We are here with Chiara Rostagno, the Director of the Museum Cenacolo Vinciano here in Milan. And in this museum, the masterpiece is The Last Supper by Leonardo DaVinci. Thank you for this time. What is the main characteristic of this place, why is it so important, so magic for the history, why is it so important for people all over the world? Thank you, Andrea, for your question. This place is really not common and it became really important immediately when Leonardo finished the painting at the beginning of the century, people started to visit this place. So we can say surely that this is a sort of natural born museum and the painting was really important. Also during Renaissance, people started to visit this place and it was immediately clear that it was so fragile and this is the problem that we have also today, the painting was really immediately damaged. The reason why is because Leonardo adopted an experimental technique. This is a wall painting, basically it's not a fresco and we have a lot of problems for the conservation of this masterpiece. That's the reason why, today, we have a lot of visitors, of course, more or less half a million of people during the year, 1,300 per day but we cannot meet only 30 people every 15 minutes because of the program of the conservation of the painting. The point is the way that Leonardo painted this painting, so it's not a fresco, it's painted on dry wall? Yeah. And because of this, there is in a way, the reason of a management problem that you're facing as a director nowadays comes from the origin of the painting itself. The fact that it's fragile, it started being deteriorated year after year. And nowadays, when was the moment that the minister that this museum belongs to decided to start the restoration? The other thing, after the restoration, what is the impact of the people that enter here, why can so many people damage it, so big lines can damage, or also the dust can damage it? Andrea, let me say that during the last century there was several interventions for preservation of the painting. The last one was started around 1978, and it was finished after 21 years, in 1999. It was really important because for the first time in the history of painting, they decided to remove the layers that were added during the centuries in the idea to preserve it. So, this is the problem and after the last restoration, they started to work also in the indoor condition. Here we are in one of the most pure places all around the world, in a kind of big frame, this building is a kind of wide camera aecause here we have no pollution, no dust, let me say that here is not a common place to take care of a painting. Daily, we are working in that direction because we daily try to find better conditions for the preservation of the painting. Let me say that this is one of the most important aims of my period because I started last year to be the director of the museum in November of the last year and immediately, I decided to have here a kind of reserve center. We are now daily working with a lot of universities as the City University of Hong Kong, Politecnico di Milano, Milano Bicocca, State University, and also Bocconi, of course. Now we are really glad because recently we started to be a center of the most important council research of Italy, that is the CNR, that is the best in Italy for research. We tried to work with also the scientific department of our ministry that is the Istituto Superiore Centrale del Restauro because we want to improve, to always have better conditions. Also to preserve the painting and also to work in the light of renovation of our museum and perhaps to be able to have more visitors and to change the way to use and live inside our museum. We are facing a good example of heritage management where there is a combination of research and curatorship with management and engaging the visitors. In a way, we can say that working on the better condition for the visit allows eventually to increase also the number of people that will be able to enter in this room. We hope more than thirty people or more slots, in order to allow more people to visit it, so getting more revenue during the year. We're back with a very concrete and clever site to look to the preservation and conservation of the painting itself. In order to go further, you mentioned the central research institute, The idea is to study in order to do what? Because the point is, this is the painting, this is what the painting says, The Last Supper. The story of The Last Supper is quite easy to understand. The goal is also to allow more people to enter into contact with it. What about education? What about helping the visitors here to live with their own specific and unique experience? What are you doing in order to help and use the knowledge coming from the research in order to market that and to engage the people? Of course, Andrea, this is a really important aim for us, because in Italy, museums are a place of culture and they are aimed to improve study and research. This is an important point in our Italian experience. It's not a place to preserve something, it's a place where you can help people to understand how the relationship between people and cultural heritage can help. We want to understand how to improve our culture. How, not only to be proud of it, but also to understand our future looking at our heritage. Let me say that in our mind, our museum is looking at the future. Of course, we have a strong important history on the back. We have the memories of the big and strongest periods of the Renaissance here. We can also understand the relationship between renovation and the traditional expression because inside the refractory we have not only Leonardo, but we also have Donato Montorfano that was a really important great painter in the North part of Italy of the age and he surely is an expression of tradition. Let me say that our museum works strongly in that direction to give value to the past, looking forward to the future. That's our aim, of course. The research has started only a few months ago, and so we have work hard, but we have also today some important results. We would like to provide also an scientific experience to our visitors because they can understand not only the value of the important heritage that we have inside the museum. But also, the heritage of a culture that has been working for five centuries trying to keep Leonardo Da Vinci's masterpiece safe. That's the reason why we want to improve our ability to work with the kids, with new generations to help them understand how amazing it is to work on our cultural heritage to be able to work in a different light for the future. Basically, we would like to be the opposite of the common idea of the museum because when you're talking with people, they have the idea of museums like a place without changing, with a lot of dust. Let me say that we want to be without dust, surely, for the preservation of Leonardo, and we want to be a place for innovation. Of course, as you said before, this is a place of research, of course, we can improve our separate system, how our age of system, also the reduction of seismic events and so on. But let me say that the experience here in The Last Supper Museum can be a reverie for people all around the world. We have a lot of important professors and people of science that daily help us, of course, because of Leonardo, but we would like to help little museums all around the world that truly that has programs in research and fundraising to find a way to preserve cultural heritage. We would like to have the real Leonardo code to to the experience of the preserving of the painting here and to give the opportunity to people all around the world who will know our experience and to understand how to preserve their cultural heritage. Thank you very much, Chiara Rostagno, the Director of the Museum Cenacolo Vinciano in Milano. Thank you too.