Sala delle Asse. The restoration · 2017-04-03 · May 2016 The scaffolding on all the four walls...

Sala delle Asse. The restoration

Leonardo da Vinci painter at the Castle in Milan

http://saladelleassecastello.it/

2 Sala delle Asse. The restoration

Leonardo da Vinci painter at the Castle in Milan http://saladelleassecastello.it/

The restoration Introduction ............................................................................................................ 3 Decoration .............................................................................................................. 4 Why a restoration? ................................................................................................. 5 A series of unfortunate events ................................................................................ 6 The restoration plan ................................................................................................ 8 Follow the restoration ............................................................................................. 9

Telling the restoration Why stories? ......................................................................................................... 43 The stories ............................................................................................................ 44 Bibliography .......................................................................................................... 45

Actors Municipality of Milan – Culture Office .................................................................. 47 The Italian Ministry of Cultural Heritage and Tourism ........................................... 48 Opificio delle Pietre Dure ...................................................................................... 49 A2A ....................................................................................................................... 50 ARCUS ................................................................................................................... 51 Institutional and scientific partner ........................................................................ 52

On the Job Restoration credits ................................................................................................ 53 Scientific commitee ............................................................................................... 55 At work ................................................................................................................. 56

Talk with us Map ...................................................................................................................... 60 Visits ..................................................................................................................... 61 Contacts and Press ................................................................................................ 62 Credits ................................................................................................................... 63




The restoration

Introduction

The room at the first floor of the north-east great tower of Sforza Castle, also called Sala delle Asse, got its name from the wooden planks which covered the walls long time ago, probably with the aim to safeguard the room from humidity. The room was a significant and important setting where Sforza family welcomed their guests and ambassadors.

For this reason, Leonardo Da Vinci, called in the city of Milan by Ludovico Sforza, known as “il Moro” (“the moor”), perform the pictorial decoration of the room in 1498. He promised he would finish the work within few months.

Leonardo (probably with some helpers) painted on the vault of the room a fake arbor, made by a series of branches and golden ropes, intertwined.

At present, we don’t know if the decoration had ever been completed.

When, starting from 1499, the Duchy of Milan was conquered by the French, a decline period started for the castle, which was turned into a barracks and since that moment, the Sala delle Asse was used as stable. A layer of lime was spread all over Leonardo’s painting, until the end of the nineteenth century.

Sala delle Asse – North corner

Sala delle Asse – South corner




Decoration

Sala delle Asse represents one of the very first examples of illusionist decoration whose aim is to transform a big room of an interior space into an external location: visitors are completely captured by the arbor’s branches, among which are mulberries, intertwined and supported by majestic trunks and their immense roots.

These are all painted though a monochrome technique, and can be observed on the northern angle of the room, while on the vault are the branches, intertwined with golden ropes. The branches make a geometrical pattern come to life, which reminds the very renowned knots by Leonardo da Vinci.

The choice for the mulberry fruit (from Latin, morus) – which according to the botanical symbolism represents wisdom and prudence – probably reflects the goodness of the Duke Ludovico Maria Sforza, called “il Moro”.

Detail of the roots

Detail of the vault




Why a restoration?

The last restoration of Sala delle Asse dates back to the Fifties. In 2006, due to a decline situation, a campaign to inspect the conservation stage of the paintings was carried out. It has evidenced the need for a quick intervention.

Therefore, a restoration project has been developed, with a threefold objective:

investigate and eliminate the principles causing the paintings’ worsening;

detect the repainting layers and the interventions which have occurred over the years, through investigation processes;

evaluate the possibility to recover the legibility of the decoration, in regard to the conservation history of the work of art.

Coat of arms

Detail of the vault




A series of unfortunate events

1498, 21st April: a letter from the ducal clerk of the court, Gualtiero da Bascapè, tells Ludovico il Moro that Leonardo is starting the decoration of the room “da le asse, cioè da la tore” (the room – in Italian “Sala” of the planks, that is of the tower and that “Magistro Leonardo promete finirla per tuto Septembre” (Master Leonardo promises to complete it by the end of September).

1499, 18th October: Louis XII of France solemnly enters Milan , and accommodates in the luxurious ducal court of the Castle. Ludovico il Moro is then obliged to run away and the room loses its original representative function.

1535: the Spanish succeed the French to guide Milan. Since then, there is no news about Sala delle Asse for more than a century.

1706: after the Spanish, the Austrians come. The Castle becomes a barracks and Sala delle Asse is turned into a shelter for artillery horses.

1893: the Castle becomes a property of the municipality of Milan. The first restoration actions started, during which the scholar Paul Müller-Walde, while taking away the plaster, found some painting traces that were attributed to Leonardo Da Vinci.

1901: the person in charge of the restoration works of the Castle, Luca Beltrami, architect and representative of the Kingdom, assigns the decoration charge of Sala delle Asse to the painter and decorator Ernesto Rusca who, according to the restoration idea of that time, largely repainted the pictorial surface.

1902: the restoration of Sala delle Asse is presented to the public. Immediately, disapproval is strong: Adolfo Venturi, a famous art critic, asserts “Questo non è più Leonardo, questa è una Gambrinus Halle” (This is Leonardo no more, this is rather a Gambrinus Halle).

1954: the second restoration of Sala delle Asse starts. On October 14th, Costantino Baroni, the director of the civic museums of Sforza Castle, writes “è stato autorizzato il restauratore Ottemi della Rotta ad effettuare sondaggi in

Leonardo da Vinci

Sforza Castle




tutta la superficie della volta affrescata di Sala delle Asse, allo scopo di accertare quanto dell’originaria stesura leonardesca potesse sussistere dietro la generale ridipintura che sul principio di questo secolo fece il pittore Rusca” ( the restaurer Ottemi della Rotta has been appointed for carrying out all the needed probes on the whole vault’s surface of Sala delle Assi, to verify how much of the original painting by Leonardo is still living behind the repainting by Rusca, which was made at the beginning of this century).

1956: the second and last restoration of Sala delle Asse comes to an end. And the paintings by Rusca are nearly completely taken away.

Luca Beltrami




The restoration plan

The restoration project was developed by the Department of Cultural Heritage and Landscape of the Lombardy Region, together with Department of Arts, History, and Ethno-antropology of Milan, the Department of Architecture and urban Heritage of Milan, Opificio delle Pietre Dure of Florence. The main aim is to give back the right “legibility” to the decoration of Sala delle Asse.

The project concerns the preliminary researches and the diagnostics campaign, the intervention on the preparatory drawing on the northern angle of the room, and the implementation of the study project on the paintings marking out the vault and the lunettes.

The initial phase of the restoration project includes archive, historical and artistic research and, above all, a series of enquiries using the most advanced diagnostics techniques.

The main objective of the intervention is to stop the decline causes (caused by environmental and chemical ongoing processes), to clean the surfaces from the dirty layers and eventually to make the decorations legible, while being respectful of the previous restoration interventions.

Being the current situation quite complex, different phases of intervention are foreseen, that, starting from the monochrome, will be planned according to the results of the studies and of the diagnostic analyses.

