Home / World Localities / An Ancient Sarcophagus Comes To Life At The Gardner Museum06:17
An Ancient Sarcophagus Comes To Life At The Gardner Museum06:17

An Ancient Sarcophagus Comes To Life At The Gardner Museum06:17

Its timeworn marble facade is decorated with a parade of mostly nude maenads, satyrs and other followers of Dionysus — the god of love and wine. They’re all frolicking, touching, gathering grapes and celebrating life.

When it was unearthed in 1535, Nielsen said Renaissance artists were seduced by the carvings’ classical forms. Gardner was, too, when she and her husband purchased the antiquity in 1898.

She believed future artists would continue to appreciate its power.

“That an ancient work of art can inspire artists working today is very much part of the Gardner’s DNA,” Nielsen said.

“It’s why Isabella collected these treasures.”

Lifting The Sarcophagus

The rigging crew rolls the sarcophagus wrapped in plastic along planks through the museum.

(Robin Lubbock/WBUR)

For the show, the mammoth 7,500-pound piece needed to move once again — this time, with the help from a team of experienced riggers.

“I’m holding my breath,” Nielsen whispered as she watched them wrap the coffin.

“We’ve all been waiting for this for a while,” Salmon added, “so it’s pretty exciting to have this moment.”

The movers looked to the ancients for some of their methods, at first rolling the sarcophagus along a track on wooden logs.

It was slow going — out the palazzo’s front entrance, onto the sidewalk, then for a flatbed truck ride around the block to the new wing’s loading dock, and finally, up to a gallery. (It’s too big and heavy to get to the other building any other way.

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The trip wasn’t all that far when you consider the countless miles this sarcophagus has already logged. Even so, the conservators and curator were pretty tense about its latest journey.

The moving crew loads the Farnese Sarcophagus onto a truck to drive it around to the rear entrance of the Isabella Stewart Gardner Museum. (Robin Lubbock/WBUR)

Once safely inside, Pieranna Cavalchini, contemporary art curator at the Gardner, marveled at the object’s new display.

 It had been sitting on the ground — wedged between two columns in the courtyard — for more than 100 years.

“It’s spectacular because the sarcophagus is lifted.

So we’ve never seen it up,” Cavalchini said, “and the power is doubled, tripled, quadrupled. It’s just so strong and fascinating.

Now visitors will be able to walk around the sarcophagus, which was impossible before.

An archival image of the Farnese Sarcophagus in its usual spot in the Gardner‘s courtyard.

(Courtesy Sarah Whitling/Isabella Stewart Gardner Museum)

To breathe even more life into the coffin, Cavalchini commissioned two artists-in-residence at the Gardner to interpret it using 3D technology.

“A bit risky,” she said, because, “you didn’t know how it would go, what it would be.

The curator did know that it would reflect the present time and speak to modern audiences.

Discovering ‘Different Kinds Of Secrets’ With 3D

Marc Downie and Paul Kaiser collaborate together under the name OpenEndedGroup.

Paul Kaiser, left, and Marc Downie, right. (Andrea Shea/WBUR)

“Although these are frozen figures, they’re frozen in motion.

It struck us as being a kind of dance that plays along the surface of this thing,” Kaiser said of the scene on the sarcophagus’ relief. “It’s also unbelievably erotic.

I mean, it has this astonishing sexual power to it.”

Downie and Kaiser are no strangers to working with lithe bodies and movement.

In the past they’ve executed projects with choreographers Bill T. Jones and the late Merce Cunningham.

At the Gardner, Kaiser and Downie said they took thousands of photos of the sarcophagus’ characters from all angles, often late at night. They captured every facial feature, fold of skin, graceful limb, pockmark and shadowy crevice.

Downie recalled an eerie evening when the coffin came to life for him in front of the camera and his computer’s 3D program.

“I think the camera just slid into the right spot and suddenly all of the faces were staring at me,” he said.

“That’s when I knew we had to make the piece.”

Perhaps it was Gardner’s hand that coaxed the moment into being?

The fine detail of the sarcophagus‘ carving is seen in one of the 3D renderings.

(Courtesy Gardner Museum)

The technology translated the images into hard-to-describe, extremely close-up, seemingly fleshy spatial renditions now projected across three tall screens hanging in the gallery.

“So you sense how close they are to each other since they’re all touching each other and exchanging really intimate glances,” Kaiser pointed out as we watched the video.

“There is a kind of intimacy to the experience that’s distinctly odd, really.”

The stone seemed to breathe along with the cello soundtrack performed by soloist Yeesun Kim.

“All of those things that might be paint, or might be sculpture, or might be flesh are floating in three-dimension,” Downie said. “So it becomes a very uncanny and strange experience.

The artists said working on this project made them feel connected to the Renaissance artists who were also compelled to explore the sarcophagus back in the 16th and 17th centuries.

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