Investigation Launched Over Angel Fresco Resembling Italy's PM Meloni

Tue Feb 03 2026 19:36:51 GMT+0200 (Eastern European Standard Time)

Church and government officials are examining a restored fresco in Rome that reportedly features the likeness of Italian Prime Minister Giorgia Meloni, sparking controversy and an investigation.

Officials from both the Italian government and the church are investigating the restoration of a fresco in the Basilica of St Lawrence, wherein the face of an angel closely resembles Prime Minister Giorgia Meloni. The artist, Bruno Valentinetti, claims the depiction was not intended to represent Meloni, prompting mixed reactions from the public and political leaders alike.

Church and government officials in Italy have launched an investigation into claims that the face of Prime Minister Giorgia Meloni was painted on an angel during the restoration of a fresco in Rome.

Italy's culture ministry has sent officers to inspect the artwork in a chapel of the Basilica of St Lawrence in Lucina, while the Diocese of Rome expressed its 'disappointment' and stated they would determine accountability.

The artist responsible for the fresco, Bruno Valentinetti, claimed he merely restored the piece he created in 2000 and denied modeling the angel after the prime minister.

Meloni, in a light-hearted Instagram post, humorously remarked that she was 'definitely not like an angel.'

The likeness was first reported by Italian newspaper La Repubblica, which showed before-and-after images of the fresco, alleging that the angel, who holds a map of Italy, previously resembled a 'generic cherub.'

The parish priest remarked that the paintings were simply restored after water damage, adding that he did not 'understand the fuss.'

Opposition parties swiftly demanded an investigation, claiming the incident could be a misuse of art for propaganda purposes. Culture Minister Alessandro Giuli has ordered technical officials to examine the painting to assess what modifications were made and plan the next steps.

As controversy continues, the Diocese of Rome acknowledged the restoration but maintained that no changes or additions had been communicated to them, emphasizing their commitment to safeguarding their artistic heritage.

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