renaissance sculpture, finalized in 1504, undergoes meticulous cleansing at its domicile in the Accademia Gallery of Florence, where it has been housed for over a century and a half. Esteemed by countless admirers as the epitome of masculine beauty, the sculpture, towering at seventeen feet and hewn from a singular block of marble, is positioned beneath the skylight of the gallery’s domed ceiling, particularly on Mondays when the museum remains closed to the public.
Eleonora Pucci, the appointed conservator of Michelangelo’s David, ascends a scaffold for a proximate inspection, a critical part of the conservation and maintenance regimen essential for the preservation of this iconic piece, which attracted over two million visitors in the preceding year. Despite David’s aesthetic appeal and scriptural lineage as the vanquisher of Goliath, regular maintenance is imperative. “The statue, if not regularly dusted, reveals a layer of lint upon close inspection from the base to the summit,” remarked Cecilie Hollberg, the museum’s director, to a congregation of journalists. “Such a state is unsightly and diminishes the dignity of the artwork we steward here,” she added, emphasizing that the bi-monthly cleaning ritual is an act of respect and homage to every piece in their care.
With meticulous attention, Pucci, clad in a white lab coat, protective headgear, denim and sneakers, scales the scaffold to commence a photographic survey to assess the “state of health” of the David, as described by Hollberg. Equipped with a portable vacuum, she initiates the dusting process. Employing a soft synthetic brush, she meticulously clears dust particles from the statue’s bent left arm, ensuring the vacuum nozzle never comes in direct contact with the marble surface. The process is repeated on the left thigh, where Pucci’s brush delicately traces the muscular contours Michelangelo chiseled into the Carrara marble. The operation then continues to the back of the sculpture, requiring the scaffold to be repositioned.
Despite the stability of the locked scaffold, it oscillates slightly as Pucci navigates around the statue, brushing the shoulders and examining the curly hair for any signs of spider webs. “It’s extremely delicate work that demands utmost concentration. Each centimeter must be monitored to ensure the preservation of the statue, which remains in excellent condition,” Hollberg noted. She highlighted that residual dust could dull the marble’s sheen, making it appear greyer. Smooth surfaces present less of a cleaning challenge than the more textured areas, which tend to accumulate dust more readily.
The museum’s advanced air conditioning system, equipped with high-grade filters, significantly reduces airborne particles, while sensors maintain optimal temperature and humidity levels, as explained by Hollberg. The cleaning process, necessitating extensive scaffolding, occupies at least half a day, with other artworks within the museum receiving similar care.
Unveiled at the onset of the 16th century in Florence’s Piazza della Signoria, Michelangelo’s David, the first colossus since antiquity and the emblem of Florence, was met with widespread acclaim. Michelangelo, at the age of 29, had completed his magnum opus. The sculpture remained in the piazza until 1873, at which point it was relocated to its current venue, around which the museum was subsequently constructed. A replica now stands in the original location. Additional masterpieces, including Michelangelo’s Slaves, intended for Pope Julius II’s tomb but never completed, were added to the museum’s collection in 1939.
With AFP.
