Official presentation of the restoration project on a newly found painting by Plautilla Nelli and her workshop. With: Alessia Bettini, Vice Mayor of Florence; Dr. Roberta Lapucci, director of the Restoration Department of Lorenzo de’ Medici Institute; Dr. Catherine Turrill, art historian, and renowned Nelli expert; and Jane Adams, from Caravaggio & Contemporary.
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Jane explains how meeting Jane Fortune and Advancing Women Artists led to one of the most recent examples of lost art and also one of the most impressive. Sister Plautilla Nelli’s (1524-1588) The Last Supper is the only known depiction of Christ’s last meal by a female artist in the pre-modern age.
The self-taught artist’s massive canvas—about 21 feet long and 7 feet high—is one of the largest works by a woman artist of the pre-modern era in the entire world. Though women were banned from studying anatomy, Nelli defied the conventions of the time by taking on a theme reserved for male artists and creating 13 life-size male figures.
There are still so many questions and Jane helps clarify why some of these works were never considered masterpieces. A movement is happening now around Italy’s women’s art restoration and Jane will bring you into a history that is not just restoring the works of art, but also restoring women’s place in art history. Over the past 10 years, over 70 works of art are now restored.
When you think about it, art has always been used as a means of storytelling and has vastly enriched our lives. The world needs women to inspire us, to raise our spirits, and to serve as role models for our future generation of girls.
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Coinciding with the 500th anniversary of Suor Plautilla Nelli’s birth, Florence’s first recognized female Renaissance artist (1524-1588), the following restoration was planned on a small panel painting of the ‘Madonna and Child with Saint Catherine, Sant’Agnese and Saint Dominique’. Research and restoration by ‘Advanced Restoration’ students under the direction of head professor Dr. Roberta Lapucci of the Lorenzo de’ Medici Institute of Florence, and the ‘technical art’ scientific and chemical study campaign with the collaboration of Trisha Dalke (ex-LDM student in Art Conservation) (taking her master’s degree in Technical Art at the University of Amsterdam). Other LdM departments, such as Gender Studies, Jewelry Design, Fine Art, Graphics, and Communication, also participated in this project. Leading Nelli scholar Dr. Catherine Turrill Lupi made an important contribution with her research, uncovering new findings on the small panel’s paintings by Plautilla Nelli and her ‘Bottega’ that are coming to light.
Start: January 2024
Completion and presentation of restoration and publication: June 2024
The restoration was carried out at the Lorenzo de’Medici Institute in Florence, to communicate and enhance the body of Nelli works nationally and internationally with various events taking place in 2024, namely: conferences, exhibitions, and gala events in San Marco, and Palazzo Vecchio in Italy, Utrecht, the Netherlands, Milan, Italy, London England, Dublin, Ireland and the USA.
The painting before conservation treatment, showing oxidised varnish, surface grime, and chromatic alteration that obscure the original palette and compositional clarity.
The reverse of the wooden panel, documenting the construction of the support, natural wood grain, and evidence of age, wear, and past handling.
The reverse of the painting during restoration, showing the panel secured within its frame and allowing assessment of structural condition and previous mounting solutions.
Detail captured during the cleaning phase, illustrating the gradual removal of aged varnish and surface deposits to reveal the original paint layer beneath.
Close-up during cleaning, highlighting the emergence of original pigments, refined modelling, and subtle chromatic transitions characteristic of Nelli’s hand.
Detail documenting the contrast between cleaned and uncleaned areas, demonstrating the impact of varnish removal on depth, luminosity, and surface articulation.
Microscopic view during treatment, revealing fine craquelure, brushwork, and the preserved integrity of the original paint layer.
Infrared reflectography revealing underdrawing and preparatory elements beneath the painted surface, offering insight into the artist’s compositional planning and execution.
X-radiographic image exposing the internal structure of the panel, variations in paint density, and alterations not visible in reflected light.
Infrared false-colour imaging used to distinguish original pigments from later retouching and restorations, aiding in the identification of material differences and alterations across the painted surface.
Diagnostic campaign with the Publication of one of Artemisia’s best-loved works, her ‘Madonna and Child’ and ‘Santa Cecilia’ paintings at the Galleria Spada Rome.
A project to discover the secrets of these famous and much-loved paintings, and for the English translations and publication of this new volume. This project, curated by Artemisia Gold CIC and Emmebi Diagnostica Artistica, focused on the execution of a diagnostic research campaign to document the technique, materials used, and its state of conservation. The interest in the figure of Artemisia Gentileschi has grown significantly in recent decades, as evidenced by the numerous exhibitions dedicated to her and the ever-increasing number of technical studies that help us understand how she painted and, ultimately, why her style is so unique. The investigation proposed in this project was non-invasive, using different visible and non-visible radiation (ultraviolet, infrared, X-rays), which were able to provide images and data on the different constituent layers, from the support to the pictorial and finishing layers. Upon completion of the documentation campaign, we conducted a micro-sample to analytically investigate the preparatory layers and the more significant pictorial layers. Thanks to the goodwill of the Galleria Spada these investigations were conducted within the gallery, and the results were illustrated to special guests in May 2023 during an exclusive private event at the Museum. The investigations were sponsored by Artemisia Gold CIC and were carried out and illustrated by Emmebi Diagnostica Artistica.
The project included: Diagnostic investigations (including organization of live investigations) – Multispectral photographs (VIS-UV-IR) – Macrophotographs and microphotographs – Infrared reflectography – Radiography – X-ray fluorescence analysis (XRF – Stratigraphy on polished section and SEM-EDS microanalysis and concluded with a private event at the Galleria Spada.
