Ta’ Pinu Sanctuary’s 400-year-old altar painting of The Assumption of Our Lady  is set to undergo a conservation and restoration project. The altarpiece, known as Il-Madonna ta’ Pinu, was commissioned by Pino Gauci and painted by Amadeo Bartolomeo Perugino in 1619, as inscribed on the painting’s bottom right corner.

Despite its highly devotional status and its historical and artistic importance, the painting is in a poor state of preservation. Therefore, the Gozo diocese, together with the administration of Ta’ Pinu Sanctuary, decided to commission a holistic conservation and restoration project and entrusted it to the Maltese company Atelier del Restauro Ltd, led by conservators Valentina Lupo, Maria Grazia Zenzani and Simon Dimech.

The company has been following the painting’s state of conservation since 2017 and subsequently removed it from the sanctuary in November 2018, conducted a detailed analysis on its state of conservation and compiled a report.

Throughout its history, the painting has undergone several restoration interventions. These were mainly focused on its support and the paint layer.

A major and important intervention, which included a lining treatment, was carried out by restorer Carmelo Bonello in the mid-20th century.

Due the passage of time and natural ageing of the organic materials, the adhesive Bonello had used for the lining treatment deteriorated and lost its adhesive properties. This resulted in detachment between the original and the secondary canvas supports.

Due to this loss of adhesion, the lining no longer serves its purpose of supporting the painting. Furthermore, the detachments between the two canvases has created external stresses on the overlaying pictorial layers, resulting in large cracks and detachments of the paint layer. The latter is very evident and is of concern to the panting’s preservation.

Despite its highly devotional status and its historical and artistic importance, the painting was in a poor state of preservation

Subsequent restorations carried out have also altered the painting’s original features, altering its colour scheme through overpainting and the application of an organic varnish.

Valentina Lupo working on the painting.

Due to oxidation of the overpaint layers and varnishes, the painting has also darkened and yellowed. Besides this there was a thick film of dirt and dust on its surface.

Work on the project started earlier this month and Atelier del Restauro’s proposed interdisciplinary approach also includes external expertise and additional stakeholders.

The company will be collaborating with Heritage Malta’s diagnostic scientific laboratories to scientifically study the painting’s original pigments and materials and the techniques Perugino used.

The external expertise also includes art historian Sandro Debono, who will be undertaking extensive research on the painting’s art history, historiography, iconography and artistic influences with the aim of broadening and deepening the public’s knowledge and understanding of this national treasure.

The conservation and restoration methodology will consist of interventions that follow current conservation ethics and principles, and will include the cleaning and removal of the oxidised varnish layer and overpaintings.

The process will include the removal of the lining canvas and old lining adhesive in order to carry out consolidation of the paint layer and original canvas layer. 

Repair of tears will be carried out, including all the punctures the painting has suffered due to the gold jewellery adorning it.

Pictorial integration using reversible methods will be executed only where there are paint losses and abrasions.

Finally, preventive conservation measures will be implemented to inhibit and prevent deterioration of the painting. For more information, visit www.atelierdelrestauro.com.