Angel or PM? How a Church Fresco Triggered a Political Storm in Italy

A restored church fresco in Rome triggered national debate after an angel appeared to resemble Prime Minister Giorgia Meloni—forcing church and state to step in.

What exactly happened?

A restored fresco inside San Lorenzo in Lucina, one of Rome’s oldest churches, sparked controversy after visitors noticed that the face of an angel bore a striking resemblance to Italian Prime Minister Giorgia Meloni. Photos circulated quickly, drawing crowds curious to see the angel—and igniting a political and cultural backlash.

Where is this fresco, and why does it matter?

The fresco is inside a basilica just minutes from the Italian Parliament, a location that amplified sensitivities. While the church houses works by Baroque masters, the fresco itself was painted in 2000 and is not heritage-protected. Still, its placement inside a sacred space made the perceived likeness politically explosive.

Who painted the fresco and was it intentional?

The artist, Bruno Valentinetti, originally denied any intent to depict Meloni, saying he merely revived the original features during restoration after water damage. He later acknowledged the resemblance but insisted it was coincidental and faithful to the earlier version of the artwork.

Why was the face painted over?

As the controversy escalated, Cardinal Baldassare Reina, vicar-general of the Diocese of Rome, condemned the alteration, saying sacred art must not be “misused or exploited.” Soon after, the parish priest ordered the angel’s face to be painted over entirely, citing growing disruption.
“There was a procession of people who came to see it and take selfies, not to pray,” he said.

Did the Vatican or the government intervene?

Yes, both. While the Diocese of Rome confirmed the original features would be restored, Italy’s Culture Ministry launched an inquiry. Authorities ruled that any future restoration will require official approval and sketches, involving multiple state and church bodies. The episode triggered a wider review of how religious art restorations are handled.

How did Giorgia Meloni respond?

With humour. Meloni posted a photo of the altered fresco on social media, joking: “No, I definitely don’t look like an angel,” accompanied by a laughing emoji. Her light touch contrasted sharply with the seriousness of the debate around art, politics and religious neutrality.

What’s the bigger issue here?

At its core, the controversy exposed a sensitive fault line: Where does art end and politics begin, especially inside sacred spaces? Church leaders stressed the need to preserve spiritual focus. Cultural authorities moved to tighten oversight. And Italy found itself debating how even unintended imagery can become politically charged.

(With inputs from ANI)