Renaissance master Raphael did a nose-job in self-portrait, face reconstruction suggests

Above, a self portrait by Renaissance master Raphael during the unveiling of an exhibition commemorating the 500th anniversary of his death, in this screengrab taken from a video in Rome on March 4, 2020. (Reuters)
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Updated 11 August 2020

Renaissance master Raphael did a nose-job in self-portrait, face reconstruction suggests

  • Professor Mattia Falconi: ‘He certainly made his nose look more refined’
  • Raphael died in Rome in 1520 aged 37, and was buried in Rome’s Pantheon

ROME: Raphael probably didn’t like his nose, and replaced it with an idealized version in his famous self-portrait.
That is the conclusion of Rome University scientists who produced a 3D computer reconstruction of the Renaissance master’s face from a plaster cast of his presumed skull made in 1833.
In that year, the remains believed to be those of the man hailed by his contemporaries as “the divine one” because he sought perfection through his work were last exhumed.
“He certainly made his nose look more refined,” said Professor Mattia Falconi, a molecular biologist at the university’s Tor Vergata campus. “His nose was, let’s say, slightly more prominent.”
Raphael died in Rome in 1520 aged 37, probably from pneumonia, and was buried in Rome’s Pantheon.
The self-portrait, which normally hangs in Florence’s Uffizi gallery but is currently in Rome for an exhibition marking the 500th anniversary of his death, was done about 15 years earlier, when he was clean-shaven.
It features the more aquiline nose that Raphael also included in other works in which he painted himself.
The reconstruction is of the way he may have looked closer to his death, when he wore a beard.
Falconi, along with forensic anthropologists and other experts, reconstructed the face with tissue layering techniques used by crime investigators.
The result was a face similar to that of the master on an engraving by Marcantonio Raimondi, one of his students.
“When we finished, I said to myself ‘I’ve seen that face before,’” Falconi, 57, said in a telephone interview.
Another similarity is with the subject of “Portrait of a Man,” painted between 1512 and 1515 by Sebastiano del Piombo, a Raphael contemporary and rival.
For centuries there has been speculation that the bones exhumed in 1833 and reburied in a re-styled crypt may not have been Raphael’s because some of his students were later buried near him.
But Falconi believes the research points to an around 85 percent chance that the skull is Raphael’s because of similarities with most of the artist’s face as depicted by him and his contemporaries.
Not everyone was pleased with Falconi’s research. An art critic for the Rome newspaper La Repubblica said it had produced a cheap “videogame version” of Raphael.
Falconi said he hoped the tomb can be opened again someday for direct tests on the skull. This could resolve several mysteries, including confirming what caused his death.


Wuhan film captures horror and humanity at coronavirus ground zero

Updated 15 September 2020

Wuhan film captures horror and humanity at coronavirus ground zero

  • “76 Days” is premiering at the Toronto film festival
  • It is the first major documentary from the disease’s original epicenter to hit theaters

LOS ANGELES: Back in February, when few Americans were aware of a distant and oddly named phenomenon called coronavirus, two Chinese filmmakers strapped on hazmat suits and embedded themselves in Wuhan’s overrun hospitals.
There, they captured harrowing footage of terrified citizens hammering on hospital doors, medics collapsing from exhaustion, and relatives begging in vain to say goodbye to infected loved ones.
Now, those images have been edited together by New York-based director Hao Wu (“People’s Republic of Desire“).
Premiering at the Toronto film festival Monday, “76 Days” — named for the duration of the central Chinese city’s draconian lockdown — is the first major documentary from the disease’s original epicenter to hit theaters.
Shot in a claustrophobic, cinema verite style — without voice-over or direct-to-camera interviews — the film relies on the intimacy of the footage of doctors and patients grappling with a terrifying new reality.
Wu first contacted the two filmmakers, one of whom is anonymous for his own safety, after witnessing China’s early lockdown first-hand during a family visit for Chinese New Year.
The footage they sent him revealed how, in the chaos of the disease’s early weeks, they were able to get remarkable access — but at considerable personal risk and suffering.
“It was a horrible, horrible shooting experience for them,” Wu told AFP. “They were fainting, it was really warm. A few times [filmmaker Weixi Chen] wanted to throw up inside [his] goggles, but he couldn’t because once you throw up, once you remove your PPE, you have to get out, you could not come back again.”
“It was like shooting in a war zone,” he added.
Wu also had a personal motivation for pursuing the project.
His grandfather died from cancer soon after the outbreak, unable to find a hospital bed as resources strained under the weight of Covid-19.
“In the beginning I was angry with the Chinese government — I really wanted to find out who’s at fault, what caused this,” said Wu.
But once the pandemic spread — with exponentially greater tragedy — to other countries like the US, the desire to place blame was replaced by a desire to document how “as human beings live through this, how we can share this experience.”


Ironically, despite Beijing’s tight controls on information, access was in some ways easier in China. Privacy and litigation concerns proved far more of a barrier to filming in New York hospitals, Wu found.
Wuhan hospitals desperately lacking personal protective equipment initially welcomed coverage that could boost donations and volunteers, he added.
The film eschews politics and blame to focus on personal stories of tragedy and bravery, hope and despair, which repeated around the world after emerging in China.
Medics tenderly hold the hands of patients locked away from their families, and are distinguishable to viewers only by the colorful doodles they scrawl upon each other’s head-to-toe hazmat suits.
But it remains unclear whether the movie will ever be seen in China, where news about the pandemic has been tightly controlled since day one — leading to many in the West, including US President Donald Trump, accusing Beijing of a vast cover-up.
“I would love to show it in China, because I feel that for the entire country with Covid, it has been such a scar on the nation’s psyche,” said Wu, who hopes it could help his ancestral home to mourn its losses.
“Obviously right now most Chinese feel proud the country has been able to control it. But it is a trauma.”