The Origin of the Cameos
On the night of July 15-16, 1823, a fire destroyed the Roman basilica and damaged the series of medallions initiated in the 5th century by Pope Leo the Great and continued by Salvatore Monosilo at the request of Pope Benedict XIV. During the restoration, Pope Pius IX asked the artists of the “Studio Vaticano” to create 255 mosaic medallions, or cameos.
This reconstruction coincided with the discoveries of ancient Roman sites. The Pope also faced difficulties with the advancing Italian unification, which threatened his states. In Catholic states of the German Empire and in France, there was a current of sympathy towards the Holy See. The collection of cameos at Notre-Dame is undoubtedly one of the tangible signs of this sentiment. At the same time, the cameos from Torre del Greco were popular in the German Empire.
Regarding their origin, the archives of the chapter of Notre-Dame Cathedral provide little information. The Torre del Greco workshops sculpted them. A wealthy Bavarian donor presented them to the chapter in 1887. The chapter deliberated in May 1888: “It was proposed and accepted to place the cameos of the Popes in the chapter hall.” This is the only historical document obtained from the chapter.
Great Fineness of the Cameos
These cameos are jewels of great finesse. The artists of Torre del Greco gave each pope varied and lively gestures, though hieratic. The poses are diverse, less conventional than the Roman medallions. The vestments differ: chasuble or mozzetta, tiara with two or three crowns, levitical mitre, simple skullcap, or camauro. The movements are often expressive: some bless, others meditate before the crucifix; some are in profile or facing forward, seated or standing like Pius VI in a firm gesture, or in motion like Innocent XII.
Maître Goudji and Maître Pierre Rouge-Pullon created the cameos of the last ten popes, from Leo XIII to Benedict XVI, on the occasion of the 120th anniversary of the collection in September 2008. Like the previous ones, they are finely sculpted on shells, and their frame is silver.
Based on “The Cameos of Notre-Dame de Paris” by Canon Jacques Fournier (1997)
