In the hallowed halls of the Vatican Museums, a dedicated team of art restorers, including the experienced Alessandra Zarelli, engage in the delicate and awe-inspiring task of preserving some of the world’s most treasured artworks. This elite group, tasked with the care of thousands of square meters of wall paintings and an extensive collection of framed oil paintings and wooden statues, marks a century of commitment to art conservation.
Zarelli, 56, a veteran in the field, recounts the indescribable emotion of working on Renaissance masterpieces, such as frescoes by Michelangelo. However, she maintains a professional detachment during the restoration process, focusing solely on the technical aspects of her work. This disciplined approach allows her to concentrate on the material and technical requirements of each project, saving moments of awe and appreciation for the end of her workday.
The restoration team, which comprises about 36 members, is responsible for the upkeep of iconic works, including the Sistine Chapel frescoes. Their recent projects include the meticulous restoration of a 1550 painting, Enthroned Madonna and Child with Saints, by Moretto da Brescia. The process involved intricate tasks like installing a new internal frame, smoothing out deformations caused by humidity, removing oxidized varnishes, and retouching both the painting and its gilded external frame.
The Painting and Wood Restoration Lab, one of eight specialized units within the museum, opened its doors to a few news organizations to celebrate its centennial anniversary. This rare glimpse into their world reveals the evolving nature of restoration techniques. Today’s restorers often find themselves correcting or removing the well-intentioned but flawed efforts of their predecessors, who worked with more rudimentary methods.
One of the challenges faced by past restorers, who were artists themselves, was the temptation to “improve” original works by adding highlights or contrasts. Francesca Persegati, the lab’s director, emphasizes the importance of humility, respect for the original work, and a solid scientific background to understand the materials used in these artworks.
The lab’s meticulous approach to restoration includes preliminary non-invasive testing methods, such as ultra-violet and infra-red, to detect later additions, analyze pigmentation, and uncover underlying sketches.
Caterina Manisco, another restorer at the lab, is currently working on an 1895 painting, Madonna and Child Between St. Theresa and St. Francis, by Emma Richards. Manisco feels a personal connection to Richards, an Italian-born artist who achieved the rare feat of working in the court of Queen Victoria and Prince Albert as a woman.
To commemorate the 100th anniversary of the Painting and Wood Lab, the Vatican Museums have introduced an interactive element for visitors. QR codes placed near 37 artworks allow guests to delve into the layered history and complex process of art restoration, bringing a deeper understanding and appreciation of the museum’s efforts to preserve these invaluable pieces for future generations.
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