An investigation has been launched following claims that a restored fresco in Rome features an angel with a face resembling Italian Prime Minister Giorgia Meloni. Church and government officials are examining the artwork, located in a chapel within the Basilica of St Lawrence in Lucina. The Diocese of Rome has voiced its “disappointment” and has committed to identifying those responsible for the alteration.
The artist behind the restoration, Bruno Valentinetti, stated that he merely restored a fresco he originally painted in 2000. He has denied modeling the angel’s likeness after the Prime Minister herself. Meloni publicly responded to the situation via an Instagram post, humorously noting that she was “definitely not like an angel,” and appended a laughing emoji to her statement.
The striking resemblance was first brought to public attention by the Italian newspaper La Repubblica on Saturday. The publication presented before-and-after images of the fresco, suggesting that the angel, previously depicted as a “generic cherub” holding a map of Italy, now bore an uncanny likeness to the Prime Minister. However, the parish priest maintained that the paintings had undergone minimal retouching following recent water damage. He also expressed confusion regarding the widespread attention, stating, “Painters used to put all sorts of things in frescoes.”
Artist’s Response and Political Reactions
Valentinetti, who is 83 years old, has refuted the allegations. He asserted, “The restored face is the one that was painted 25 years ago,” as reported by the AGI news agency. He then posed a rhetorical question, “Who says it resembles Meloni?”
Opposition political parties were swift to demand a thorough inquiry into the matter. Irene Manzi of the Democratic Party described the situation as “unacceptable.” The Five Star Movement echoed these sentiments, arguing that art should not be weaponized for “propaganda,” regardless of whether the figure depicted was Meloni.
Official Inquiries and Diocesan Statement
Italy’s Minister of Culture, Alessandro Giuli, has directed “technical officials” to inspect the painting. The purpose of this inspection is to “ascertain the nature of the intervention” and to determine the appropriate subsequent actions. Concurrently, the Diocese of Rome indicated that while they were aware of the restoration work, they had not been informed of any new elements or modifications being introduced.
In a statement released via the Ansa news agency, the Diocese reported, “The modification of the cherub’s face was the decorator’s initiative, not communicated to the competent authorities.” Subsequently, the Diocese announced that Cardinal Baldo Reina, the Pope’s Vicar for the Diocese of Rome, would initiate an immediate investigation. This inquiry aims “to determine the possible responsibilities of those involved.” The statement also conveyed that the Cardinal “distances himself from Monsignor Micheletti’s statements and expresses his disappointment over what happened.” It concluded by reaffirming the Church’s “commitment to the protection of its artistic and spiritual heritage” against any form of misuse or exploitation.