The Old North Church in Boston, renowned for its role in Paul Revere’s midnight ride, is undergoing a remarkable transformation. Hidden beneath layers of paint for over a century, a host of angelic figures are being meticulously brought back to life. Twenty cherubic angels, painted around 1730, once graced the church’s walls, adding a vibrant dimension to the oldest church building in Boston. However, these celestial beings were obscured in 1912 during a renovation that saw them covered with thick coats of white paint. Now, conservators are painstakingly reversing this historical act, revealing these long-lost treasures to the modern world.
Gianfranco Pocobene, a skilled conservator, leads the effort, perched atop scaffolding within the historic church. His work focuses on uncovering eight of the twenty angels, each with distinctive childlike features and wings. The rediscovery has been hailed as a revelation, bringing to light historic artwork unseen for generations. The project not only restores the angels but also offers a glimpse into colonial American artistry, connecting the present with the rich artistic heritage of the past. The vibrant colors and intricate details of these angels are gradually emerging, revealing the artistic skill of John Gibbs, a congregation member who originally painted them.
The significance of the angels extends beyond their artistic merit. They were an integral part of the church’s visual identity during a formative period in American history. Emily Spence, associate director of education at Old North Illuminated, the organization that manages the church as a historic site, emphasizes the importance of the original color scheme. The sandstone and teal hues of the angels were not merely decorative; they represented a vital aspect of the congregation’s identity as members of the Church of England. Their restoration provides a tangible link to the past, allowing visitors to experience the church as it appeared to those who worshipped there centuries ago.
The restoration process is a delicate balancing act, requiring both scientific precision and artistic sensitivity. Conservators must carefully remove seven layers of paint without damaging the fragile angels beneath. Corinne Long, a painting conservator working alongside Pocobene, describes the meticulous approach. A specialized solvent gel is applied to soften the paint layers, which are then painstakingly removed using plastic scrapers. The angels are further cleaned with cotton swabs and retouched to address any damage sustained over the years. This meticulous process ensures the preservation of the angels’ unique character and the individual poses that Gibbs imbued them with.
The restoration project embodies a deep respect for historical authenticity. Long highlights the importance of returning the church to its original state, restoring the majesty and historical context that had been diminished by the whitewashing. The angels, with their individual expressions and poses, contribute to the rhythmic pattern across the church’s walls, a testament to Gibbs’ artistic vision. The project resonates with a broader movement to preserve historical structures and artwork, recognizing their value not just as aesthetic objects but as tangible connections to the past.
The ongoing restoration has already captivated visitors. Even with scaffolding partially obscuring the view, the emerging angels draw admiration. Tourists like Sean Dixon and Sarah Jardine from California express their awe at the sight of the partially restored artwork, anticipating the full reveal once the scaffolding is removed. The project not only restores the physical beauty of the church but also revitalizes its historical narrative, enriching the experience for both visitors and future generations who will have the opportunity to witness the angels in their full glory, much as the congregation did centuries ago.
