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Creator:
Christopher Hewetson, 1737/38–1798, British, active in Italy (from 1765)
Title:

Pope Clement XIV (Giovanni Vincenzo Antonio Ganganelli, 1705–1774; reigned 1769–1774)

Date:
ca. 1772
Medium:
Marble
Dimensions:
Overall: 31 1/2 x 26 x 12 inches, 185 lb. (80 x 66 x 30.5 cm, 83.9 kg)
Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1977.14.14
Classification:
Sculptures
Collection:
Paintings and Sculpture
Subject Terms:
buttons (fasteners) | pope | portrait | religious and mythological subject | Roman Catholic
Associated People:
Pope Clement XIV (Giovanni Vincenzo Antonio Ganganelli, 1705–1774; reigned 1769–1774)
Access:
Not on view
Link:
https://collections.britishart.yale.edu/catalog/tms:4983
Export:
XML
IIIF Manifest:
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Christopher Hewetson was born in Ireland but settled in Rome in 1765, where he created a thriving business making portrait busts. This popular example, of which at least five versions were made, helped establish Hewetson’s reputation. British tourists in Rome were charmed by Pope Clement and his unexpected fondness for English Protestants. Despite the imposing scale of the bust, Clement appears affable and approachable. The second button of his mozzetta is undone, as if the unworldly pontiff had overlooked it with his mind on higher things.

Gallery label for installation of YCBA collection, 2016



This is one of six known versions of Christopher Hewetson’s celebrated bust of Pope Clement XIV, the earliest of which is dated 1771. Hewetson was Irish born but moved to Rome in 1765 and settled there, establishing a thriving business in portrait busts. It is likely the bust was made to capitalize on the new Pope’s popularity and Hewetson probably obtained sittings from Clement through Thomas Jenkins, the powerful dealer in antiquities and unofficial English ambassador to the Holy See. The bust proved extremely successful with British tourists visiting Rome, many of whom were charmed by Clement’s bonhomie, his refusal to recognize the exiled Stuarts as rightful kings of England, and his strong action against the Jesuits. The young politician Philip Francis, for instance, was entranced: ‘Though not a convert of this Church, I am a Proselite to the Pope.’ Clad in winter choir dress—an ermine lined mozzetta and camauro with the papal stole tied in the front—Clement radiates the keen sense of affability for which he was well known. His short pontificate was, however, clouded by political concessions to the anti-clerical princes of Catholic Europe, culminating in the infamous suppression of the Society of Jesus in the brief Dominus ac Redemptor of 1773. Despite the imposing scale of this bust, Hewetson imparts a sense of humility to Pope Clement, a Franciscan, by leaving undone the second button of his mozzetta as if overlooked by the unwordly pontiff with his mind on higher things.

Gallery label for installation of YCBA collection, 2014



Although British tourists flooded to Rome and saw themselves as ancient Romans reborn, they felt a keen sense of distance from the modern papal city with its alien religious ceremonies and customs. Clement XIV was, however, popular with Protestants for his bonhomie and his refusal to recognize the exiled Stuarts as rightful Kings of England. The young politician Philip Francis was entranced: 'Though not a convert of this Church, I am a Proselite to the Pope'. Christopher Hewetson, an Irish sculptor who spent his entire career in Rome, obtained sittings from the Pope through Thomas Jenkins, the powerful dealer in antiquities and unofficial English ambassador to the Holy See. Clad in the hooded mozzetta, the camauro-an ermine-lined cap-and the papal stole tied in the front, Clement radiates the keen sense of vigor for which he as well known. His short pontificate was, however, clouded by political concessions to the anti-clerical princes of Catholic Europe, culminating in the infamous suppression of the Society of Jesus in 1773. Despite the imposing scale of this bust, Hewetson imparts a sense of humility to Clement by leaving undone the second button of his mozzetta as if overlooked by an unwordly pontiff with his mind on higher things.

Gallery label for installation of YCBA collection, 2006

Angus Trumble, The Marble Bust, Yale Center for British Art, New Haven, 2004, no. 5, V 1304 (YCBA)

Ellis Waterhouse, Sculpture from the Paul Mellon Collection at the British Art Center at Yale, Burlington Magazine, vol. 119, May 1977, p. 351, N1 +B87 Oversize (YCBA)


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