The Old North Church in Boston, renowned for its role in Paul Revere’s midnight ride, is undergoing a meticulous restoration project that is gradually unveiling a hidden treasure: a series of 20 angelic figures painted on the church walls around 1730. These cherubic forms, with their childlike faces and outstretched wings, were once a prominent feature of the church’s interior, a testament to its rich history and artistic heritage. However, they were obscured for over a century, concealed beneath layers of white paint applied during a 1912 renovation. Now, thanks to the painstaking efforts of art conservators, these long-hidden angels are being brought back to light, offering a glimpse into the church’s vibrant past and the artistic sensibilities of colonial America.
Leading the restoration effort is Gianfranco Pocobene, a skilled conservator working meticulously atop scaffolding within the church. He, along with his team, has already uncovered eight of the twenty angels, revealing their delicate features and vibrant colors that have remained hidden from public view for generations. The rediscovery of these artworks has been a source of profound excitement and wonder for all involved, as they represent a tangible link to the church’s early history and the artistic expressions of its original congregation.
The revelation of the angels has been described as nothing short of extraordinary. For those involved in the restoration, it offers a unique opportunity to connect with the past, to uncover a hidden dimension of the church’s history. As Pocobene remarked, “Just to be part of a project where we are revealing something from colonial America is really extraordinary.” These sentiments are echoed by Emily Spence, associate director of education at Old North Illuminated, the organization that operates the church as a historic site. She emphasizes the significance of the angels in understanding the church’s historical context and the identity of its early congregants. The color scheme, she notes, was an integral part of the church’s identity as a Church of England establishment.
The restoration process itself is a delicate and complex undertaking. Researchers, aware of the angels’ existence through historical records and a preserved contract with the original artist, John Gibbs, confirmed their presence beneath the layers of paint through a 2017 paint study. The challenge for conservators like Corinne Long, who works alongside Pocobene, lies in carefully removing seven layers of paint without damaging the fragile artwork beneath. This painstaking process involves applying a solvent gel to soften the paint layers, then meticulously scraping them away with a plastic tool. Further cleaning with cotton swabs and careful retouching complete the process, revealing the angels in all their original glory.
The individuality of each angel, evident in their varied poses and expressions, adds to their artistic significance. As Pocobene observes, “They all have their own character – they’re not copies. The artist John Gibbs painted them individually, and they’re all in different poses, which gives them a really wonderful rhythmic kind of pattern across the surface of the church.” This attention to detail and individual expression makes the angels all the more compelling and underscores the skill of the original artist.
The restoration of the angels represents more than just the recovery of artwork; it is a reclaiming of history and a return to the original vision of the church’s founders. As Corinne Long explains, “Whenever I go into a building with history, it amazes me to be surrounded with paintings or the decorations that were there originally. When it’s been repainted to be white, it takes away some of that majesty and some of that history.” The return of the angels, therefore, restores a sense of historical authenticity to the church, enriching its narrative and deepening its connection to the past.
Even in their partially revealed state, the angels have already captivated visitors. Tourists like Sean Dixon and Sarah Jardine from California, who happened upon the church during the ongoing restoration, expressed their awe and anticipation. “I was kind of shocked when I first saw it,” Dixon remarked. “It looks really cool, and I’m really excited to see the full picture once the scaffolding comes down.” Their reaction underscores the power of these rediscovered artworks to inspire and connect with visitors, enriching their experience of this historic landmark. The ongoing restoration, with its promise of fully unveiling the remaining angels, is generating excitement and anticipation for the complete reveal, promising to further enhance the Old North Church’s historical significance and artistic allure.
