Rome: A restoration project in one of Rome’s oldest churches has ignited a remarkable controversy in Italy, drawing scrutiny from cultural authorities, political parties and the public alike after a restored angel fresco was widely perceived to bear the likeness of Prime Minister Giorgia Meloni.
In the Basilica of San Lorenzo in Lucina, located in central Rome, workers recently completed conservation work on a decorative chapel once affected by water damage. One of the cherubic figures originally a generic angel now appears to have facial features that many observers say resemble Meloni, the 49-year-old leader of Italy’s ruling coalition. The image, widely circulated on social media and picked up by Italian newspapers, shows the angel holding a scroll with a depiction of Italy, set beside a bust of King Umberto II.
The unexpected resemblance immediately triggered a formal inquiry by the Ministry of Culture, which instructed the Soprintendenza speciale di Roma the city’s top heritage authority to conduct an on-site inspection and determine whether the restoration was carried out in accordance with proper artistic and historical standards. Officials are examining if any protocols governing restoration of church art were overlooked or violated.
Although the fresco in question dates only to the year 2000 and therefore is not classified under the strictest heritage protections, the unusual outcome has alarmed cultural watchdogs and raised questions about oversight on restorations, even for more recent works.
The basilica’s rector, Monsignor Daniele Micheletti, acknowledged to the press that “a certain resemblance” is visible but maintained that his only intention was to restore the chapel “exactly as it was.” He said he had not directed any change to the figure’s face and that only the restorer could explain how the final image resulted in the contested likeness.
The artist responsible, Bruno Valentinetti, who also painted the original fresco 25 years ago, rejected allegations that he intentionally altered the angel to resemble the prime minister. Valentinetti described the claims as “inventions,” asserting that the restoration faithfully reflected the earlier work while reproducing its designs and colors from memory.
Opposition parties seized on the incident to press the government for answers. The Democratic Party (PD) urged Culture Minister Alessandro Giuli to step in and ensure transparency, warning that any personalization of sacred art could amount to a serious breach of Italy’s Cultural Heritage and Landscape Code, which prohibits arbitrary artistic modifications not grounded in historical or scientific research.
The Five Star Movement (M5S) also criticized the episode, arguing that public art and cultural heritage must remain free from political symbolism or influence, regardless of intent.
Prime Minister Giorgia Meloni herself responded to the buzz with humor, posting an image of the restored angel on social media with the caption: “No, I definitely don’t look like an angel” followed by a laughing emoji, defusing tensions with a touch of levity.
The unfolding dispute touches on deeper themes about the stewardship of Italy’s cultural patrimony. While the aged basilica remains a living place of worship, it is also part of a rich tradition that values historical accuracy and artistic integrity. Experts and commentators have weighed in on the delicate balance between restoration and reinterpretation, particularly when works are altered even unintentionally in ways that intersect with contemporary political figures.
As cultural authorities complete their assessment, the debate continues over what should happen next: whether further conservation should aim to reverse the resemblance, or if this curious chapter will simply become part of the long history of art, faith and public life in Italy.