Italy’s opposition has called for answers after reports that a restored fresco in a landmark Rome church now bears a striking resemblance to Prime Minister Giorgia Meloni.
The controversy centres on a recent restoration at the fifth-century Basilica of San Lorenzo in Lucina. According to La Repubblica, the face of an angel was altered during the work. Originally a simple cherub, it is now said to closely resemble Meloni.
The restoration involved two angels flanking a marble bust of Umberto II of Savoy, Italy’s last king, who reigned for just 34 days in 1946 before the monarchy was abolished. La Repubblica reported that the work was not carried out by professional restorers active elsewhere in the church but by a sacristan and decorator.
The individual reportedly previously undertook decorative work for former prime minister Silvio Berlusconi and later ran for office in Rome as a candidate for the now defunct right-wing coalition La Destra – Fiamma Tricolore.
Commenting on the affair, Il Messaggero questioned how the changes were allowed to proceed. It said an intervention of this kind, particularly in a church of major artistic value, should have been intercepted by several layers of oversight, from the parish priest to the Superintendency responsible for heritage protection.
Culture Minister asked to explain how it came about
The story has sparked political reaction in Rome, with the centre-left Partito Democratico (PD) demanding clarification. Irene Manzi, the PD’s culture spokesperson in the chamber of deputies, said the culture minister must urgently contact the Rome Superintendency.
She said the suggestion that a restoration on a protected site produced an image resembling a contemporary political figure was unacceptable. Manzi added that such an outcome could represent a serious violation of Italy’s Cultural Heritage and Landscape Code, which bans arbitrary alterations not based on scientific and historical criteria.
Asked for comment by ANSA, the church’s rector, Monsignor Daniele Micheletti, said he had gone to inspect the fresco after reading the reports. He acknowledged a resemblance but said the restorer should be asked to explain the choice, adding that he did not know why it was done that way.
