"Possiamo dire che se conosci come un prezioso manufatto viene realizzato è un pò come se potessi metaforicamente indossarlo".
The article, written by Alessio de Navasques, explores the world of contemporary conservation and restoration, covering technological innovation, sustainability, and new forms of public engagement. The theme is introduced by British photographer Brett Lloyd, author of the fashion editorial set in the Roman restoration studio, Merlini Storti, who describes the thrill of seeing a painting regain its original colors and hidden details, such as a tear depicted on the face of St. Francis.
The text explores the role of institutions of excellence such as the Central Institute for Restoration and the Opificio delle Pietre Dure, where scientific research, digital technology, and interdisciplinary skills are integrated. Sandra Rossi, director of the Opificio’s painting department, highlights the use of advanced tools (lasers, 3D analysis, XRF mapping) and natural, sustainable materials, as well as collaboration with organizations such as the CNR and INFN for new diagnostic technologies.
Significant attention is also devoted to public-private partnerships, such as the one with the Venetian Heritage Foundation, led by Toto Bergamo Rossi, which has supported important restorations, including Giovanni Bellini’s Madonna in Glory and Eight Saints, and the enhancement of historic Venetian sites.
Finally, the article highlights new ways of experiencing art, such as the “restoration open to the public” promoted by the Merlini-Storti studio, which has been trialed with works by Caravaggio and Giulio Romano. Restoration thus becomes not just a technical practice, but also a shared cultural experience, capable of bringing the public closer to the intimacy and history of the work of art.