Thermographic inspection

Scan of the vault




Follow the restoration

Follow the restoration: here are some images and videos describing the intervention steps of the

restoration project, and allowing to better follow the whole process.

February 2017

The laser is proving increasingly useful in the “descialbo” phase: there emerge some signs of

charcoal

Superintendent Marco Ciatti of OPD visits to the site to check the status of the conservation Monochrome

January 2017

Anna Brunetto cleans out with laser from the El.En. Company. The laser is used to remove the layers of plaster searching for the original painting on the walls, and it is used to find Leonardo’s colour on the lunettes.




December 2016

The extraction of salt from the walls of the

vault continues

Directors, restorers and diagnosticians discuss the results of the analysis: the first volume on the restoration of the Sala delle Asse is about to be published




November 2016

The Scientific Committee meets to discuss the latest findings emerged from diagnostics and the cleaning tests

Colleagues of the Musée du Louvre visit the site: Dominique Cordelier (conservateur en chef), Sébastien Allard (directeur du département des peintures)

e Vincent Delieuvin (conservateur de la peinture italienne du XVIe siècle)

The journalist Francesca Bonazzoli interview the Director Claudio Salsi




October 2016

Restorers keep working on the descialbo and the pictorial integrations

After the study of the wall, the laser is used to remove the layers of plaster

September 2016

The restorer Alberto Felici puts the laser for cleaning the lunettes to the test

The Group of Urbanfile Milano on the scaffolding of the Sala delle Asse with the restorers and Francesca

Tasso. On their page (http://blog.urbanfile.org/2016/09/21/milano-

castello-il-leonardo-svelato-piano-piano/), the report of the visit.


http://blog.urbanfile.org/2016/09/21/milano-castello-il-leonardo-svelato-piano-piano/

http://blog.urbanfile.org/2016/09/21/milano-castello-il-leonardo-svelato-piano-piano/



The restorer Alberto Felici removes the painted cards made by Ottemi Della Rotta to hide the traces of the restoration by Ernesto Rusca, which had been left for

documentation sake.

July/August 2016 – On holiday…

June 2016

The restorers observe the lunettes and start to look for the original painting under the intervention of Ernesto Rusca and Ottemi Della Rotta

Antonio Sansonetti of ICVBC-CNR takes a

sample of the salts from the vault for laboratory

testing




May 2016

The scaffolding on all the four walls is completed. Now every cm of the painting can be seen very

closely

Maria Rosa Lanfranchi starts the study on the trees’ trunks while Alberto Felici works on the lunettes

April 2016

The restorer Maria Rosa Lanfranchi intervenes on the nodes and the coat of arms of the vault. We are building the final scaffolding which will occupy all the walls: Sala delle Asse is closed to the public




The journalist Rossella Canevari interviews Francesca Tasso streaming live on periscope

(http://www.rossellacanevari.com/onein3/cms/a-world-first-time-solo-per-gli-utenti-di-periscope:-leonardo-da-

vinci-(la-sala-delle-asse)/)

The RAI journalist Mario Tozzi shoots an episode of “Fuori Luogo” in Sala delle Asse talking with the restorers

March 2016

The first cleaning trails by laser are made on the

north wall lunettes

The construction of the scaffolding which will complete the pilot-project on the vault starts

A video is produced to show the multimedia projection that accompanied and amazed Sala delle Asse visitors during Expo Milano 2015




February 2016

The restoration of the north-east wall goes on: scalpel in hand, the restorers are looking for traces of the

original drawing

Two Leonardo da Vinci scholars exchange views

in front of the monochrome: Pietro C.

Marani and Martin Kemp

Also the Japanese TV wants to take close

filming to Leonardo’s painting

January 2016

The study project of the vault and lunettes goes on. After the salts’ removal phase, the OPD restorers carry out cleaning tests by applying Japanese papers soaked with chelating agents. Once the papers are removed, color is

fixed with synthetic polymers


http://www.saladelleassecastello.it/DEV/gennaio-2016/1_1.JPG






December 2015

The Scientific Committee meets to take stock of the analysis and cleaning trials of the pilot-project on the vault

Absorbing compresses start to be applied in order

to extract soluble salts from the vault

November 2015

Politecnico di Milano has installed an anemometer on top of Falconiera tower, where Sala delle Asse lies: do

the wind’s speed and direction affect the room’s microclimate?

The work on the lunettes is insidious: according to the restorers, it is not easy to intervene on a painting which

has been restored several times in the past. But removing the oldest restorations may generate great

surprises...




October 2015

Giovanni Valotti, president of A2A, visits the site together with his staff The study project of the lunettes goes on and the results start to come out

Antonio Sansonetti of ICVBC-CNR extracts the salts on the vault: they will be sent for laboratory testing

The first trials for cleaning the vault take place




September 2015

The multimedia installation in Sala delle Asse continues to attract many visitors Professor Antonio Paolucci, director of the Vatican

Museums and member of Sala delle Asse Scientific

Committee, visits the work site

The study project of the vault and the lunettes goes on, and the ICVBC-CNR accomplishes the FTIR spectroscopy

Serena Romano, returning from the inauguration of

the exhibition “Giotto, l’Italia” at Palazzo Reale,

climbs into the scaffoldings to admire the restored

Monochrome

August 2015 – On holiday…

July 2015




Maria Teresa Fiorio talks about the stay of Leonardo in Milan and his conception of painting

June 2015

The pilot-project on the vault has started. The restorers work on branches, leaves and blackberries




May 2015

Cecilia Frosinini illustrates the techniques of the transposition of the drawing in mural painting

Cecilia Frosinini illustrates the techniques of the transposition of the

drawing in mural painting

April 2015

Carmen Bambach, conservationist at the Drawings and Prints Department of the Metropolitan Museum of Art, and Vincent Delieuvin, conservationist at the Paintings Department of the Louvre Museum, visit the work site and talk

with the restoration experts




The Sala delle Asse is open. Visitors may admire the restored monochrome and, thanks to the multimedia installation designed by Culturanuova, listen to the history of the room and of the complex restoration intervention,

directly from the restoration experts!

The restored monochrome arouses the interest even of French television: on the scaffolds, the TV crew of France

1

Antonio Sansonetti of ICVBC-National Research Centre describes the trials for extracting soluble salts from the

walls of the Sala delle Asse




March 2015

The cleaning of the monochrome is nearly completed. Restoration experts work at the grouting

The restoration of the Sala delle Asse is described to

the RAI TV crew of BELLITALIA

Worksite photographer Mauro Ranzani documents progress in the work on the Western wall, where a

landscape has been rediscovered

The staff of Politecnico di Milano inspects the

Ponticella di Bramante to complete a study of areas surrounding the Sala delle

Asse

Antonio Sansonetti from ICVBC explains molecular spectroscopy analyses




February 2015

The work of integrating

gaps in painting with plaster begins

A trunk appears on the

eastern wall. The reading is made clearer by working with tablets of solid gel..

