Painting for Posterity in Pisa

Since 1372, when the bell chamber was finally added at the topmost floor, the city of Pisa had gained worldwide fame for its leaning tower. After almost 700 years, the tower may be relegated to the background. A massive undertaking has begun that has roused the Pisans into a frenzy of activity and excitement that's so competitive, political pressure from local officials and the city's most prominent citizens have been exerted. A 1,700 square foot fresco, depicting the life of Pisa's beloved Saint Ranierus has generated an enormous rush of applicants for inclusion in the project that would immortalize their images for several centuries.

For several hundred years, the practice has always been to include rich and famous patrons into frescoes; and in the finest Italian tradition dating back to the Renaissance, Luca Battini - the 37 year old master painter - sought 100 prominent Pisans to model for the leading figures in the frescoes. He also held public castings for 150 extras who will appear lifesize in the work. However, his search for a midieval face created changes in the cast of characters, such that common people were given more prominent roles that dislodged some invited citizens. Battini had rejected many applicants 3 to 4 times, but they kept coming back begging for even a small part. Pressure is strong apparently because Pisans feel strongly about their Patron Saint, or perhaps, fell even more strongly about being included in the frescoes.

Saint Ranierus was born into Pisan nobility in 1117. He took a vow of poverty and journeyed to the Holy Land, returning to Pisa where he conducted his ministry. He was known to be performing miracles in Pisa during his lifetime. His remains can be seen in a crytal casket at the Cathedral of Saint Vito, which stands next to the leaning tower. Ironically, Saint Ranierus will be portrayed by a Pisan actor who appeared in many smoudering scenes for the advertising campaign of Barilla pasta. The acceptance by Pisans of this actor, Roberto Farnesi, is nothing short of a miracle.

But the task facing Luca Battini is formidable and he feels dwarfed in comparison to the great masters who portrayed the History of Italy and the story of the Renaissance. While he is used to mixing his colors the way it was done 700 years ago - painstakingly grinding powder on a large block of slate and making his own canvass from linen and glue - frescoes are a different story altogether. The paints will be mixed with water and applied to a wet, fresh, thin layer of lime mortar or plaster. The pigments are absorbed as the plaster dries. The images will appear while the plaster is wet, but it is work under pressure. The warm climate will allow Luca Battini to paint each small section of the wall in only an hour before the plaster begins to set. The painting must be accurate and exact, since the colors take on different shades as the plaster dries. If mistakes are made, the section must be axed from the wall. This type of painting work separates the masters from the pretenders.

The frescoes will be divided into 8 enormous themes across the entire wall of the Church of Saint Vito. Luca Battini will use all of the ancient skills he learned on this most ambitious project he has ever embarked on, perhaps the most ambitious work of art Italy has seen in 200 years. Those who will be included may gain some measure of immortality, if global warming does not demolish the frescoes in a decade or two.

But perhaps the best thing about this project is that it is not about King Solomon. Otherwise, Silvio Berlusconi would force his inclusion as the lead character. But the 700 wives and 300 concubines of Solomon may be outnumbered by the women that Berlusconi would have to include in the frescoes.

Haaarrrrwwwwwk...Twoooooooph...Ting!