News & Stories

In the Basilica di Santa Maria Gloriosa dei Frari, scaffolding has now been put into place over the high altar, allowing conservators to begin their work to restore Titian’s Assumption of the Virgin and the monumental Istrian stone altar that frames Venice’s most iconic masterpiece. A full-scale reproduction of the painting and altar covers the front of the scaffolding, allowing worshipers and visitors to continue to experience the visual impact of the painting while work is underway.

A team of conservators from the Arlango Restauro e Conservazione firm are now performing test cleaning trials and scientific analysis on the colossal stone altar and frame that surrounds the painting. A thick dark layer of grime from candle smoke, dust, and salts now obscures the natural white color of the Istrian stone and polychrome details and the extensive lavish gilded details have dulled.

Modeled on a triumphal arch and attributed to Giambattista and Lorenzo Bregno, most likely with Titian’s oversight, it is a richly decorated structure complete with Franciscan emblems, a frieze of gilded cherubs and garlands, and is crowned with three over-life sized sculptures of the Resurrected Christ and the Franciscan saints Francis and Anthony. Winged victories in the spandrels were painted in oil directly onto the stone by Titian himself.

The next step in the process will be to carefully move Titian’s painting back into the space behind the altar, where conservator Giulio Bono and his team will begin their work to restore the painting while the conservation of the altar is underway.

We are deeply grateful to have received the support of Beatrice de Santo Domingo and The Jasmine Charity Trust in honor of Regina Jaglom Wachter to enable the treatment of this iconic artwork.