..and with a lancet

Another fragment of tree with a large knot appears on the eastern wall, below

the plastered area

But the most impressive

discovery is on the western wall: a landscape emerges

under several layers of plaster

The new discoveries must be presented to the press: a new laser technique for

plaster removal is experimented for the

occasion

On May 18, Council

member Filippo Del Corno with Claudio Salsi, Michela

Palazzo and Cecilia Frosinini presents to the

press the findings emerged

Participants in the press

conference include Giovanni Valotti, president

of A2A..

..and Ettore Pietrabissa,

general director of ARCUS

Restorers Fabrizio Bandini and Paola Ilaria Mariotti

wait for the press conference, with Massimo

Chimenti, president of Culturanuova

This video illustrates for

the reporters a multimedia project created by

Culturanuova to highlight the value of the Sala delle

Asse during EXPO

FAI (national foundation

for the protection of Italian art and landscape)

presents to the press the art history class "Leonardo.

A life"




January 2015

The restoration of the mural painting is strictly

connected to the study of architecture: it is necessary to examine the extrados of

the vault in the room

In the extrados Politecnico di Milano surveys the

architectonic and thermo-hygrometric characteristics of the room beneath Sala

delle Asse

An exceptional guest arrives in the Sala delle

Asse: Italian song-writer Roberto Vecchioni is

welcomed by Claudio Salsi and Francesca Tasso

Roberto Vecchioni will talk about the Sforza dynasty and the Sala delle Asse on Rai Storia, in an episode

dedicated to Italian "Signorie"

Meanwhile, the work of uncovering continues on

the walls

Interview: Antonio Sansonetti (ICVBC-National research Center) explains the microscopic examination of samples taken from the Sala delle Asse




December 2014 – Interview

Interview: Michela Palazzo talked about of the past restoration of Sala delle Asse

December 2014

The scientific committee met on Tuesday, December 16, 2014: scholars commented on the latest results of the restoration

Piero Baglioni, Director of CSGI discussed with the staff of OPD and CNR-

ICVBC on how to pursue the diagnostic

investigations on the monochrome




November 2014 – Interview

Interview: restoration expert Maria Rosa Lanfranchi talks about the difference between fresco-secco painting and true fresco

Interview: Who is Maria Rosa Lanfranchi?

November 2014

Investigations in Hypercolorimetric

Multispectral Imaging by Profilocolore Srl continue to identify the materials used in the monochrome

Restoration expert Pinin Brambilla Barcilon, famous for having restored, among other artworks, Leonardo’s Last Supper, visits the worksite in the Sala delle




October 2014 – Interview

Interview: Claudio Salsi talks about the ‘actors’ in the restoration of the Sala delle Asse

October 2014

A small group of instagramers (IgersMilano) visits the working site: here are some shoots. Photographs by Marco Lamberto

Scholar Jill Pederson from

Arcadia University of Philadelphia observes the

monochrome

The CNR-ICVBC identifies

substances present on certain portions of the

monochrome during the cleaning, using a portable

X fluorescence

Certain enlargements of the painted surface are

studied through the video camera of a digital

microscope placed directly on the wall

Architect Gianfranco

Pertot of Politecnico di Milano visits the working

site and illustrates the architecture of the Sala delle Asse from outside




September 2014 – Interviews

Interview: Restoration expert Alberto Felici talks about the scaffolding in the working site

September 2014

Tests for removing soluble salts from the walls are in

progress

Meeting with the

scaffolding experts: they need to design a way to make the Sala delle Asse accessible during Expo

2015

Filippo del Corno, city

councilman for Culture, visits the working site

The technical committee

meets to discuss the results of preliminary tests for

cleaning the monochrome





July 2014 – Interviews

Interview: Restoration expert Fabrizio Bandini talks about the "descialbo" of mural painting

July 2014

Cleaning tests are performed on the

monochrome

More cleaning tests on the

intrados of the eastern window

The technical committee

meets to discuss the results of the latest analyses on

the monochrome

The Regional Direction of

Lombardy and the Opificio delle Pietre Dure of

Florence report to the Milanese superintendents

about the latest work




June 2014 – Interviews

Interview: Restoration expert Paola Ilaria Mariotti talks about the investigations performed by OPD in 2006 and about the danger of salts to mural painting

June 2014

Larry Keith, Director of

Conservation at the National Gallery of

London, steps on the scaffolds to examine the

vaulted ceiling

A few samples are taken from the monochrome

A moment of reflection on

the results of the restoration

Giorgio Bonsanti, former

superintendent to Opificio delle Pietre Dure, visits the

site




May 2014 – Interviews

Interview: Elisabetta Rosina explains why

infrared thermography has been used in the

restoration

Interview: Elisabetta Rosina explains what is

beneath the monochrome

Interview: Elisabetta Rosina explains what happened during the

restoration of the 1950s

Interview: Elisabetta Rosina talks about the microclimatic factors

operative in the Sala delle Asse

May 2014

The thermographic

analysis continues in different bands on the

monochrome, carried out by Claudia Daffara of the

University of Verona

Claudia Daffara positions the IR lamps and thermal

imaging camera

Marcello Melis of

Profilocolore Srl shows the early results of the

diagnostic studies in Hypercolorimetric

Multispectral Imaging

The staff of Hoc-Lab

editing the video of the interviews with the

restorers




April 2014 – Interview

Interview: Annette Keller - high-definition

multispectral campaigns

Interview: Francesca Tasso explains the decoration in the Sala delle Asse in light of the new discoveries

April 2014

Diagnostic investigations in

Hypercolorimetric Multispectral Imaging

(HMI) by Profilocolore Srl on the monochrome walls

Thanks to the HMI analysis

of Profilocolore Srl it is possible to distinguish and

classify the various substances used in the

artworks

The staff of Culturanuova

srl installs Modus Operandi® software on the computer of the Sala delle Asse, for elaboration of all

the restoration data

April 7, 2014: meeting of the Scientific Committee

for the Sala delle Asse

The Scientific Committee

climbs on the scaffolds for the first time

Annette Keller performs a

new photographic campaign in infrared and

reflexed ultraviolet

Special Wood lamps flood

the surface of the monochrome with

ultraviolet light

The restoration works on the monochrome continue




March 2014

Executive meeting

between the Director of restoration works and CNR-ICVBC (National

Research Council)

CNR-ICVBC draws

superficial samples from the intrados of the east

window

The samples will be

analysed in a laboratory in order to identify the salts

on the surface

The presence of salts is confirmed also on the

surface of the preparatory sketch

Restoration experts

prepare materials that will be used for testing the

extraction of soluble salts

The purpose of absorbing compresses is to extract salts from the surface of

the east window’s intrados

Compresses with different

compositions are placed on position; they will be

removed at different times

Monitoring the saline

content of areas treated with compresses enables

restoration experts to test the effectiveness of the

materials used

Sala delle Asse is present

at the Restoration Salon in Ferrara in 2014

The exhibit booth was created by the General

Director of Valorisation for the Ministry of Cultural

Heritage and Activities and Tourism

The screen of Culturanuova s.r.l. in the booth of Mibact offers a virtual visit to the

Sala delle Asse

OPD describes restoration work in the Sala delle Asse during one of the talks at

the Salon




February 2014

The restoration workshop

is equipped with all the necessary chemicals

And even some domestic

appliances!

