Tintoretto’s Memorial Cross Restored – History

Memorial Crucifixion After two years of recovery, the Renaissance master Jacopo Tintoretto returned to his former glory. The meticulous intervention rediscovers the luster of colors and the rich contrast of light colors and darkness, and now the scaffolding has been removed, the masterpiece once again enjoys a comprehensive public view.

Non-invasive diagnostic movement was performed using UV LED fluorescence and infrared reflectance (IR) to assess the status of the painting and study the technique of Jacopo Tintoretto. These results guide the work of the protector to solve several problems, distorting the color and depth of the painting from non-primitive surface residues. The cleaning phase removes thick, yellowed varnish, glue residues and compacted dust, as well as modification changes from previous treatments. During the picture integration phase, a small loss filled with Bologna gesso and rabbit skin glue, and then reintegrated the protective color, glaze and varnish. Use protective spray varnish as the final protective step. Each stage of protection lasts from March 2023 to March 2025 was carefully recorded with high resolution photography and video.

In 1565, the year when Tintoretto became a member, Scuola Grande di San Rocco Confraternity Venice commissioned the huge canvas commission of Scuola Grande di San Rocco Confraternity of Venice. It was the focus of Sala Dell’albergo’s lobby where the organization’s management officials met, covering the entire wall above the large counter where Governor Scuola sat.

Tintoretto’s vision of the huge approach to this subject is very complex and vibrant, centered on Twenty Crucified Christ, a dense, vivid and diverse crowd captured in an active movement. The halo of the crucifix emanates, representing redemption, an act that hopes for humanity.

The protection not only restores Tintoretto’s original color and contrast, but also restores his reputation, slandered by Giorgio Vasari.

Art historian Maria Agnese Chiari Chiari Moretto Wiel, and member of Scuola grande di San Rocco, “I have had the honor of following this work almost every day during these two years, sharing challenges, choosing, and challenges facing the restoration work every day, and do not represent a distinguished person, that the restoration of Tintoretto not only allows painting to restore proper color and good perspective, but also reveals new fundamental elements to understand the master’s working methods. Tintoretto works by chance without painting [disegno]as if he was trying to prove that art was just a joke. ‘”

It seems like it is impossible to draw a canvas of this size and complexity without a plan. Tintoretto prepared preparatory drawings for individual characters and laid drawings on the canvas itself.

This video shows beautiful details of repairs and crucifixion.