This essay explains the process of restoration employed in the cleaning of The Carrying of the Body of Christ of 1532, at the Museo di Casa Vasari. Careful documentation is provided not only on the physical process of the restoration of the painting, but also on the stylistic contributions that Vasari imprints in the early stage of his artistic career.  With the employment of reflectographic diagnostics highlight, new discovery and observations were noted in the manner in which Vasari approaches the application of painting and compositional design. Traces of a preliminary drawing were discovered under the painting. This process of composing a painting would become an indispensable technique in Vasari’s artistic production, as discovered in the restoration of the Wedding of Ester and Ahasverus of 1548 at the State Museum of Medieval and Modern Art (Museo Statale d’Arte Medioevale e Moderna) of Arezzo.

The removal of heavy layers and stratified coats of paint, which made the pictorial surface dull, unveiled a bright and colourful palette. This rich pictorial surface reveals Giorgio Vasari‘s assimilation of artistic manifestations of the Cinquecento art.