The height of the scaffold

will allow investigating the vaulted ceiling and the

lunette

Restoration of the

preparatory sketch begins

Director Claudio Salsi talks

with the restoration experts

Together with the

preparatory sketch, samples of cleaning are

performed on the intradossi (jambs) of the

two large

The School of High

Formation of the Opificio delle Pietre Dure of

Florence visits the site

Paola Ilaria Mariotti, who teaches at the School, is

also one of four restoration experts for the Sala delle

Asse

January 2014

Politecnico di Milano

performs psychrometric measurements in order to

collect data on temperature and relative

humidity

CNR-ICVBC acquires chemical data on the

materials of the preparatory sketch

through Raman Spectroscopy

The Raman spectroscope is moved on to the lunettes

The Raman technique is

performed using different tools




Another non-invasive analysis that employs

infrared light: FTIR Spectroscopy

The scaffold is modified to provide each level with a

hydraulic system

and with lighting, making

it easier to work

The ventilation system is

essential in order to maintain adequate

environmental conditions for the restoration experts

Microstories 2013

At the beginning of October 2013, under layers of plaster, a preparatory drawing trace was found, on the eastern wall of Sala delle Asse. The existence of other similar traces was immediately hypothesized, and the hypothesis

turned out to be true: after the removal of the planks, a small watercolor drawing’s trace emerged on the southern wall, heavily submerged by layers of whitewash. After the removal of these layers a drawing with branches and

pulpy leaves was offered to the restorers’ eyes, quite akin to the vegetable elements of the monochrome.

Removal of the planks in Sala delle Asse, near the window on the eastern wall, has revealed a small drawing. The restorers from the Florentine “Opificio” have removed the whitewash that partially covered this beautiful drawing’s

trace, comparable, for technique, to the so-called monochrome on the same wall, in the north-eastern corner. Actually, we can suppose that it’s a section of trunk, probably drawn with charcoal and overshadowed with marked

horizontal lines.




December 2013 – Interviews

Interview: Francesca Tasso explains how the memory of such a splendid work by Leonardo had been lost for

centuries

December 2013

Claudia Daffara (University

of Verona) performs the thermo graphic inspection with different bands on the

monochrome

The dual band, infrared

scanner and the thermo-camera allows discovering detachments of the paint

layers

CNR completes a field

survey using the fluorescence X rays portable analyzer

The fluorescence X analysis

on the paint layers provides important

information on the utilized materials




November 2013 – Interview

Interview: The council

member Filippo Del Corno talks about the value of

this restoration

Interview: Cecilia Frosinini

talks about the monochrome and the

analysis performed on the monochrome so far

Interview: Cecilia Frosinini talks about the next step

on the monochrome

Interview: Francesca Tasso

talks about the results produced by historical and archival investigation so

far

November 2013

Assembling the permanent

scaffolding

OPD defines the setting of

the scaffolding

The scaffolding will be

assembled on the north and east wall, where the monochrome is located

In parallel to the

monochrome's restoration, the investigation of the

vault will begin

The monochrome about to

be covered by the scaffolding

The assembly of the

scaffolding is completed

Annette Keller,

collaborator of OPD, starts the technical photographic

campaign

The UV fluorescence is

aimed at spotting traces of the binders used in the

original decoration and of the restoration


http://www.saladelleassecastello.it/Interview/assessore/

http://www.saladelleassecastello.it/Interview/frosinini1/

http://www.saladelleassecastello.it/Interview/frosinini2/

http://www.saladelleassecastello.it/Interview/tasso1/



October 2013

The photographer Mauro Ranzani is the author of

the photographic campaign of the ongoing

restoration process

During the cleaning phase, a rather complex situation of some overlapped layers

of plaster can be detected…

While removing the plaster

layers, some traces of monochrome painting are visible on the eastern wall

New drawing’s traces are identified on the southern

wall…

New drawing’s traces on

the western wall

All the traces are observed

by the UV lamp

Preparatory steps in the

conference room at Palazzo Reale

The protagonists of the

press conference

Claudio Salsi talks about Sala delle Asse and the

complex restoration project

Last visit at Sala delle Asse: the room will reopen its doors on the occasion of

2015 EXPO

The council member highlights the role of

Sforza Castle as a focal point for the project about

Leonardo

The superintendent of

Opificio delle Pietre Dure, Marco Ciatti, answers the

journalists




September 2013

The outcomes of the

research will be published on the short run and made

public by October

After summer holidays the restorers of Opificio delle

Pietre Dure of Florence go back to work on the

scaffolding

The equipment of the

restorers come back to Sala delle Asse: smocks, and protection footware

The restorer Fabrizio

Bandini observes the first results after the layers of

plaster have been removed

The restorers Fabrizio

Bandini and Maria Rosa Lanfranchi talk about the

removal of the plaster

The scaffolding needs to be moved to the western wall

The restorers of Opificio

delle Pietre Dure of Florence at work on the

western wall of Sala delle Asse

The Artistic Heritage team

start working at the material to be published

on the website

Ilaria De Palma and Luca

Tosi prepare the launch of the website by Hoc-Lab

The Hoc-Lab Staff works at

the website contents

The Hoc-Lab staff attends a meeting with Francesca

Tasso

Professor Paolo Paolini defines the information

architecture of the website


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July 2013

In July 2013 the equipment

by Centro Conservazione and Restauro La Venaria

Reale are stored

Venaria Reale records

some videos of the vault, gaining a three-

dimensional relief

The multispectrial imaging by Venaria Reale includes

the monochrome

The restoration project can

begin thanks to A2A and Arcus

In July 2013 the moving

scaffolding is assembled. Sala delle Asse is closed to

the public.

The moving scaffolding allow the restorers to

launch the pilot-project on the monochrome

The scaffolding allow the

restorers to reach a 5 meters-high surface

The restorers of Opificio

delle Pietre Dure of Florence start climbing into

the scaffolding

First, the restorers perform some assays by removing

some layers of plaster dating back to the XVIII

century

The restorers perform

some assays by removing some layers of plaster from

the western wall

3 July 2013: meeting of the

scientific committee

The scientific committee

visits Sala delle Asse


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The scientific committee

discusses about the restoration progress

On July, 25th the singer Patti Smith visit Sforza

Castle

In Sala della Asse,

Francesca Tasso illustrates the decoration to Patti

Smith

The keepers Francesca

Tasso and Giovanna Mori together with Patti Smith

Before…

Sala delle Asse looked as

such before the restoration. In the

northern-east angle the monochrome is well

defined

Until 2010 the walls of the

room were covered by a boiserie (wodden panels) dating back to the Fifties’

restoration

In 2006 the diagnostics

surveys start, performer by OPD, in cooperation with

Italia Nostra

The monochrome is

photographed at visible light, ultraviolet light, and

infrared light

Some details of the vault

are photographed at visible light, ultraviolet light, and infrared light

The restoration of the

Fifties has totally removed the painting of the early

1900s

In February 2011 the

removal of the boiserie (wodden panels) starts and

ad hoc supporting structures are assembled

in the room

The removal works keep

going for 2 weeks


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Once the boiserie (wodden panels) being removed, a

door emerges, visible through the reliefs of the

room by Beltrami

The walnut floorboards

were grounded to the wall through little iron blocks

nailed down

The analyses by

Dipartimento di Scienza e Tecnologia dell’Ambiente Costruito (Department of Science and Technologies of the Built Environment)

start

The thermography

highlights Sala delle Asse is built on a complex mural

surface

Some probes are placed to

constantly control the temperature and the

humidity degree within the environment

In February 2012

Haltadefinizione® performs a high-quality definition

photographic campaign of the room

The photographic

campaign Haltadefinizione® allows

the high-quality definition relief of all surfac

Haltadefinizione® performs

the relief of the monochrome drawing through the UV light

reflected


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Telling the restoration

Why stories?

