VENICE.- The Scuola Grande di San Rocco and Save Venice announced the completion of the restoration of the monumental Crucifixion by Jacopo Tintoretto in the Sala dell’Albergo of the Scuola. The two-year project, funded by Save Venice with €672,000, was made possible through the generous support of Arnold M. Bernstein.
Ready to explore the dramatic world of Tintoretto? Click here to discover a captivating collection of books showcasing his masterpieces and life story on Amazon!
Treatment was carried out on-site in the Scuola, while the painting remained partially visible through the worksite scaffolding. Officials from the Soprintendenza Archeologia, Belle Arti e Paesaggio per il Comune di Venezia e la Laguna provided oversight while work was carried out by restorers from the CBC Conservazione Beni Culturali firm, under the direction of Caterina Barnaba. Non-invasive diagnostic investigations were conducted by S.T.Art-Test of S. Schiavone & C. sas.
A non-invasive diagnostic campaign was conducted using UV LED fluorescence and Infrared reflectography (IR) to assess the painting’s condition and study Jacopo Tintoretto’s technique. These results guided the conservators in their work to address several issues, beginning with non-original surface residues that distorted the colors and depth of the painting. The cleaning phase removed thick, yellowed varnish, glue residues, and compacted dust, as well as altered retouchings from previous treatments. During the pictorial integration phase, small losses were filled with Bologna gesso and rabbit-skin glue, then reintegrated with conservation colors, glazes, and varnishes. A protective spray varnish was applied as a final conservation step. Each phase of conservation, which lasted from March 2023 to March 2025, was meticulously documented with high-resolution photography and video.
Save Venice is proud of its long-standing collaboration and support for the Scuola Grande di San Rocco. The organization has notably funded the 2008-2009 scientific investigations on all the ceiling canvases of the Sala dell’Albergo, accompanied by the restoration of three of them. In 2017-2018, on the occasion of the Tintoretto 500 celebrations, Save Venice supported the conservation of two paintings by Pordenone and three works by Tintoretto in the church of San Rocco. During the exhibition Venetia 1600. Births and Rebirths at Palazzo Ducale (2021-2022), Save Venice also funded the restoration of Giovanni Novello’s Annunciation mosaic, owned by the Scuola. Between 2022 and 2023, Titian’s Annunciation was restored thanks to the generous support of Richard K. Riess and is now reinstalled in its original location above the arch of the landing of the Grand Staircase.
Frederick Ilchman, Chairman of Save Venice: “The conservation interventions on precious cultural treasures, such as the majestic Crucifixion by Tintoretto, aim to ensure their accessibility for future generations. The restoration not only restores clarity and legibility to these works but also allows us to rediscover the artist's authentic intentions, the techniques employed, and his creative process. All of these goals have been fully achieved thanks to the masterful conservation work of the CBC Conservazione Beni Culturali restoration team, funded by Save Venice with the generous contribution of Arnold M. Bernstein.”
Franco Posocco, Guardian Grando of the Scuola Grande di San Rocco: “Along with the restoration of Titian’s Assumption in the Frari, the restoration of Jacopo Tintoretto’s grand Crucifixion stands as one of the most significant artistic interventions in Venice in recent years—a true gift to the city, the nation, and to art lovers everywhere. The impressive scenography represents not only the synthesis of a culture and a style, the Renaissance, but also the manifesto of a civilization at its peak. It also represents a unique experience of the most advanced non-invasive surveying and recovery techniques, respectful of the original, which had previously been obscured from view by alterations and often clumsy overpainting.”
Maria Agnese Chiari Moretto Wiel, Art Historian and Member of the Chancellery of the Scuola Grande di San Rocco: “Over the course of these two years, I have had the privilege of following the work almost daily, sharing the challenges, choices, and difficulties faced by the restorers in restoring full legibility to a work that represents one of the masterpieces, if not the absolute pinnacle, of Jacopo Tintoretto. The restoration not only allowed the painting to regain a proper balance of chromatic values and great perspectival depth, but it also revealed new, essential elements for understanding the master’s working method. The discovery of a complex system of grids, drawn in charcoal and extending across the entire surface of the painting to transfer figures from the preparatory sketches to the canvas, today disproves the claim by Giorgio Vasari, who stated that Tintoretto ‘worked haphazardly and without drawing [disegno], as if he was trying to prove that art was just a jest.’”
Caterina Barnaba, CBC Conservazione Beni Culturali soc. coop: “The conservation of artistic heritage requires an interdisciplinary study of the material, as it incorporates historical, artistic, and cultural values in its very substance. Along with research and diagnostics, it represents a fundamental pillar in the field of restoration, allowing for the acquisition of data that helps understand the execution technique and the state of conservation of the work, and to define how to proceed by choosing the most suitable materials for the restoration of the asset. At CBC, we view restoration as a tool for discovery. Each restoration site becomes a place of exchange and learning – not only for specialists but for the broader community as well. Working on Jacopo Tintoretto’s Crucifixion in the Scuola Grande di San Rocco has been a privilege, and we extend our sincere thanks to Save Venice for entrusting and supporting us in this important project.”
Restoration of the Leather Panels of the Banco
The restoration campaign also included the treatment of the supporting surface and decorative leather panels of the banco, or desk, beneath the Crucifixion, around which the governing body of the Scuola would gather. The intervention was overseen by Oscar Restauri, led by Lucia Castagna, and was also generously funded by Save Venice.
Historical Note
Dating to 1565 and proudly signed by the painter on the cartouche in the lower left: “M.D.LXV. / TEMPORE. MAGNIFICI / DOMINI HIERONIMI / ROTAE, ET COLLEGARVM / JACOBVS TINCTOREC / TVS FACEBAT,” the grand Crucifixion, may well represent Tintoretto’s ultimate masterpiece and stands as one of the greatest achievements of Venetian painting. It was the first painting created for the walls of the Sala dell’Albergo of the Scuola Grande di San Rocco, and it was placed in a position of absolute prominence: directly opposite the entrance, above the counter where the governing members of the Scuola held their meetings.
The climax of the Passion cycle, Tintoretto’s Crucifixion – for which he was paid 250 ducats on March 9, 1566 – quickly gained extraordinary acclaim among his contemporaries. Its fame is attested not only by written sources but also by numerous engravings, the earliest and most renowned of which was created by Agostino Carracci in 1582. The painting later captivated major figures of 17th-century European art, including Rubens to Van Dyck, who studied it with great admiration.
To prepare for the work, Tintoretto created preparatory drawings for individual figures, and even directly set down a remarkably detailed compositional trace on the canvas.
The organization of the scene and the rendering of its characters reveal the artist’s exceptional skill – from the figures in the foreground, plastically outlined, to the background figures, and the faces of the protagonists, so distinctive that they resemble true portraits.
At the heart of the composition stands Christ on the Cross, radiating a beam of light that symbolizes His triumph over darkness and the promise of resurrection. This powerful focal point anchors the complex scene, which Tintoretto orchestrates with extraordinary command of light, color, and narrative drama—drawing the viewer into a profoundly moving spiritual experience.
Artdaily participates in the Amazon Associates Program, an affiliate advertising program designed to provide a means for us to earn commissions by linking to Amazon.com and affiliated sites. When you purchase through our links, we may earn a small commission at no additional cost to you. These commissions help us continue curating and sharing the art world’s latest news, stories, and resources with our readers.
