The Restoration

The artwork was restored for the exhibition by Susanna Sarmati, under the direction of Edith Gabrielli.

The painting had previously been restored in 1992 because it was in a mediocre state of preservation, with significant losses and the results of extensive woodworm attacks. At that time, the panel was first consolidated by inserting poplar strips on the back to cover the losses, such as the rectangular one at the bottom and some in the center. Subsequently, cleaning and reintegration were carried out. The choice made then was to reintegrate only the smaller lacunae and minor closeable cracks, leaving the larger ones with the preparation exposed. However, this somewhat compromised the readability of the artwork, as the lacunae overshadowed the overall unity of the image.

The objective of the current restoration was precisely to restore greater readability to the painting. Therefore, all lacunae that could be closed were reintegrated using the "rigatino" technique—which ensures their recognizability and reversibility—particularly in the area of the meadow and the Madonna's robe. Only those on the foliage in the upper part, on the Madonna's face and hands, and the large rectangular lacuna on the right were left exposed.