The panel was subject to an anoxic treatment and an accurate scientific analysis. The designs for the images in high resolution asserted the effective conservation state and executed technique. The infrared reflectography at 1900 nm assisted in the identification of the preparatory drawing, which demonstrated that there were no evident volumetric shifts during the pictorial drafting. The artist faithfully respected the design. Only minor variations are detectable in some details, like the creation of the little wall in the landscape behind the architecture and the white horse's tail.

The execution of the first cleaning tests presented the necessity for additional analysis. The tests also targeted the recognition of the used pigments, which allowed an investigation of the deepest layers of the artwork. There were effective analyses in XRF fluorescence and Raman, which obtained a map of every single chemical element present in the different backgrounds. At the end of the investigations, the restorers discussed the obtained data and they could complete the cleaning phase with greater clarity. They recovered the tonal harmony of the pictorial layering and the many details concealed by previous repaintings and/or plasterings. The intervention will allow further comparative studies with other works by the same author to define with greater certainty its affiliation.

The applied methodology included several stages, even a delicate restoration of the wooden support:

• Pre-Consolidation with infiltration 
• Wood Renovation: removal of the attachment system, insertion of wedges in all cracks
• Removal of the drops of wax on the pictorial surface 
• Cleaning of the chromatic surface for the removal of the altered varnish and previous retouches with suitable solvents, tested with cognitive micro-assays
• Consolidation of the pigment with the use of Japanese paper and Alga Funori
• Revision of the previous grouts
• Grouting of the gaps with rabbit skin glue gesso
• Color reintegration of the gaps with Gamblin restoration paint and/or Winsor and Newton watercolors
• Final protective coating

The intervention was documented with an accurate photographic campaign. At the end of the intervention, the work was placed in a Clima-Frame (Propadyn Museart), a dynamic, bio-compatible, moisture stabilizer, into a prepared compartment to safeguard the artwork. The Clima-Frame compensates for changes in humidity and ensures ideal conditions in every exhibition environment.

The results obtained during the first cleaning allowed restorers to confirm a methodology of intervention aimed at the punctual removal of non-original altered paint and all previous retouches. Once they finished the cleaning phase, they recovered the original color index of the pigments and some details in the artist's pictorial drafting. Subsequently, they continued filling in the gaps. Presently, they are retouching the holes with a cross-hatching method, and performing minor glazing in the slightly abraded areas.

On the support, restorers performed anoxic treatment, disassembled the attachment system, consolidated the wood, and inserted wedges in all the cracks. A new "clima frame" will ensure a constant humidity level. Also, restorers will construct a new wall attachment system.