VENICE.- Save Venice announced that the conservation of Giovanni Bellini's Madonna and Child with Saints (Frari Triptych) and its richly carved and gilded frame is now underway at the Basilica di Santa Maria Gloriosa dei Frari, thanks to the generous support of Merrill Shields and Dr. M. Ray Thomasson. Experienced conservators Giulio Bono and Roberto Saccuman have completed the delicate process of disassembling and moving the 15th-century altarpiece from the sacristy into a temporary restoration laboratory in another part of the church.

Artdaily Recommended · Paid Link

Giovanni Bellini: The Art of Contemplation

By Johannes Grave

Explore Giovanni Bellini’s art through Venetian painting, sacred imagery, luminous color, quiet devotion, and the contemplative power of the Renaissance image.

See it on Amazon →

As an Amazon Associate I earn from qualifying purchases.

The restoration, expected to take up to two years, began by treating of the panel paintings and wooden frame for an infestation of wood-boring insects. Conservators will also focus on consolidating weakened areas, stabilizing the decorative elements, and improving the long-term structural stability of the frame. On panel paintings, they will address small areas of lifting and flaking paint, as well as remove of darkened and oxidized varnishes from past interventions to recover the vibrancy and coherence of Bellini's masterpiece.

A full-scale photographic reproduction of the painting is on display in the sacristy.

History

Acclaimed by 19th-century art critic John Ruskin as one of “the best pictures in the world,” the Frari Triptych reveals Giovanni Bellini’s extremely refined brushwork and his ability in depicting the psychological depth of the figures. Bellini was commissioned to paint the Frari Triptych in 1488 to honor Franceschina Tron who had died in 1478. The altarpiece was part of a broader project that included the erection and decoration of the sacristy’s chapel where Franceschina was buried. Her tomb slab still lies today in the center of its original architectural setting, right before the altar, and carries an inscription with the names of the patrons—Franceschina’s sons Nicolò, Benedetto, and Marco Pesaro. The Pesaro patronage is considered among the most remarkable commissions of the time, as it honors a woman rather than a man. Indeed, evidence suggests that Franceschina was the only woman to have been commemorated in such a magnificent way in the Basilica dei Frari in the 15th century.

Bellini’s three-panel painting has miraculously survived intact along with its original, richly carved, and gilded Gothic frame. On the back of the frame, there are two inscriptions—one recording the name of the craftsman who carved it, “Jacopo da Faenza,” and the other bearing the date when the painting was installed above the altar on “15 February 1489”. On the front of the central panel, a third inscription on the pedestal between two playing cherubs specifies the name of the painter and the date of the work: “IOANNES BELLINVS F[ECIT] 1488.” Bellini was also likely involved in the design of the frame, which in fact appears to be integrated with the painted architecture, giving the impression of a cross-section of a church interior.





In designing the Frari Triptych, Bellini adopted a format consisting of a tall, barrel-vaulted central panel flanked by two rectangular wings with flat tops—a structure long associated with the Temple of Jerusalem and the Porch of Judgment of King Solomon. A striking parallel can be found in a group of Byzantine silver plates dating to ca. 629-630. In this setting, Bellini had the Virgin sit with the blessing Child in an apse topped by a semi-dome and a vault covered with golden mosaics. The two-line inscription running across the semi-dome addresses the Virgin as the Sure Gate of Heaven (Ianua Poli): “O Certain gateway of the celestial pole/heavens, lead my mind, direct [my] life, [that] I may/shall pass through [it], all having been entrusted to your care.” Recent research has shown that the inscription should be understood as a personal prayer invoking the Virgin’s guidance toward salvation. Rather than copying a pre-existing text, Bellini—or, more likely, a learned advisor, perhaps a humanist or Franciscan scholar—appears to have devised the inscription specifically for the painting, making it a unique component of the altarpiece’s theological program.

