Through a digital immersive experience, step into the conservation studio and get a behind-the-scenes look at the materials and techniques conservators use to preserve paintings in the CMA collection. For almost 50 years, Pintoricchio’s Virgin and Child (c. 1490–1500) was in storage at the CMA, its last original layers of blue paint hidden beneath a mask of restoration treatments undertaken in the 1900s. Although considered one of the most significant paintings within the early Italian collection, its complicated restoration history and physical state rendered it largely unexhibitable. In the most recent conservation treatment, original paint layers were revealed, allowing unparalleled access to Pintoricchio’s original composition, freed from past interventions. This allowed conservators to embark on the rediscovery and reexamination of one of the more damaged paintings within the CMA collection and use cutting-edge technologies to better understand the materials and techniques used by the artist. Through a large digital display, visitors can traverse the layers of the painting and its conservation treatment, examining changing details as if magnified under a microscope.