The restoration of the panel of the Crucifixion and Scenes from the Passion by Alesso D’Andrea had the purpose of repairing a conspicuous horizontal lesion. On closer inspection, the restorer found that the lesion ran through the entire thickness of the wooden support at the junction of the two axes that make it up.

On the reverse side, the restorer also noted that some catches supporting the brass crossbars had lost their adhesion, so the containment system was no longer functional.

The work had undergone a color transfer in the past, most likely in the early 20th century which caused a separation between the painted surface with the mestiza and the original support and applied with glue to a new mestiza placed on a new poplar panel.

The worst damage probably occurred during this transportation, with the loss of the original perimeter borders and surface finishes of the figures depicted. In particular, the modeling of most of the draperies has disappeared, reducing them to monochrome silhouettes without chiaroscuro. Subsequently, the scenes were extensively repainted to remedy the shortcomings, with the draperies, tree crowns, and even the perimeter punching repainted.

However, the only documented intervention is that carried out in the Vatican in 1968 by the restorer G. Colalucci: he repaired the delicate film of paint, removed all the repainting to recover the remaining original surface, and, finally, reinstated the numerous gaps using vertical hatching in neutral colors, as was the practice in restorations at the time.

As a result of the retouches and the protective varnish of the latter restoration, as well as the original blue pigment of some of the drapery, which had now changed to black, the painted surface appeared chromatically altered; in addition to the structural problems already mentioned, there were also numerous lifts of the paint film in the lower register.