A late medieval altarpiece by Spinello Aretino has returned to public view in Florence following a major restoration, with a dedicated display now open at the Galleria dell’Accademia.
The painted triptych, dated 1391, has been on show since 24 February in rooms devoted to late 14th-century Florentine painting. The display, which runs until 11 May 2026, includes videos, images and explanatory material documenting the conservation process.
A key work of late medieval Tuscan painting
The wooden triptych depicts the Madonna and Child enthroned with four angels, flanked by Saints Paolino, John the Baptist, Andrew and Matthew. In the upper roundels, the prophets Jeremiah and Moses are represented.
The work was commissioned by a merchant from Lucca for the oratory of Sant’Andrea in that city. The choice of saints reflects both the dedication of the church and the names of the patron and members of his family.
Art historians consider the panel an important reference point in reconstructing the career of Spinello Aretino, who worked across Tuscany, including in Florence, Pisa and Lucca. The painting also illustrates the stylistic transition in Tuscan art between the late 14th and early 15th centuries.
The artwork narrowly avoided leaving Italy in the mid-19th century, when authorities of the Grand Duchy of Tuscany blocked an attempted illicit sale. The intervention led to its permanent inclusion in Florentine collections.
Restoration reveals original details
The restoration began in November 2024 and was completed in early 2026 after a full diagnostic campaign analysing structure, materials and pigments.
Before the intervention, the triptych’s appearance had been altered by centuries of wear, oxidised varnish, overpainting and structural issues affecting the wooden support. Conservators used scientific analysis to distinguish original paint from later additions and to identify preparatory drawings beneath the surface.
The work focused on recovering original paint layers and restoring visual coherence, while respecting conservation principles such as reversibility and clear differentiation between original and restored areas.
Following the intervention, colours have regained brightness and clarity. Details in the figures, drapery and skin tones are now more legible, offering a clearer understanding of the artist’s technique.
Highlighting behind-the-scenes conservation
The museum has structured the display to explain the technical processes involved in conserving historic artworks, from diagnostic analysis to cleaning and reintegration. The presentation aims to highlight the often unseen work carried out by restorers and to give visitors insight into how major collections preserve fragile cultural heritage.
The restored triptych is included in the standard visitor route at the Galleria dell’Accademia until 11 May 2026.