Digital storytelling is a modern and efficient way to talk about cultural heritage. The spread of the media (images, video, audio…) and the diffusion of mobile devices (tablets, smart-phones, players of any kind) has made the multimedia stories the most natural way to talk about culture, both at specific and general level. A “classic” web page is generally either read very quickly or printed (for a later use); a multimedia story, if properly made, is likely to keep the attention of the users for some minutes, in different contexts: in front of a PC, while sitting in a café using the tablet, while walking in the city, or while visiting a cultural good.. The user decides where and how to use the story and on which device. HOC-LAB (Politecnico di Milano) has developed 1001stories, a very innovative environment for the creation of multimedia stories. The stories about Sala delle Asse can be accessed through several devices and in various ways. They can be downloaded or used on-line, while visiting Sforza Castle

Sala delle Asse: towards a new restoration

Sala delle Asse: ancient events




The stories

The multimedia stories offer a synthesis and an in-depth analysis of the most relevant themes. They are based on interviews to experts and restoration’s key players.

Sala delle Asse: towards

a new restoration

Ancient events

Modern events

The decoration

The archive talks

Intervention techniques

Diagnostics technique

Restoring in the third

century




Bibliography

Brief reference list on Sala delle Asse.

Carlo Catturini, Dopo Leonardo: la Sala delle Asse al tempo di Francesco II Sforza e Cristina di Danimarca,

«Rassegna di Studi e di Notizie», XXXVIII, 2016, pp. 15-30.

Michela Palazzo, Il disegno preparatorio della pittura murale della Sala delle Asse. Alcune note sul

suo rinvenimento a fine Ottocento, «Rassegna di Studi e di Notizie», XXXVII, 2014-2015, pp. 13-32.

Silvia Paoli, La Sala delle Asse. Fotografia e memoria fra le trame di un archivio, «Rassegna di Studi

e di Notizie», XXXVI, 2013, pp. 207-224.

Carlo Catturini, La Sala delle Asse di Luca Beltrami: alcune novità documentarie sull’attività di

Ernesto Rusca decoratore e restauratore, con qualche nota sull’allestimento di questo ambiente

nella prima metà del Novecento, «Rassegna di Studi e di Notizie», XXXVI, 2013, pp. 63-76

Carlo Catturini, Leonardo da Vinci nel Castello Sforzesco di Milano: una citazione di Luca Pacioli per

la “Sala delle Asse” ovvero la “camera dei moroni”, «Prospettiva», 147-148, luglio-ottobre 2012,

pp. 159-166.

Alessandro Ballarin, Leonardo a Milano. Problemi di leonardismo milanese tra Quattrocento e

Cinquecento. Giovanni Antonio Boltraffio prima della Pala Casio, 4 voll., Verona 2010

Maria Teresa Fiorio, Anna Lucchini, Nella Sala delle Asse sulle tracce di Leonardo, «Raccolta

Vinciana», fasc. XXXII, 2007, pp. 101-140

Patrizia Costa, The Sala delle Asse in the Sforza Castle in Milan, tesi Ph.D. Pittsburgh University,

Pittsburgh 2006

d-scholarship.pitt.edu/6590

Maria Teresa Fiorio, “Infra le fessure delle pietre”: la Sala delle Asse al Castello Sforzesco, in Il

codice di Leonardo da Vinci nel Castello Sforzesco, a cura di P. C. Marani, G. Piazza, Milano 2006,

pp. 21-29

Maria Teresa Fiorio, “Tutto mi piace”: Leonardo e il castello, in Il Castello Sforzesco di Milano, a

cura di M. T. Fiorio, Milano 2005, pp. 163-190

Marco Albertario, Documenti per la decorazione del Castello di Milano nell’età di Galeazzo Maria

Sforza (1466-1476), «Solchi», VII, n. 1-2, settembre 2003, pp. 19-61

Patrizia Costa, La Sala delle Asse di Luca Beltrami, «Archivio Storico Lombardo», vol. VII, 2001, pp.

195-217


http://d-scholarship.pitt.edu/6590/



Edoardo Villata (a cura di), Leonardo da Vinci. I documenti e le testimonianze contemporanee,

Milano 1999

bibdig.museogalileo.it/Teca/Viewer?an=000000970077

Pietro C. Marani, Leonardo. Una carriera di pittore, Milano 1999

Luisa Giordano (a cura di), Ludovicus Dux, Vigevano 1995

Pietro C. Marani, Leonardo e le colonne “ad tronchonos”: tracce di un programma iconologico per

Ludovico il Moro, «Raccolta Vinciana», fasc. XXI, 1982, pp. 103-120


Marco Rosci, La Sala delle Asse, in Leonardo. La pittura, Firenze 1977, pp. 115-125 (ed. cons.

Firenze 1997)

Anna Maria Brizio, Leonardo pittore, in Leonardo, a cura di L. Reti , Milano 1974, pp. 20-55

Edouard Monod Herzen, Leonard de Vinci. Le problème de la Sala delle Asse à Milan, «Revue

d’Estétique», aprile-giugno 1962, pp. 113-137

Joseph Gantner, Les fragments récemment découverts d’une fresque de Léonard de Vinci au

Chateau de Milan, «Gazette des beaux-arts», gennaio 1959, pp. 27-34

Costantino Baroni, Tracce pittoriche leonardesche recuperate al Castello Sforzesco di Milano,

«Istituto Lombardo di Scienze e Lettere. Rendiconti», vol. LXXXVIII, fascc. I-II, 1955, pp. 21-32

Luca Beltrami, Documenti e memorie riguardanti la vita di Leonardo da Vinci. In ordine

cronologico, Milano 1919


Luca Beltrami, Leonardo da Vinci e la Sala delle “Asse” nel Castello di Milano, Milano 1902

Luca Beltrami, Il Castello di Milano (Castrum Portae Jovis) sotto il dominio dei Visconti e degli

Sforza. MCCCLVIII-MDXXXV, Milano 1894

Luca Beltrami, Il Castello di Milano sotto il dominio degli Sforza, MCCCCL-MDXXXV, Milano 1885


http://bibdig.museogalileo.it/Teca/Viewer?an=000000970077





Actors

Municipality of Milan – Culture Office

Through the mayor, the Assessorato alla Cultura and its museums, the Municipality of Milan is the principal commissioner of the restoration of the Sala delle Asse. The purpose of the project is not only the restoration of the artwork, but also to carry out a detailed study with the aim of identifying the different stages and determining what remains of Leonardo’s original work.

