Restoration of 14th-Century Frescoes Uncovers Artistic Treasures at Sant’Emiliano

What some had described merely as “somewhat fanciful and hasty” hypotheses has instead proven to be the correct indications. And today, they have become certainties.

In the small church of Sant’Emiliano, located on the hill of Padenghe, near the “Passeggero” – a viewpoint that offers perhaps the most unique panorama of Garda – there are preserved frescoes from the 14th century. “Frescoes of great craftsmanship and of great value” – comments Professor Gian Carlo Quaglia, one of the leading experts in conservative restoration of artistic assets – even though they are covered by various decorative layers and mortar. They have been worked on by delicate hands, so to speak.

Restoration efforts and artistic-historical discoveries

It is evident that these frescoes are worthy of being uncovered and ultimately made accessible to the public someday (hopefully very soon), given that the Soprintendenza ai Beni Artistici e Architettonici di Brescia, after repeated and extensive inspections by their expert Vincenzo Ghiroldi, has decided to intervene directly. The restoration work will commence within the first two weeks of September.

However, the restoration work is proving extremely challenging and fraught with difficulties. “Already,” explains Quaglia, “because unlike the usual practice in recovery projects, where the process begins with consolidating the building, in the case of Sant’Emiliano, the frescoes will be touched up first.

This is due to the significant risk threatening the frescoes: the danger that they may detach. Indeed, experts from the Soprintendenza, together with Quaglia, have decided to install “safety barriers” to proceed with cleaning.

Meanwhile, from initial examinations, at least two female figures are identifiable; there’s persistent talk of two saints from that era. “When they are uncovered”, Quaglia adds, “it will undoubtedly be a great surprise,” leaving a hint of suspense.

History and artistic significance of the Sant’Emiliano church

In the past, votive offerings, due to the great poverty of the area, were replaced by paintings and frescoes. The artists who painted these frescoes were not mere travelers, but real artists from the many workshops spread across Northern Italy.

“At that time,”

Quaglia points out again, “the great Giotto was working in Padua, and in the Veneto region, many places hosted skilled artists. The Sant’Emiliano church could therefore represent a treasure trove of art with many surprises.

A place that, until a few years ago, was desolately abandoned, and which now, thanks to this exceptional discovery, could become a site for cultural visits and gatherings of significant importance.

“Its restoration is thanks to two people, in any case, who made it possible for this Romanesque church – as well as San Pietro in Mavino of Sirmione, Sant’Andrea of Toscolano Maderno, and the Lazise little temple – to be returned to its former glory: Walter Romagnoli and don Luigi Negretto.”

The first, acting as delegate of the Fondo per l’Ambiente Italiano (FAI), played a decisive role in rediscovering and promoting the church of Padenghe; the second, the parish priest of the town, allowed Quaglia to begin to “see” the walls.

And finally, Gian Carlo Quaglia himself, who was among the first to see the potential and give his assessment some time ago, even in the face of skepticism. Persistent research ultimately proved him right.

The church of Sant’Emiliano dates back to around the 12th century and, as previously noted, is in the Romanesque style. It was built, as Quaglia clarifies, above a Roman settlement. Later, in the 1400s, a canonical was added beside it.

Being a pieve, it was where baptisms took place for local newborns, and it was the first in Valtenesi. In 1583, the expert notes, two notable events occurred. The first involved a water spring that people accessed because it was believed to be miraculous, “but in reality, it was just water exiting from a Roman-built pipe.”

The second incident –

Quaglia continues – involves a painting by Farinati, depicting Sant’Emiliano, which was later stolen. Hidden for over two centuries, it reappeared at the end of the 18th century and was relocated to the parish church.