The onomastic saints of Franceschina’s three sons and husband—Saints Nicholas of Bari and Peter (left), Benedict and Mark (right)—stand in pairs on the triptych’s two wings. These four saints were highly regarded by Bellini’s contemporaries, including the famous German artist Albrecht Dürer whose Four Holy Men were clearly inspired by the Venetian model. Although painted on two separate panels, the four saints occupy two spaces illusionistically unified to the central one through Bellini’s unrivaled use of light, color, and mathematical perspective. Among them, Benedict appears to be the most prominent as he stares out of the painting, confronting the viewer with piercing eyes. His strong, almost aggressive attitude may be seen as a reflection of Benedetto Pesaro, the audacious generalissimo da mar celebrated by the grandiose funerary monument that frames the entrance to the Frari’s sacristy. The figure of Saint Benedict also carries an important symbolic meaning. He presents to the viewer the opening chapter of the Book of Ecclesiasticus, copied from a Latin Bible printed in Venice in 1478. Significantly, the book is opened to a passage that associates Mary with Divine Wisdom—the Sedes Sapientiae, or “Seat of Wisdom”—emphasizing her role as the one who bears the Incarnate Word.

The triptych’s very structure becomes an image of Marian theology: enthroned within the architectural form of the Temple, the Virgin is celebrated simultaneously as the Ianua Poli, the gateway through whom the faithful enter the heavenly sanctuary, and as the Sedes Sapientiae, the living throne of Divine Wisdom, uniting the altarpiece’s architecture, inscriptions, and imagery into a single, coherent devotional vision.

Conservation

Nearly thirty-five years after the conservation treatment carried out by Sante Luigi Savio and Patrizia Tempesta in 1990, the altarpiece was the subject of a new campaign of study undertaken between autumn 2023 and 2024. Combining close visual examination, non-invasive diagnostic analysis—including ultraviolet (UV) and infrared imaging (IR)—and archival research, the investigation aimed to evaluate the work’s present condition while shedding new light on its conservation history.

Conservation treatment of the frame and painted panels began on 21 June 2026. As the triptych has been temporarily removed from its altar for restoration, a full-scale photographic reproduction has been installed in its place, allowing visitors and worshippers to continue viewing the altarpiece in its original setting throughout the conservation process.

Wooden Frame

The frame shows extensive evidence of past woodworm infestation. In many areas, the wooden substrate beneath the carved decoration is exposed and severely weakened by countless insect exit holes, while the edges of moldings have suffered significant abrasion. In the most affected sections, the wood has become spongy, brittle, and highly friable.

Further examination has shown that these issues extend beyond isolated losses and compromise the stability of the frame as a whole. Numerous carved and molded elements have been worn down or partially lost, while the gilded backgrounds display small lacunae along edges, exposing the underlying wood. Together, these conditions bear witness to the cumulative effects of biological attack and material degradation, highlighting the vulnerability of the structure and the need for targeted conservation measures.

Conservation treatment will focus on consolidating weakened areas, stabilizing the surviving decorative elements, and securing the long-term structural integrity of the frame.

Painted Panels

UV imaging has proved particularly effective in revealing the complex stratigraphy of the protective coatings covering the painted surfaces. The central panel displays markedly uneven varnish layers, with many accumulations and localized deposits. The examination also revealed numerous old pictorial integrations, many of which remain visible under close inspection. Localized lifting and subtle deformations have been observed in areas where aged varnish deposits have become increasingly rigid. Certain details, including the music-making angels, also retain clear evidence of woodworm damage that was filled and reintegrated during previous conservation campaigns.

The lateral panels present comparable issues, including uneven varnish residues, surface grime, minor losses, and traces of past insect activity. Investigation has also brought to light a range of layered conservation issues whose full extent becomes apparent only through close examination and technical analysis.

The conservation treatment will address these issues through the careful stabilization of vulnerable paint layers, the reduction of disfiguring surface coatings, and the recovery of a more coherent and legible reading of the pictorial surface.