A 16th-century Renaissance altarpiece by renowned Venetian painter Vittore Carpaccio has been returned to the Slovenian coastal town of Piran, sparking intense political controversy in Italy. The artwork, titled "Madonna and Child Enthroned with Six Saints" and completed in 1518, was quietly transferred back to Slovenia on September 4, just days before Italian President Sergio Mattarella's official state visit to the country.
The altarpiece was originally commissioned for Piran's Church of St. Francis of Assisi, located in the historically contested Istrian peninsula. This Adriatic region was once entirely under Italian control but is now divided among Slovenia, Croatia, and Italy following post-World War II territorial changes. The painting was removed from its original location in 1940, when Istria still lay within Italy's borders, and was relocated to Padua for safekeeping during the war years.
For several decades, the masterpiece has been displayed in Padua's Basilica of Sant'Antonio, where it became part of the church's collection. However, following sustained pressure from Franciscan friars in Padua, the decision was made to return the artwork to its original home. Slovenian Culture Minister Asta Vrečko celebrated the return, describing it as "the fruit of long-standing efforts" and announcing that the painting would soon be displayed in its authentic historical setting.
The handover has triggered fierce criticism from Italian politicians, who view the transfer as an unacceptable surrender of Italian cultural heritage. Roberto Menia, a senator representing Giorgia Meloni's Brothers of Italy party and himself a descendant of Istrian exiles, strongly condemned the decision. He argued that the work remains an integral part of Italian heritage, emphasizing Carpaccio's Venetian origins and the painting's connection to Italian artistic tradition.
Anna Maria Cisint, a Member of the European Parliament representing the League party, expressed particular concern about the impact on Istrian exile communities. In a formal letter to President Mattarella, she warned that the decision would cause "pain and a sense of loss" among those who were forced to flee the region. Alessandro Urzì, another deputy from the Brothers of Italy party, went further in his criticism, calling the transfer "a restitution" that was "fundamentally incorrect."
The controversy surrounding the altarpiece touches on deeply sensitive historical wounds that continue to affect Italian-Slovenian relations. Following World War II, approximately 350,000 Italians were forced to flee Istria and Dalmatia amid widespread intimidation and reprisals under Marshal Josip Broz Tito's Yugoslavia. This mass exodus remains a painful chapter in Italian history and continues to influence political discourse regarding cultural heritage in the former Italian territories.
Piran, situated in southwestern Slovenia on the Gulf of Piran along the Adriatic Sea, is one of the three major towns of Slovenian Istria. The medieval town is renowned for its well-preserved historical architecture, featuring narrow winding streets and compact stone houses that reflect its rich Venetian heritage. The return of the Carpaccio altarpiece adds another significant cultural treasure to this historically important coastal community.
According to current plans, the restored altarpiece will be officially reinstalled in Piran's Church of St. Francis on December 27, following the completion of restoration work on the church's main altar. This timeline will allow for proper preparation of the display space and ensure the artwork's preservation in its original architectural context.