The restoration project is part of the “Patto per Milano”,

an agreement between the Municipality of Milan and the

Ministry of Cultural Heritage and Tourism, and is also one

of the initiatives to be undertaken as preparation for the

EXPO 2015 event, which will feature Leonardo as its

leading symbol.

www.comune.milano.it

Palazzo Marino - Milan


http://www.comune.milano.it/



The Italian Ministry of Cultural Heritage and Tourism

The Italian Ministry of Cultural Heritage and Tourism will play an important role in the restoration of the Sala delle Asse. Involved in the project by the Municipality of Milan since the start, it has provided funds to start the restoration work on the basis of the preliminary project carried out by the Direzione Regionale per i Beni Culturali e Paesaggistici della Lombardia and the Soprintendenza per i Beni Architettonici e per il Paesaggio di Milano.

The Ministry – represented by the Direzione Regionale, the Soprintendenza per i Beni Architettonici, the Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici di Milano, and the Opificio delle Pietre Dure of Florence – has also defined the project relating to Leonardo’s preparatory “Monochrome” design on the walls (currently the most deteriorated part) and established study facilities for analysis of the paintings on the ceiling and in the lunettes.

The involvement of the Ministry has enabled a scientific approach to be taken to the works, including a complex series of preliminary scientific investigations as part of a diagnostics project implemented in cooperation with the Politecnico di Milano, the CNR-ICVBC, and the Imaging Department of the Centro Conservazione e Restauro La Venaria Reale. The diagnostics project is gradually revealing the state of the paintings, the causes of their deterioration and the actions required to halt the damage, and identification of the procedures to follow.

www.beniculturali.it

Sforza Castle - Parco Sempione


http://www.beniculturali.it/mibac/export/MiBAC

http://www.beniculturali.it/mibac/export/MiBAC



Opificio delle Pietre Dure

The Opificio delle Pietre Dure of Florence provides vital consultancy work on the execution of the preliminary diagnostic and investigative procedures, and the finalisation of the plan for restoration of the mural paintings by Leonardo da Vinci in the Sala delle Asse.

The Opificio delle Pietre Dure was established as a national institution in 1975, when it combined two organisations that had long been active in the production and conservation of art in Florence: the long-established and renowned Opificio, founded in 1588 as a court manufactory and then turned into a restoration centre at the end of nineteenth century, and the Laboratorio di Restauro, which was created as part of the Soprintendenza in 1932, and later transferred to the new offices in Fortezza da Basso following the floods in Florence in 1966, where it has since greatly grown.

At present, Opificio is one of the main institutions in the Ministry of Cultural Heritage and Tourism. It operates in three main fields: conservation, through 11 specialist offices and their approximately 60 restorers; research, both theoretical and applied to specific restoration cases, organised around the scientific laboratory; education, through the Scuola di Alta Formazione and several internship programmes run in cooperation with similar institutions in Italy and abroad.

www.opificiodellepietredure.it

Ultraviolet fluorescence




A2A

In cooperation with the Municipality of Milan and the Ministry of Cultural Heritage and Tourism, A2A offers support to the Sala delle Asse restoration project at Sforza Castle in Milan through generous funding that will take the work to its completion.

A2A is a multi-utility organisation in Lombardy that operates at the highest levels in all the sectors it works in (energy, networks, heating, environment). A2A plays an active role in the territories in which it operates, supporting different kind of projects and activities, ranging from culture to the arts, environmental issues and sports.

A2A decided to contribute to the restoration works of the Sala delle Asse due to the great value that Leonardo’s Monochrome represents, not just to the city of Milan and region of Lombardy, but to the world, especially in view of Expo 2015.

Sforza Castle has frequently been the focus of A2A’s attention, which it considers a major asset to the Lombardy region. During the 1980s the company AEM – one of the parent companies, with ASM, of A2A – funded the restoration of some 300 objects from the Romanesque period in Lombardy, which had been packed away in various storerooms. Another project A2A has been involved in are the many improvements made to the external lighting of Sforza Castle, which have combined aesthetic appearance with respect for the monument’s history, and the night-time safety of the city’s inhabitants and visitors.

www.a2a.eu

Sforza Castle


http://www.a2a.eu/it/



ARCUS

ARCUS S.p.A. is a company involved in art, culture, and show business and was founded in 2004 by the Ministry of Cultural Heritage and Tourism. It is another important contributor to the restoration works of the Sala delle Asse.

Arcus’s stated mission is to support and launch projects related to cultural heritage and activities, taking into consideration their connection with infrastructures. Its ultimate goal is to transform the cultural heritage from being considered something passive, “to be looked at”, into something active, a tool for development.

Providing support to projects means identifying interesting and innovative initiatives in the Italian cultural landscape, assisting in the planning stages, offering organisational and technical support, participating with funding where appropriate or necessary, tracking project progress, and doing what it can to ensure a successful outcome.

Arcus also takes an active role in searching out potential stakeholders and has the aim of coordinating all those activities required to promote and support a project, and to identify and attract further funding for initiatives whose objective is to improve cultural assets and activities within a framework of conservation, appreciation and development.

www.arcusonline.org

Restorers at work




Institutional and scientific partner

Annette T. Keller – Art-imaging

Centro Conservazione e Restauro La Venaria Reale

CNR – Institute for the Conservation and Valorization of Cultural Heritage

Culturanuova s.r.l.

Hal 9000 s.r.l. – Haltadefinizione®

Mauro Ranzani

Opificio delle Pietre Dure – Scientific laboratory

Politecnico di Milano

Hoc Lab CBC – Cultural Heritage Centre

Profilocolore s.r.l.

Università di Verona – Dipartimento di Fisica applicata


http://artimaging.de/

http://www.centrorestaurovenaria.it/en/

http://nuovo.icvbc.cnr.it/EN/

http://nuovo.icvbc.cnr.it/EN/

http://www.culturanuova.it/

http://www.haltadefinizione.com/it/

http://mauroranzani.com/

http://www.opificiodellepietredure.it/index.php?it/156/laboratorio-scientifico

http://hoc.elet.polimi.it/

http://www.centrobeniculturali.polimi.it/index.php?page=home&change_language=EN

http://www.profilocolore.com/



On the Job

Restoration credits

Contracting authorities Municipality of Milan – Culture Management

Council member: Filippo Del Corno

Director: Giulia Amato

Director of the Soprintendenza Castello, Musei Archeologici e Musei Storici: Claudio A. M. Salsi

- Administrative office: Renato Rossetti, Piera Briani - Curator of Sforza Castle Art Archives: Francesca Tasso

Director of the Settore Valorizzazione Patrimonio Artistico e Sviluppo Servizi and Responsabile Unico del Procedimento: Laura Galimberti

