The 1962 Restoration of the Fake Dome of Sant’Ignatius in Rome: An Example of Synergy between Firefighters and Heritage Protection
A Forgotten Episode, a Lesson for the Future
In 1962, the church of Sant’Ignazio di Loyola in Rome was the scene of an extraordinary intervention to safeguard one of its most famous treasures: the large illusionistic canvas of the fake dome, the work of the Jesuit painter Andrea Pozzo, an expert in perspective studies and known for his great ability to create extraordinary perspective effects. This episode, little known even among the Firefighters themselves, represents an emblematic example of how collaboration between security professionals and restorers is essential for the protection of cultural heritage.
The Origins of the Damage: The Explosion of the Powder Magazine
It is important to remember that the fragility and structural damage that made the complex restoration of 1962 necessary have their roots in a dramatic event that occurred many decades earlier. It all began on April 23, 1891, at 7:11 in the morning, when a gigantic explosion rocked the Monteverde military powder magazine.
The explosion, the causes of which were never clarified, destroyed the building and released approximately 285,000 kilograms of explosive materials into the air, including primers, fuses, signal rockets, wicks, fuses and fireworks. The consequences were devastating:
- The surrounding land was disturbed and the entire city was covered in a dense cloud of dust and smoke.
- There were several victims and almost 250 injured.
- Many houses were reduced to ruins and numerous citizens were forced to leave their homes.
This catastrophic event also had repercussions on numerous historic buildings, including the church of Sant’Ignazio and its famous false dome, which suffered structural damage and weakening that would only become fully apparent decades later.
The Technical Challenge: A Monumental and Fragile Work
The canvas, composed of 21 sewn strips and fixed on a massive wooden frame, had become extremely fragile due to time. The framework and hardware were deteriorated, and the overall weight of the work exceeded 4,000 kg. Releasing the canvas from the masonry constraints and lowering it to the ground without damage was a feat that required technical skills, sensitivity and great coordination.
The Solution: Ingenuity, Safety and Teamwork
- Design and Construction: Under the guidance of the Commander and the Deputy Commander, a circular iron truss 16 metres in diameter was designed, equipped with 16 pulleys and as many crank winches.
- Protection of the Work: Before placing the canvas on the truss, padding was inserted to avoid direct contact between the metal and the painted surface.
- Delicate Maneuvers: The lifting and lowering were carried out manually by 40 firefighters, in pairs, to ensure perfect horizontality and uniform distribution of tension. Coordination was done via megaphones and radio telephones, punctuating the movements to avoid dangerous oscillations.
- Safety and prevention: The entire operation was planned to minimize the risk of accidental damage, both for the work and for the operators, demonstrating the importance of specific training for the management of cultural heritage in complex situations.
After the restoration, the canvas was lifted again and placed back in its place, using the same metal structure, which thus became a permanent support, ready for any future maintenance needs. The intervention required approximately 1,600 hours of work and involved dozens of professionals, including firefighters, restorers and technicians.
Lessons for Heritage Safety Professionals
- Preparation and planning: Every intervention on monumental works must be preceded by a careful risk assessment and detailed planning of the operational phases.
- Specific training: Firefighters must be trained not only on handling techniques, but also on the fragility and special needs of cultural heritage.
- Interdisciplinary collaboration: The success of the operation was possible thanks to the synergy between engineers, restorers and security operators.
- Documentation and memory: It is essential to preserve and pass on the memory of these interventions, so that good practices become shared heritage and inspire future generations.
Conclusion
The 1962 episode in the church of Sant’Ignazio di Loyola is not only a page in the history of the city of Rome, but a reference model for all professionals involved in the protection of cultural heritage. Remembering and recounting these experiences means strengthening the culture of prevention and safety, essential values for those who work in the service of art and collective memory.
