After undergoing restoration for more than 18 months, Jacopo Tintoretto's monumental canvas of the Wedding Feast at Cana has returned to its place high on the wall of the sacristy of the Basilica of Santa Maria della Salute. Beginning in May 2016, conservator Valentina Piovan and her team removed the surface grime, darkened varnish, and altered retouchings that had compromised the legibility of the painting. During this time, v isitors to the church were able to view the painting as treatment progressed on-site in the sacristy. We are grateful to Board members Bea and Bob Guthrie for making this restoration possible.

Extensive diagnostic testing including X-rays , infrared reflectography, UV fluorescence, and pigment analysis confirmed that many of Tintoretto's original pigments have altered indefinitely, and now appear darkened and brown. Despite the fugitive nature of some of the pigments used in the painting, the splendor of the other vibrant colors used by Tintoretto is once again evident after this successful restoration. Our scientific analyses also determined that Tintoretto used an antiquated tempera technique, using egg as a pigment binder instead of oil, and he painted directly on top of the bare canvas with no preparatory layer of gesso. This resulted in the painting having a woven tapestry effect as the texture of the canvas is very evident through the painted surface and the tempera colors are very matte as opposed to a glossy oil painting.

Earlier this month a large crowd was on hand to celebrate the inauguration of this restoration. The ceremony was led by parish priest and seminary rector Don Fabrizio Favaro with remarks from Save Venice Director Alberto Nardi, Amalia Basso from the Superintendency BAP of Venice, and conservator Valentina Piovan.

The Wedding Feast at Cana marks the first completed of a further 14 paintings on the Tintoretto 500 restoration campaign roster, all to be completed on the occasion of the 500th anniversary of the artist's birth.