- Assistant to the Responsabile Unico del Procedimento – Settore Soprintendenza Castello: Giorgio Sebastiano Di Mauro

Restoration Project

Direzione Regionale per i Beni Culturali e Paesaggistici della Lombardia Michela Palazzo, Restorer and Curator

Opificio delle Pietre Dure di Florence Marco Ciatti, Superintendent Cecilia Frosinini, Art Historian – Director of the Department of the Restoration of Mural Paintings

Soprintendenza per i Beni Architettonici e Paesaggistici di Milano Alberto Artioli, Superintendent

Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici di Milano Sandrina Bandera, Superintendent

Soprintendenza Castello, Musei Archeologici e Musei Storici del Comune di Milano Claudio A.M. Salsi, Director

Direction of the restoration works Direzione Regionale per i Beni Culturali e Paesaggistici della Lombardia

Michela Palazzo, Restorer and Curator




Executor of the restoration works Direction of the restoration works: Cecilia Frosinini, Art Historian – Director of the

Department of the Restoration of Mural Paintings Restorers: Fabrizio Bandini, Alberto Felici, Maria Rosa Lanfranchi, Paola Ilaria Mariotti

Operation management

Opificio delle Pietre Dure di Florence – Restoration Department of the Restoration of Mural Paintings Fabrizio Bandini, Technical Director

Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici di Milano Andrea Carini, Restorer

Soprintendenza per i Beni Architettonici e Paesaggistici di Milano Gianpiero Bonnet, Technology Officer

Sponsor A2A Spa Arcus Spa




Scientific commitee

Claudio A. M. Salsi, Director of the Settore Soprintendenza Castello, Musei Archeologici e Musei Storici (chairman)

Francesca Tasso, Director of the Art Archives – Curator of the Museums of the Applied Arts and Musical Instruments of Sforza Castle (vice-president of the scientific committee)

Michela Palazzo, Restorer at the Direzione Regionale per i Beni Culturali e Paesaggistici della Lombardia (works supervisor of the restoration)

Giovanni Agosti, Professor of Modern Art History at the Università degli Studi di Milano Ermanno Arslan, Academician at the Accademia dei Lincei, and member of the Board of

Directors of Italia Nostra Milano Alberto Artioli, Soprintendente per i Beni Architettonici e Paesaggistici di Milano Sandrina Bandera, Soprintendente per i Beni Storici, Artistici ed Etnoantropologici di Milano Fabrizio Bandini, Technical Director of the Department of the Restoration of Mural Paintings at

Opificio delle Pietre Dure di Firenze Caterina Bon Valsassina, Regional Director of the Beni Culturali e Paesaggistici della Lombardia Marco Ciatti, Superintendent of Opificio delle Pietre Dure di Firenze Luisa Cogliati Arano, Member of the managing Board of Ente Raccolta Vinciana of Milano Alberto Felici, Curator in the Department for the Restoration of Mural Paintings at Opificio delle

Pietre Dure di Firenze Maria Teresa Fiorio, Vice-president of Ente Raccolta Vinciana of Milan, Professor of Museum

Studies at the Università degli Studi di Milano Cecilia Frosinini, Art Historian– Director of the Department of the Restoration of Mural

Paintings at Opificio delle Pietre Dure di Firenze Larry Keith, Director of Conservation, National Gallery of London Pietro Marani, President of Ente Raccolta Vinciana, Professor of Modern Art History at the

Politecnico di Milano Antonio Paolucci, Director of the Vatican Museums Francesca Rossi, Responsible of Drawing Collection of Sforza Castle – Curator Alessandro Rovetta, Professor of Modern Art History at the Università Cattolica del Sacro Cuore di Milano Luke Syson, Curator in Charge of the Department of European Sculpture and Decorative Arts at

the Metropolitan Museum of Art of New York




At work

Claudio Antonio Marco Salsi: president of the scientific committee for the restoration

Director of the Department for the Superintendence of the Castle, Archeological Museums, and Historical Museums

Claudio Antonio Marco Salsi holds a historical and artistic education. He is specialized in History of ancient and modern engraving arts. He is the author of several publications on graphics, applied arts, iconography, and museography. Since 2007 he has taught at Università Cattolica di Milano for the course of “History of design, incision and graphics”. He has made possible the refitting of the collections of Sforza Castle, besides the salvage of the furniture of Palazzo Reale in Milan. He is partner of Ente Raccolta Vinciana, memebr of the board of directors of ANMLI Associazione Nazionale Musei Locali e Istituzionali (National Association of Local and Institutional Museums). He is also member of the board of directors of ICOM Italia for the 3-year period 2013-2015.

Francesca Tasso: vice-president of the scientific committee for the restoration

Keeper Responsible for Artistic Archives –– Applied Arts and Musical Instruments of the Castle

Graduated in Letters, she is specialized in history of art and minor arts. She has obtained a PhD in Turin, with a thesis on the sculpture in the late gothic art in Milan at the age of Gian Galeazzo Visconti (1380-1402). Since 2000 she has been responsible for the artistic archives –– Applied Arts and Musical Instruments of the Castle. Since 2009 she has coordinated the Archives at Sforza Castle.

She has taught History of medieval art, and History of modern art. Her studies namely concern the late Gothic sculpture, and the museum collection in the city of Milan.

Michela Palazzo: director for the restoration works




Official Restorer and Keeper for the Regional Department for Architectural and Landscape Heritage Heritage of Lombardy

Graduated at Istituto Superiore per la Conservazione e il Restauro of Rome (Conservation and Restoration High School), she holds a degree and a specialization degree in History of Medieval and Modern Art. Since 1991 she works for the Department for the Ministry of Cultural Heritage and Tourism. She has performed several restoration interventions in very important sites such as the ruins of Pompeii, the Roman Forum, Paestum and the grave of Tuffatore, Palazzo Te in Mantua, San Zeno in Verona, the cloister of Duomo of Cefalù, il Quirinale in Rome, Sala delle Cariatidi at Palazzo Reale in Milano, the late medieval plasters at Basilica di Santa Maria Maggiore in Lomello, among other interventions on moving works of art.

Cecilia Frosinini: Director of the works at Sala delle Asse - Opificio delle Pietre Dure

Official and Art Historian – Director for the Restoration Department of the Mural Painting of Opificio delle Pietre Dure of Florence

Graduated in Letters, she has obtained a specialization in History of Art at the University of Florence. Since 1990, she has worked as an official and art historian at Opificio delle Pietre Dure. Since 2008, she has been Director for the Restoration Department of the Mural Painting. Among her works are: the cycle of frescos of Leggenda della Croce by Agnolo Gaddi, at Cappella Maggiore di Santa Croce of Firenze; the cycle of Stigmate Bardi by Giotto and of Assunzione by Maestro of Figline, always in Santa Croce. She has coordinated the research and diagnostics works of Cappelle Bardi and Peruzzi by Giotto, funded by Getty Foundation. At present, she is instructor in Diagnostics at University of Florence, at of History of Art Specialization School. She has obtained a fellowship and a professorship at CASVA Washington DC, in 2012 and 2013.