Carried out in 2024 – A publication with new findings. The Madonna and Child and Saint Cecilia by Artemisia Gentileschi at the Galleria Spada. These important findings, recently acquired on Artemisia Gentileschi’s Madonna and Child (Galleria Spada, Rome), thanks to the technical research project sponsored by Artemisia Gold CIC have provided the impetus to produce a monographic volume on the great painter’s two paintings, preserved in the Museum. Both the Madonna and Child and Saint Cecilia were subjected to an in-depth diagnostic campaign, curated by Emmebi Diagnostica Artistica s.r.l., aimed at characterizing their constituent materials and reconstructing the artist’s compositional processes. The volume was published in 2024 in Italian and English by the publisher De Luca. Included were essays by Francesco Solinas, Adriana Capriotti, Marco Cardinali, and Maria Beatrice De Ruggieri, which shed new light on the great artist and on her two works in the Galleria Spada. These new findings were also thanks to the contributions of technical-scientific research to historical-critical studies. A rich set of images and technical data accompanied the publication of the studies.
The publication was launched in May 2024
A private presentation and viewing of the two Artemisia paintings, her ‘Madonna and Child’ and ‘Santa Cecilia playing the Lute’ together with the unveiling of new groundbreaking findings and the publication surrounding them was held at a private event at the Galleria Spada.
In situ documentation of the diagnostic campaign at the Spada Gallery, showing the painting during technical examination with specialized imaging equipment.
The painting in visible light prior to treatment, documenting the overall condition, surface wear, and tonal imbalance that affect the legibility of the composition.
Reflectographic imaging highlighting variations in surface texture and underlying preparatory layers, contributing to the study of the artist’s working process.
Reflectographic analysis revealing compositional development and changes beneath the painted surface, offering insight into the evolution of the image.
X-radiographic detail focusing on the figures’ interaction, exposing structural elements, paint density variations, and adjustments invisible to the naked eye.
Full X-radiographic image of the painting, revealing the internal structure of the canvas, the stratigraphy of paint layers, and evidence of revisions in the composition.
Near-infrared imaging used to examine underdrawing and early compositional planning, aiding in the distinction between original execution and later interventions.
The San Salvatore di Ognissanti church in Florence, Italy, is the site of three restoration projects and was the site of a benefit concert on October 22, 2021, to fund work that will uplift and enlighten the church’s extraordinary cultural heritage. Jane Adams was behind the project’s development under the direction of Maria Pia Zaccheddu (Superintendent for Architectural, Landscape, Historical and Artistic Heritage) and with Fra Giuseppe Caro.
British residents Christian and Florence Levett made a generous donation to cover the restoration of the terracotta sculpture depicting the meeting of saints Francis and Dominic, embraced by an angel, located in the Alcantara Chapel. They have also supported the new lighting system for the church and the restoration of the painting of Saint Francis receiving the Stigmata.
The restoration was significant, given that this year marked the 800th anniversary of Saint Dominic’s death. Dating to the mid-16th century, the object was heavily damaged on one leg, and the surface had to be remodeled and retouched. Initially, the angel had a red robe to represent the flame of divine love, but after testing, it was clear that it had been repainted with different colors in the 18th century. Thus, there was no way to restore the original red. Work was performed on the external architecture, which involved digging a trench around the chapel to allow air to circulate and dry out the interior. The masonry and surface wood, with imitation marble and stucco gilding, were restored, as was the fresco on the left wall of the chapel, with much of the restoration undertaken by Fra Giuseppe Caro himself.
“Ognissanti is one of the oldest churches in Florence and is also the resting place of the muse for the Birth of Venus by Botticelli, Simona Vespucci one of the most famous paintings ever created,” remarked Christian Levett. “In historical terms, then, the work is not only of deep interest, but also necessary for the City in general.”
Funds from the benefit concert went towards the restoration of the oil-on-canvas Saint Francis Receives the Stigmata. The proceedings began with a presentation of the restored terracotta before soprano Sophie Gallagher delighted the audience with a performance. The Royal College of Music London graduate debuted with ‘Albert Herring’ at Maggio Musicale Fiorentino and has given a solo recital at The Queen’s Gallery, Buckingham Palace. Countertenor Tom Scott-Cowell joined her, also a graduate of the Royal College of Music in London and accompanying organist Sándor Károlyi. The concert program featured Gounod’s ‘Sanctus’, Pergolesi’s ‘Sancta Mater’, Mozart’s ‘Laudamus Te’ and Dvořák’s biblical songs ‘Gott erhöre mein Gebet’ and Herr! Nun sing’ ich Dir ein neues Lied’. After the last notes rang out, the audience was invited to view the Alcantara chapel to see the newly restored sculpture, followed by an aperitivo in the courtyard.
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.
Project conceived: 2019
Restoration completed: September 2021
Private unveiling and reception in the Sacristy of the Church of San Carlo al Corso: September 2021
The painting before conservation treatment, showing extensive surface wear, paint losses, and altered chromatic balance that obscure the original composition and emotional clarity.
Detail of the lower section of the painting before restoration, highlighting abrasion, surface deposits, and areas of paint loss affecting the faces and expressions of the children.
Infrared false-color imaging used to differentiate original pigments from later retouching and to study the artist’s materials and execution beneath the visible surface.
X-radiographic image of the painting, revealing the internal structure of the canvas, underlying paint layers, and compositional adjustments not visible to the naked eye.
Raking light examination revealing surface irregularities, canvas deformation, and raised paint layers, providing crucial insight into the physical condition of the artwork.
Ultraviolet fluorescence imaging of the reverse of the canvas, revealing the historic inscription and signature “Artemisia Gentileschi, Roma 1626”, alongside evidence of aged materials and earlier structural interventions.