A little-known fresco by the early Renaissance painter Beato Angelico has been restored at the Convent of San Domenico in Fiesole, just northeast of Florence, Italy. The Crucifixion—painted in the first half of the 15th century—is now visible once more after a meticulous conservation effort addressing centuries of damage, concealment, and deterioration.
Located in the Chapter Room of the Dominican convent, the fresco depicts Christ crucified on a stark, dark background, framed by vegetal motifs and inscriptions in Greek, Latin, and Hebrew. Though once hidden behind a layer of whitewash, the work has drawn increasing attention in recent years as an early and spiritually resonant piece by Beato Angelico.
Beato Angelico’s Crucifixion – Before And After Restoration – photo courtesy Friends of Florence
The restoration revealed several remarkable details about the fresco’s original technique. Analysis showed that the painting was completed over nine daily sessions, and that gilding was applied to features such as the halo using a shell gold method. While the deep blue background might suggest the use of azurite, investigators found no trace of it—indicating that the artist likely intended a simpler palette. Evidence of red chalk and spolvero (a transfer technique using perforated drawings) further confirmed the artist’s planning process.
The fresco’s condition had severely worsened over time. Christ’s face in particular had lost much of its painted surface due to a rough descialbo (the removal of whitewash) conducted in an earlier century. The entire work bore the marks of this process, with visible hammering used to strip the lime coating. Dust, soot, moisture stains, cracks, and missing sections of plaster also contributed to the fresco’s compromised state.
Conservators focused on stabilising the plaster, cleaning the surface, recovering lost colour where appropriate, and filling in lacunae. Retouching work was done with restraint to maintain the integrity of the original composition while restoring its legibility.
Some of the damage to the fresco that had to be restored – photo courtesy Friends of Florence
The fresco is located in an area of the convent that was once closed to the public, which contributed to its obscurity for much of the modern era. Historical records suggest it was whitewashed in 1566 and rediscovered in 1880 by a Dominican friar. Since then, it underwent limited restoration in the 19th and 20th centuries, but had not seen significant conservation until now.
The Convent of San Domenico, perched on the hills between Fiesole and Florence, was a centre of Dominican life and learning in the Renaissance. Beato Angelico himself took his vows here, and many of his early works were created within its walls.
Photo courtesy Friends of Florence
Beato Angelico (c. 1395–1455), born Guido di Pietro, is known for his luminous, deeply devotional frescoes and altarpieces. A Dominican friar as well as a painter, he was beatified in 1982. His works—found in Florence, Rome, and the Vatican—combine the spiritual clarity of medieval iconography with the emerging techniques of Renaissance perspective and naturalism.
The restoration was carried out by Cristiana Conti and Alessandra Popple of the firm S.A.R. snc, under the supervision of the Soprintendenza Archeologia, Belle Arti e Paesaggio for the metropolitan area of Florence and the provinces of Pistoia and Prato. Scientific analysis was provided by Dr. Marcello Spampinato. The project was made possible through the support of Friends of Florence, with funding from Gerhard De Geer and the Belacqua group, which includes Camilla Alderighi, Raffaele Rasoini, and Steven Woloshin.
Those involved in restoration at the Convent of San Domenico in Fiesole
Reflecting on the significance of the work, Simonetta Brandolini d’Adda, President of Friends of Florence, remarked:
“Standing before the fresco, within the convent’s Chapter Room, one feels the serenity and spirituality the work conveys—it is a truly moving experience. We thank the Fathers who opened the doors of the Convent of San Domenico, allowing us to work there, and the officials from the Soprintendenza ABAP who carefully oversaw the restoration, as well as the generous donor Gerhard De Geer and the insightful doctors of the Belacqua group.”
A little-known fresco by the early Renaissance painter Beato Angelico has been restored at the Convent of San Domenico in Fiesole, just northeast of Florence, Italy. The Crucifixion—painted in the first half of the 15th century—is now visible once more after a meticulous conservation effort addressing centuries of damage, concealment, and deterioration.
Located in the Chapter Room of the Dominican convent, the fresco depicts Christ crucified on a stark, dark background, framed by vegetal motifs and inscriptions in Greek, Latin, and Hebrew. Though once hidden behind a layer of whitewash, the work has drawn increasing attention in recent years as an early and spiritually resonant piece by Beato Angelico.
The restoration revealed several remarkable details about the fresco’s original technique. Analysis showed that the painting was completed over nine daily sessions, and that gilding was applied to features such as the halo using a shell gold method. While the deep blue background might suggest the use of azurite, investigators found no trace of it—indicating that the artist likely intended a simpler palette. Evidence of red chalk and spolvero (a transfer technique using perforated drawings) further confirmed the artist’s planning process.
The fresco’s condition had severely worsened over time. Christ’s face in particular had lost much of its painted surface due to a rough descialbo (the removal of whitewash) conducted in an earlier century. The entire work bore the marks of this process, with visible hammering used to strip the lime coating. Dust, soot, moisture stains, cracks, and missing sections of plaster also contributed to the fresco’s compromised state.
Conservators focused on stabilising the plaster, cleaning the surface, recovering lost colour where appropriate, and filling in lacunae. Retouching work was done with restraint to maintain the integrity of the original composition while restoring its legibility.
The fresco is located in an area of the convent that was once closed to the public, which contributed to its obscurity for much of the modern era. Historical records suggest it was whitewashed in 1566 and rediscovered in 1880 by a Dominican friar. Since then, it underwent limited restoration in the 19th and 20th centuries, but had not seen significant conservation until now.
The Convent of San Domenico, perched on the hills between Fiesole and Florence, was a centre of Dominican life and learning in the Renaissance. Beato Angelico himself took his vows here, and many of his early works were created within its walls.
Beato Angelico (c. 1395–1455), born Guido di Pietro, is known for his luminous, deeply devotional frescoes and altarpieces. A Dominican friar as well as a painter, he was beatified in 1982. His works—found in Florence, Rome, and the Vatican—combine the spiritual clarity of medieval iconography with the emerging techniques of Renaissance perspective and naturalism.
The restoration was carried out by Cristiana Conti and Alessandra Popple of the firm S.A.R. snc, under the supervision of the Soprintendenza Archeologia, Belle Arti e Paesaggio for the metropolitan area of Florence and the provinces of Pistoia and Prato. Scientific analysis was provided by Dr. Marcello Spampinato. The project was made possible through the support of Friends of Florence, with funding from Gerhard De Geer and the Belacqua group, which includes Camilla Alderighi, Raffaele Rasoini, and Steven Woloshin.
Reflecting on the significance of the work, Simonetta Brandolini d’Adda, President of Friends of Florence, remarked:
“Standing before the fresco, within the convent’s Chapter Room, one feels the serenity and spirituality the work conveys—it is a truly moving experience. We thank the Fathers who opened the doors of the Convent of San Domenico, allowing us to work there, and the officials from the Soprintendenza ABAP who carefully oversaw the restoration, as well as the generous donor Gerhard De Geer and the insightful doctors of the Belacqua group.”
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