This project centered on the restoration of Sinite Parvulos (Let the Children Come to Me) by Artemisia Gentileschi, one of the artist’s most remarkable works, rediscovered only in recent decades after centuries of oblivion. The painting, dated 1626, was originally commissioned as part of the Apostolato (Apostleship) cycle ordered by the Duke of Alcalà in 1625 from some of the “most illustrious painters to be found in Italy in that year.” The subject—Christ welcoming children—is a rarely depicted Gospel episode and demonstrates Artemisia’s originality and narrative sensitivity.
The restoration was conceived in 2019 by Elda Nerina Mariotti after a visit to the Church of San Carlo al Corso in Rome, where the painting is housed. During a visit on Valentine’s Day 2019, Mariotti and Jane Adams recognized the painting’s urgent need for conservation and made a joint promise to restore it and to bring its story back to light—not only through direct intervention on its material condition, but also through the most advanced scientific analysis available.
For both women, the project became a deeply personal quest. During her illness, Mariotti found strength and hope in the restoration, feeling a profound and almost magical connection with Artemisia Gentileschi, whom she believed was guiding the unfolding events. In the words of her brother, Chris Mariotti: “This is not just a painting to restore, this will be an inspirational story for generations to come.” The project was ultimately realized in her memory.
Jane Adams directed the restoration and coordinated the entire team involved in the Rome project. Her engagement with Artemisia Gentileschi’s work began earlier, through the restoration of David and Bathsheba at the Uffizi Galleries, funded by Jane Fortune. Inspired by Fortune’s mission to rediscover and restore art by women, Adams embraced and extended that legacy by working on several restoration projects, including Suor Plautilla Nelli’s monumental Last Supper, unveiled in 2019 and now permanently exhibited at the Museum of Santa Maria Novella in Florence.
During the Nelli project, Adams met Mark Smith, President of Private Italy Tours, a lecturer on the art of the Italian Renaissance and the Dutch Golden Age, and a major donor to the restoration. Through Adams, Smith developed a deep interest in women artists, particularly Artemisia Gentileschi. When Sinite Parvulos was identified for restoration, Smith immediately agreed to fund the project. He has spoken of his admiration not only for Artemisia’s resilience, but for her devotion to her artistic practice and her engagement with the work of other artists, stating that her legacy is one that carries responsibility and must be preserved with care for future generations.
The restoration was privately funded by Adams and Smith and carried out under the supervision of the Soprintendenza Speciale di Roma, directed by Daniela Porro. A highly experienced team of restorers, technical art historians, and conservation scientists collaborated from the outset. The conservation treatment was executed by CBC Coop – Conservazione e Restauro dei Beni Culturali (Matteo Rossi Doria, Caterina Barnaba, Alice Tognoni). Before and during the intervention, an extensive diagnostic campaign—including multispectral imaging, X-radiography, and chemical analysis—was conducted by Emmebi Diagnostica Artistica (M. Beatrice De Ruggieri, Marco Cardinali, Matteo Positano). Giulio Frizzi also played a key role by creating a comprehensive photographic and video digital record of the restoration process.
The project extended beyond conservation to public engagement and cultural programming. Among the related events in 2021 was a concert organized by the Association Europa in Canto on 11 September at the Roman Theatre of Ostia Antica, in collaboration with Carano4Children. The association’s 2021 competitions and benefit events were inspired by Artemisia Gentileschi and the restored painting.
