IN MEMORY OF ROSANNA COPPOLA, a most genial conservator and colleague, who passed away one year ago, on 10 March 2023. A graduate of the Istituto Centrale di Restauro in Rome, she was a founder-member of CBC where she remained all her long professional career, with an output which remains astonishing even to her friends and colleagues. Her career began with works by Torriti, Cimabue and Giotto in the Basilica of St Francis, Assisi, followed by paintings in the Palazzo dei Conservatori (1982, 1988) and Antonio Solario’s frecoes in the Chiostro del Platano in Naples. From 1991 to 1994 she guided the meticulous conservation of the mural paintings in the Crypt of Anagni Cathedral and worked on the frescos of Beato Angelico and Luca Signorelli in the Cappella di S. Brizio, Orvieto Cathedral. She then worked in Milan in the Cappella di San Giorgio, S. Ambrogio and, when back in Rome, on Giacinto Brandi’s vault frescos of S. Silvestro in Capite and on works by Pietro da Cortona in the Throne Room at the Quirinale Palace. In Assisi, after the earthquake of 1997, she worked on the stabilization of the vaults and conducted the first trials for the aesthetic reintegration of two Saints from the entrance arch of the Basilica, reconstructed from fragments of the collapsed vaults. She also worked on the frescos of Filippo Lippi in Prato Cathedral (2000-2001) and the paintings of the Crypt of the Original Sin in Matera, returning to Anagni for the Matroneo delle Monache in the Church of S. Pietro in Vineis. However, her main passion was for panel paintings and painted wooden sculpture. In Orvieto she treated the Polyptych of S. Domenico and the Madonna with Child by Simone Martini; for the reopening of Pistoia’s Civic Museum (1982) she restored panels by the Master of 1310, Lorenzo di Credi, Giovanbattista Naldini and Ridolfo del Ghirlandaio; she treated the Lamentation over the Dead Christ by Giovanni Bellini in the Vatican Museums for its temporary reunion with the Pesaro Altarpiece and also conserved the wood Crucifix by Maitani and the Madonna dei Raccomandati by Lippo Memmi in the Cathedral of Orvieto. Between 1990 and 1991 she worked in the National Gallery of Umbria and when back in Rome she treated Caravaggio’s Narcissus (1995), Raphael’s Fornarina (2000) and the Crucifix of Teramo Cathedral. She concluded her career with several great Venetian canvas paintings: Veronese’s Story of Esther canvases in S. Sebastiano (2009-2010), Tintoretto’s Last Supper in the Church of S. Giorgio and several Tintorettos and Carpaccio’s magnificent Saint Ursula cycle (2017-18) from the Accademia.