25mc01-TA-2014_Turin, Galleria Sabauda, M. Di Giovanni, Madonna and Child, San Gerolamo and San Bernardino, inv. 18

Facilitated description:

 

The Madonna with Child, San Gerola and San Bernardino is a painting on a wooden table. 
Matteo di Giovanni painted the painting during the 1400s. 
The painting is kept at the Galleria Sabauda in Turin.
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2014. 
Scientists at the Venaria Center did scientific analysis to see the drawing under the painting. 
There are traces of the drawing under the beard of St. Jerome, in the faces and on the foot of the baby Jesus. 
The restorers cleaned the painting of dust and reinforced the most damaged parts.
They filled the color gaps with putty (plaster and glue layer). 
They colored the putty with watercolors and paint colors. 
The restorers put a protective on the painting to protect it from the sun's rays and dust. 
Eventually, they repaired the parts of the frame that were peeling off and cleaned the frame.

 

 

 

 

Abstract of the intervention:

 

Restoration

The diagnostic campaign, which accompanied the intervention, made it possible to read the underlying design more easily, in particular in the beard of St. Jerome and in the anatomies of the faces, and to detect a change of setting at the foot of the Child (infrared surveys). In addition, the analysis in false color allowed to deepen the type of palette used by the artist.
The intervention provided for a general revision of the support with removal of atmospheric particulate deposits and verification of the solidity of the matter. Then the consolidations of surface defects were made with natural adhesives and controlled pressure. The atmospheric particulate deposits were then removed and the surface was cleaned with solvents to remove the altered resin. The small gaps were plastered and chromatically intoned with watercolor colors and a protective layer was laid on the surface. For abrasions and unveilings, on the other hand, we proceeded by lowering the visual disturbance with paint colors. Finally, a protective layer of venice was laid out. 
The adhesion defects were adhered to the frame and a surface cleaning was carried out. Finally, the gaps were compensated with plastering, intoned with watercolor colors, and a final vein was drawn.