Italian Church Erases Meloni-Like Angel Amid Controversy

An angel painted in the likeness of Italian Premier Giorgia Meloni has been removed from display at the Basilica of San Lorenzo in Lucina following public outcry. The cherub, which attracted considerable attention after its resemblance to Meloni was highlighted, had its face painted over, leaving only the body intact when the church reopened on Wednesday. This incident has sparked debates about the intersection of art, politics, and religion in Italy.

The controversy began when the painting, created by restorer Bruno Valentinetti, was revealed to have a face strikingly similar to that of Meloni. The original artwork, which dates back to 2000, was part of a renovation that included a bust of Umberto II, the last king of Italy. The cherub had been designed to hold a map of Italy, appearing to kneel before the monarch. In recent months, the basilica faced water damage, prompting a restoration that inadvertently led to the cherub resembling the current political leader.

As crowds flocked to the basilica to see the angel, the image drew criticism from church authorities and political figures alike. Cardinal Baldassare Reina, the pope’s vicar for Rome, emphasized that a political figure should not be depicted in church art. In response to the growing attention and controversy, the diocese of Rome and the Italian Culture Ministry launched investigations to ascertain the original appearance of the cherub.

The decision to obscure the angel’s face was made overnight, facilitated by Valentinetti at the request of church officials. Although he acknowledged that he had styled the angel to resemble Meloni, he did not elaborate on the rationale behind this choice. The Culture Ministry later issued guidelines for any future alterations to the artwork, stating that any repainting of the angel’s face must receive prior authorization. This authorization requires a detailed sketch of the proposed image, to be submitted to both the government and the church’s supervisory bodies.

Despite the removal of the resemblance, the incident has not gone unnoticed by Meloni herself, who took to social media to comment humorously on the situation. “No, I definitely don’t look like an angel,” she wrote, accompanied by a laughing emoji and a photo of the angel.

The initial painting had only been a part of the basilica’s decor for a short time, which complicated the discussions surrounding its removal. The faceless cherub now stands as a temporary solution to erase Meloni’s likeness, while investigations attempt to restore the artwork to its original state from 2000.

As the story unfolds, the basilica has gained unintended fame, attracting both locals and tourists eager to capture images of the now faceless angel. This scenario has raised questions about the role of public sentiment in artistic expression within religious spaces, highlighting the delicate balance between art, politics, and faith in modern Italy.