Bernini’s 17th-Century Elephant Statue Damaged in Rome—Again | Artnet News
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by Vivienne ChowFebruary 20, 2026
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A beloved 17th-century statue by Gian Lorenzo Bernini has suffered damage once again, with a fragment of its tusk breaking off in Rome just days before a major exhibition dedicated to the Baroque master opens. The incident occurred at the Elephant and Obelisk monument, also known as Pulcino della Minerva, located in Piazza della Minerva. Italian culture officials have condemned the damage as "unacceptable," particularly given the timing of the event as Rome prepares to celebrate Bernini's legacy with the exhibition "Bernini and the Barberini" at Palazzo Barberini.
The broken marble fragment, believed to be part of a 1977 restoration rather than an original piece, has been recovered and will undergo repairs. Authorities are investigating whether the damage was caused by natural wear or vandalism. The sculpture, designed by Bernini in 1667, features an elephant calf supporting an Egyptian obelisk, erected to honor Pope Alexander VII. It remains a cherished tourist attraction near the Basilica of Santa Maria sopra Minerva.
This isn't the first time the statue has been targeted; in 2016, the same tusk tip was damaged due to vandalism. The monument's history is tied to Bernini's relationship with Pope Urban VIII, whose commissions transformed Rome's artistic landscape during the 17th century. As part of celebrations marking the 400th anniversary of St. Peter’s Basilica's completion, the exhibition highlights Bernini's pivotal role in shaping Rome's cultural identity and his enduring influence on Western art.
The incident underscores Italy's ongoing challenges in preserving its vast cultural heritage, particularly as it faces threats from both environmental factors and human intervention. The Elephant and Obelisk, a unique Baroque masterpiece, continues to draw attention not only for its historical significance but also for its role in modern-day discussions about conservation and respect for cultural treasures.
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Originally published on Artnet News on 2/20/2026