The project is the result of a thesis research conducted within the Erasmus Mundus Joint Master’s Program in Archaeological Materials Science.

The scientific investigations will be carried out through an interdisciplinary collaboration with Prof. Stefano Ridolfi (Sapienza University of Rome) and the art historian Giulia Ristori.

The restoration will be performed by Julia Figueiredo Cavallieri under the supervision of cultural heritage conservators Alessandra Argentino and Monica Stella, at the Studio Reintegra Fine Art located at Via Ruggero Fauro 5/7/9/11, Rome.

The non-invasive scientific analyses will be conducted by Prof. Stefano Ridolfi within the framework of Ars Mensurae. During the project, the art historian Giulia Ristori will carry out research aimed at attributing the artwork and gathering further historical information.

All phases of the project will be carried out using chemically stable and compatible materials, selected according to the composition of the artwork.

The painting is executed on canvas using oil technique. It depicts a scene with a large number of people in what appears to be the crypt of a church. The positions and dramatic arrangement of the figures suggest that the subject may refer to a Catholic historical-religious scene of charity, still to be studied for proper identification. The building features an altar, and the columns display figures and inscriptions associated with Eastern Orthodox Christianity.

The lighting is concentrated in the center, toward the lower left side of the work, highlighting the main scene: a woman dressed in light-colored garments surrounded by eighteen young girls arranged in a semicircle around her, also wearing light-toned clothing, likely symbolizing compassion. The woman wears a headdress and may be a religious figure speaking to the girls, some of whom are listening while others are in a prayerful attitude, with their hands clasped in front of their chests. The figure of the woman has not been completed; in fact, she lacks hands. Some of the young girls around the religious figure are also unfinished, lacking facial features. Within the circle, under a shadow, the two girls closest to her are seated, holding hands: one faces the speaking woman, while the other looks away, her gaze directed downward.

In the central part of the painting, a man is depicted lying down, his face covered with white cloths, presumably ill, with a young woman kneeling before him, holding his hand. At the feet of the sick man, a child approaches, observing the scene; he too is unfinished. To the right of this group, a standing woman in a white and red dress holds her hands to her chest and looks upward in an attitude of prayer. At the far right, a man bends toward the ground as if picking something up. Across the entire right side, visible pentimenti (changes made by the artist) can be observed. The standing woman was previously positioned further back, specifically in front of what appears to be a burial area. A form can also be seen that may represent a kneeling man or the sick man repositioned.

On the second level, behind the standing woman, two religious figures converse: one is a Franciscan friar with a long beard, dressed in a habit, and the man to his right wears a cloak with a red hood. Next to them stands a column belonging to the building; on its shaft and base are depictions of saints and inscriptions that appear to belong to Eastern Orthodox Christianity. On the third level, beyond the column to the left, in a lit area, an altar appears with a priest standing before it, wearing an ecclesiastical headdress and dressed in red and white. The priest is positioned as if offering something or speaking to a crowd of people kneeling before him. Emerging from the crowd are three figures: an elderly man in brown garments, a dark-haired woman dressed in blue, and another elderly man looking downward.

The ceiling of the building is dark brown and not very visible, but it is possible to discern a structure composed of several arches.

Through the contrast between light and shadow, the painting clearly emphasizes the woman and the priest performing Christian acts, conveying the message that Christian actions bring light into darkness.