A detailed photographic campaign shall be carried out whereby the entire work will be photographed in visible light, macro photographs taken to determine the state of conservation and further photos with an ultraviolet lamp will verify the repainted areas. Following this, other photos in trans-illumination and grazing will be done to determine the tension of the canvas on the frame and ascertain the gaps present. This will be followed by a manual mapping of the state of conservation of the front/back on tracing paper with the various reference items. After having secured the unsafe paint film, the solubility tests of the oxidized paint with mixtures of organic solvents of different polarities will be performed and, if necessary, the possibility of applying compresses or solvent gels will be determined, documenting the scale of interaction. Once the appropriate solvent solution has been identified, the cleaning will be extended to the rest of the work following the directives of the Legislative Decree.

The intervention of removing loose deposits is parallel to the preventive consolidation operations, useful for adhering flakes of disintegrating color. The removal of deposits will take place with soft silky paint brushes, a soft brush and micro-vacuums.

Once the cleaning phase is completed, both the front and back of the painting will be consolidated by impregnation of the surfaces with thermoplastic acrylic resin, spread while hot, and applied by spraying to make the canvas support more flexible and be less subject to tears due to the rigidity of the old relining adhesives. As well, the resin will make the yarn elastic by re-aggregating the preparatory and pictorial layers. The lower portion will be dismantled along the perimeter margin and the inconsistent and coherent deposit bag will be cleaned by suctioning the rubble with micro vacuum cleaners and brushes.

Once the support has been repaired, the painting will be stretched on the appropriately refurbished frame, and the nailing will be repurposed with steel tacks along the edges.

After this, restorers will proceed with touch-up paint applied with a brush in a single application with circular movements in order to give transparency and homogeneity to the treated surface. Subsequently, the few gaps remaining will be filled with Bologna plaster and rabbit glue, following the original molding which will subsequently be reintegrated in tone and glaze with watercolors and the small abrasions filled in with paint pigments. Finally, the entire surface will be painted uniformly with an aliphatic resin solution.

The gilded frame will be cleaned with organic solvents to completely remove the layer of glitter, both the consolidation and the anti-woodworm treatment of the wooden parts will be carried out, the irrelevant cherubs and the added parts will be removed, and finally the gilding will be recreated with gold-like decal leaf.