Paola Ilaria Mariotti: restorer




Official Restorer and Keeper for the Department of Restoration of mural Paintings at Opificio delle Pietre Dure (Plant of hard stones) of Florence

Since 2001 she has worked as a restorer at Opificio delle Pietre Dure. She also teaches at Scuola di Alta Formazione (Higher Education School) and cooperates for study projects, diagnostics projects, experimental works, aimed at the restoration of mural paintings. Among her restoration works are: the cylce of Sale dei Pianeti, realized by Pietro da Cortona at Palazzo Pitti in Firenze, the cylce of Giotto in Cappella della Maddalena at Museo Nazionale del Bargello in Firenze, Cappella Maggiore painted by Agnolo Gaddi in Santa Croce in Florence, Stimmate di San Francesco realized by Giotto above the entrance arch of Cappella Bardi in Santa Croce in Florence, and the paintings by Masaccio and Masolino at Cappella Brancacci in Florence.

Alberto Felici: restorer

Official Restorer and Keeper for the Department of Restoration of mural paintings at Opificio delle Pietre Dure (Plant of hard stones) of Florence

Since 2001 he has worked as a restorer at Opificio delle Pietre Dure, and he also performs some teching activities both on the intervention techniques, and the decline of the mural paintings at the school of Opificio. He was in charge for the restauration of the mural paintings by Niccolò dell’Abate in Scandiano, Cappella della Maddalena by Giotto in Bargello, the plasters of Capilla des animes of Santiago de Compostela, Sale di Giove, Saturno and Marte at Palazzo Pitti, the frescos by Pordenone in Duomo di Cremona, besides the frescos by Giulio Romano in Palazzo Ducale in Mantua. At present, he is working at the restoration of Cappella Maggiore by Agnolo Gaddi in Santa Croce, besides the mural paintings of Chiostro Verde of Santa Maria Novella by Paolo Uccello.

Fabrizio Bandini: restorer

Technical Manager for the Branch of the Restoration of




Talk with us

mural paintings at Opificio delle Pietre Dure di Firenze

Graduated at Magistero d’Arte, he has been a restorer since 1983, at Opificio delle Pietre Dure of Florence. Among his restoration works are: the plasters by Donatello in the Sagrestia Vecchia of San Lorenzo in Florence, the mural paintings by Benozzo Gozzoli in the Cappella dei Magi at Palazzo Medici Riccardi in Florence, the frescos Storie della Vera Croce by Piero della Francesca in the Church of San Francesco in Arezzo, the mural decorations and plasters by Pietro da Cortona in Sale dei Pianeti at Palazzo Pitti in Florence, and Trinità painted by Masaccio in the cathedral of Santa Maria Novella in Florence.

Maria Rosa Lanfranchi: restorer

Official Restorer and Director for the Branch of Restoration of mural paintings at Opificio delle Pietre Dure (Plant of hard stones) of Florence

Since 1992 she has worked as a restorer at Opificio delle Pietre Dure of Florence, where she also teaches implementation techniques, decline and intervention methodologies of mural paintings and plasters at Scuola di Alta Formazione (Higher Education School). Among her works are: the cycle of Storie della Vera Croce painted by Piero della Francesca in Arezzo; Storie di Diana e Atteone by Parmigianino in the fortress of Fontanellato; Trinità painted by Masaccio in the church of S. Maria Novella in Florence; the lunettes of Sala del Paradiso by Niccolò dell’Abate in Scandiano; the decoration of Cappella della Maddalena by Giotto at Bargello in Florence; the plasters and the paintings in the rooms di Giove e Saturno at Palazzo Pitti in Florence; Stimmate di san Francesco by Giotto in the church of Santa Croce. She is currently working at the restoration of Storie della Vera Croce by Agnolo Gaddi, at Cappella Maggiore di Santa Croce.




Map

How to reach Sforza Castle: Underground: MM1 Cadorna, Cairoli - MM2 Cadorna, Lanza Buses: 18,50,37,58,61,94 Trams: 1,2,4,12,14,19




Visits

Sala delle Asse (room VIII of Museo d’Arte Antica) was reopened to the public Tuesday, April 28. During the hole duration of ExpoinCittà a multimedia narrative will animate and illustrate the room and the story of its restoration. Opening hours: Tuesday through Sunday 9.00 a.m.– 7.30 p.m. (admission until 7 p.m.) Ticket office: tel. 02/88463703 Close on Mondays (holidays included) Closed on: December 25, January 1, May 1, Easter Monday. Sforza Castle: Opening hours: open daily 7.00 a.m. – 6.00 p.m. (standard time) | 7.00 a.m. – 7.30 p.m. (daylight saving) Thursday until 22.30 Free admission (except for castle museums)




Contacts and Press

Press kit

For Press kit or further information requests:

[email protected]

[email protected]

Press Kit on 23.10.2013

Press Kit on 18.02.2015

Press Review Press Review on 23.10.2013 Video Download from the Homepage of the website of Comune di Milano (23.10.2013) www.youtube.com/embed/HYL8bfJMUaE www.youtube.com/watch?v=PUGIun-eXpo#t=36

Sforza Castle


http://www.saladelleassecastello.it/wp-content/uploads/2013/11/Cartella-stampa-23.10.13.zip

http://www.youtube.com/embed/HYL8bfJMUaE

http://www.youtube.com/watch?v=PUGIun-eXpo#t=36



Credits

The website has been developed by HOC-LAB of Department of Electronics, Information and Bioengineering of Politecnico di Milano (hoc.elet.polimi.it), in cooperation with Sforza Castle.

Politecnico di Milano Coordination: Paolo Paolini Editorial staff: Nicoletta Di Blas, Elena Maccari, Diletta Apollonio Implementation: Andrea Coledan, Diego Peruselli, Matteo Garza, Francesco Clasadonte

Sforza Castle Coordination: Francesca Tasso Gathering, elaboration and archiving of documents: Ilaria De Palma Image credits Archivio Storico Civico e Biblioteca Trivulziana – copyright

Comune di Milano – all rights reserved Civico Archivio Fotografico di Milano – copyright Comune di

Milano – all rights reserved Fondazione Centro Conservazione e Restauro “La Venaria

Reale” – Laboratory Imaging: Elena Biondi, Alessandro Bovero, Paolo Triolo with the collaboration of 3D Target srl, Brescia

Opificio delle Pietre Dure of Florence: Alfredo Aldrovandi, Annette T. Keller

Politecnico di Milano, Laboratorio sperimentale ABC: Elke Di Flumeri

Raccolta delle Stampe “Achille Bertarelli” – copyright Comune di Milano – all rights reserved

Diego Peruselli Mauro Ranzani Saporetti Immagini d’Arte Luca Tosi Wikimedia Commons Wikipedia


http://saladelleasse.polimi.it/wp-content/uploads/2013/09/Logo-Castello.jpg

Sala delle Asse. The restoration · 2017-04-03 · May 2016 The scaffolding on all the four walls...

Documents

Transcript of Sala delle Asse. The restoration · 2017-04-03 · May 2016 The scaffolding on all the four walls...