September 2021 has seen the completion of the restoration of the painting Sinite Parvulos by Artemisia Gentileschi, owned by the Church of Saint Ambrogio and Carlo al Corso and home to the painting.

The masterpiece by Artemisia Gentileschi, Sinite Parvulos, or “Let the Children Come to Me”, is the core of the restoration project conceived by Elda Nerina Mariotti in 2019 and turned into reality thanks to Jane Adams, Co-founder of the Cultural Association Caravaggio&Contemporary and Mark Smith, President of Private Italy Tours, who sponsored the initiative.

Jane Adams first met Elda Mariotti in Rome on Valentine’s Day 2019; they visited the church of San Carlo al Corso together to see Artemisia Gentileschi’s Sinite Parvulos. In dire need of conservation, a joint promise was made: restore the painting and bring its story back to light not only with direct intervention on the materiality but also with the aid of the most up-to-date scientific analysis.

A personal quest for both of them gave Elda strength and hope during her illness; she felt a magical connection with Artemisia who seemed to be masterminding 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.”

Jane Adams first learned of Artemisia Gentileschi through the restoration of Artemisia’s David and Bathsheba, Uffizi Galleries, which was funded by Jane Fortune. Jane Adams was inspired by Jane Fortune and her quest to rediscover and restore art by women; not only did she embrace her mission but went on to work on several restoration projects with her. The most important of these artworks was Plautilla Nelli’s Last Supper. This masterpiece was unveiled in 2019; it is now on permanent exhibit in the Museum of Santa Maria Novella, Florence. During this project, she met Mark Smith and introduced him to Plautilla Nelli’s art and life. As a major donor, he became passionate about Nelli and curious to learn more about other female artists.

Upon hearing about Artemisia’s Sinite Parvulos painting he was enthralled and together Adams and Smith created this privately funded restoration project in Rome. She has been the key person in leading the coordination of the entire team involved with the Rome project. Smith, also a lecturer on the Art of the Italian Renaissance and the Dutch Golden Age, has always been fascinated by the work of Artemisia Gentileschi. When Sinite Parvulos was identified for restoration, Smith immediately agreed to support this important project with the necessary funds. “Despite the attention given to her trial and victory, it is her passion for and engagement with her work and the work of other artists that inspires me,” Smith says and adds: “The legacy she gave us is a responsibility I take on with passion and care. The legacy we create today will carry on for generations. That is at the heart of my commitment to this critically important restoration.” The painting is property of the Arciconfraternita dei Santi Ambrogio e Carlo in Rome and the project features the supervision of the Soprintendenza Speciale di Roma directed by Daniela Porro.

It is one of the most remarkable works by Artemisia, rediscovered only some decades ago after enturies of oblivion. The painting had its place of honour in the Apostolato (Apostleship) commissioned from the Duke of Alcalà in 1625 to some of the “most illustrious painters to be found in Italy in that year”. The artwork depicts the well-known Gospel episode in which Christ said to his disciples “Let the children come to me,” a choice of subject that is seldom seen and shows significant originality and novelty.

A well-rehearsed team of restorers, technical art historians and conservation scientists has been involved in the project since its beginning. The restoration was carried out by CBC Coop – Conservazione e Restauro dei Beni Culturali (Matteo Rossi Doria, Caterina Barnaba, Alice Tognoni). Before and during the treatment an extensive diagnostic campaign (Multispectral Imaging, X-Radiography, Chemical Analysis) was performed by Emmebi Diagnostica Artistica (M. Beatrice De Ruggieri, Marco Cardinali, Matteo Positano), Giulio Frizzi, based in Hungary, has also been key in working with a photographic and video team in Rome to create the critical digital record of the restoration.

All the steps and the progression of the work have seen the scientific supervision of the Soprintendenza Speciale Rome by Dott. Alessandra Lanzoni. An official presentation is planned for 2022 with a focus on new scientific findings explained by the restoration and scientific team.

Other related events in 2021 took place, among them was a concert organized by the Association Europa in Canto on Saturday 11^th September at the Roman Theatre of Ostia Antica in collaboration with Carano4Children, whose competition and benefit events 2021 were inspired by Artemisia.

A focus on Artemisia is planned in the forthcoming Symposium directed by Roberta Lapucci co-founder of Caravaggio & Contemporary with Jane Adams ‘From Artemisia to the others. Women of Caravaggio’ in Palazzo Museo Bourbon del Monte, Monte Santa Maria Tiberina, Perugia the 2nd and 3rd of October, 2021. Program to be announced shortly. This restoration will be the first in a series of other conservation projects surrounding art by women and sacred art found in churches throughout Italy organized by Caravaggio & Contemporary.