Milan’s Duomo statues restored through innovative adoption scheme
A 15th-century statue that once stood high on the façade of Duomo di Milano has re-emerged in public view through an unusual conservation initiative. Known as Bearded Saint with Book, the sculpture has been restored under the Adopt a Statue programme and is now displayed behind glass at Piazzale Cadorna, inside the headquarters of Lombardy-based transport company FNM.
Adopt a Statue scheme returns Duomo sculptures to view
Launched in 2020 by the Veneranda Fabbrica del Duomo — the centuries-old institution responsible for the cathedral’s upkeep — the scheme invites companies and private individuals to fund the restoration of statues that have been removed from the Duomo over time. In return, donors may host the restored works on loan for limited periods, subject to conservation regulations.
According to project manager Elisa Mantia, the initiative offers a way to revive sculptures that would otherwise remain in storage. Many statues were taken down over the centuries due to weathering, pollution or structural concerns. Once removed, they were often replaced with replicas, leaving the originals preserved but unseen.
Construction of the Duomo began in 1386 under Gian Galeazzo Visconti, then ruler of Milan, and continued for more than five centuries. Built on the site of two earlier basilicas, the cathedral reflects a blend of artistic styles shaped by generations of craftsmen from across Europe. One of its bronze doors was installed as late as 1965, underscoring the monument’s long and evolving history.
Because the project extended across eras, the Duomo’s sculptural programme reads almost as a timeline in marble. Gothic forms sit alongside later Renaissance and post-medieval interventions. Over time, exposure to the elements left many exterior figures vulnerable, prompting their removal for preservation.
The Adopt a Statue programme builds on earlier fundraising campaigns that allowed supporters to symbolically adopt gargoyles or spires, with their names recorded in the cathedral’s donor register. However, the newer scheme goes further by pairing financial support with active restoration and, in some cases, temporary public display beyond the cathedral precinct.
Not every adopted sculpture is placed on view, and the exact number of participants has not been disclosed. Mantia notes that around 30 statues have been preselected as suitable candidates for restoration and loan. Each case must receive authorisation from Italy’s cultural heritage authorities, as loans are governed by strict rules covering insurance, transport and environmental conditions.
The restoration of Bearded Saint with Book required mainly surface cleaning to remove a dark crust caused by air pollution. Structurally, the statue remained sound, allowing it to be safely exhibited after treatment. Restoration periods typically range from one to three months, depending on condition.
Other works adopted under the scheme include a 16th-century David, a depiction of Samson and the Lion, and a statue of Saint Matthew the Apostle. Together, they demonstrate how historic marbles once confined to storage can re-enter contemporary civic spaces.
By situating restored sculptures in offices and public-facing venues, the initiative extends the Duomo’s narrative beyond its Gothic spires. For visitors and commuters alike, these centuries-old figures offer a reminder that heritage conservation can unfold not only on cathedral rooftops, but also in the everyday fabric of the city.
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