As we have a very few information about this and the previous two pictures (all kept in the San Miniato al Monte Basilica), we decided to describe briefly the restorations works. Before the restoration, the painting was in good repair. The canvas was lightly oxidized, there were no weft/warp interruptions and there was good cohesion between pictorial layers, except for the edges, where you could see some colour falls. There was no trace of previous restoration works. The painting was firstly protected with a thin layer made of rabbit glue and Japanese paper, then it was removed from the stretcher and it was mechanically cleaned from the back. The colour was fixed with rabbit glue. After that the picture was backed according to the "Florentine manner", which allows to attach with hot paste the old canvas to a new defribed canvas, previously treated with animal glue. Since there was non need to get a further improvement of the surface conditions, the thin protective layer was removed and the picture was remounted on a new stretcher. Now we could start the aesthetic restoration by cleaning the pictorial layer and filling the gaps with putty. The putty was made of plaster and glue and it had the same colour of the tempera colours which were used for the gaps. After the first varnishing (made with a brush with mastic resin) the restoration was completed with tinted varnishes.

This painting was restored thanks to the initiative of the ROMUALDO DEL BIANCO FOUNDATION and the co-operation with the project "BE PART OF HISTORY" by VIVA HOTELS in Florence. The Project was created in order to give a contribution to Florence Artistic Heritage with restoration of pieces of art of different Florentine Museums.