The restoration

The restoration of the parade round shield of Cosimo I de’ Medici represented a complex conservation challenge, given the multi-material nature of the work. The artifact is in fact composed of a wooden core covered in painted leather, enriched with embossed gilded decorations, metallic studs and buckles, and a fabric handle strap trimmed with gold threads. The piece was not intended for military use but rather to celebrate the Medici ducal rank during processions and solemn occasions.

The artifact presented an intricate state of conservation, influenced by the presence of obsolete materials attributable to previous maintenance and restoration interventions. On both the front and the back, layers of altered varnishes obscured the reading of the painted scene, and rigid fillings prevented the natural respiration of the leather. This mechanical conflict hindered the movement of the hide relative to the wooden support, causing dehydration, lifting, and conspicuous tears. Furthermore, the metallic elements were affected by corrosive processes, while the fabrics and the precious galloons of the handle strap showed tears and greasy deposits.

The restoration focused on the selective removal of obsolete materials and the consolidation of the structures. On both the front and the back, the previous fillings were removed through localized acetone packs and mechanical removal with a scalpel. The deformations of the leather were reduced using a controlled humidification protocol with PVA and borax gel, providing the leather with the necessary plasticity to allow re-adhesion to the support. The new fillings were executed with a reversible paste made of powder and cellulose-derived polymers, and then color-matched.

On the painted scene, polarity tests performed for chemical cleaning removed the varnish applied during previous interventions, revealing sharper details of the battle and the artist's gilded signature ("IOSTRADENSIS”). The aesthetic presentation of the pictorial losses was resolved by adopting the vertical tratteggio technique with watercolor, which is fully recognizable and reversible. Finally, the metallic components were treated mechanically and chemically and protected with microcrystalline wax, while the unstable textile components were consolidated through stitching and protected by an imperceptible protective veil of silk tulle.