Workers in Milan have completed a restoration of the city’s famous bull mosaic in the Galleria Vittorio Emanuele II, but the result has sparked fury among locals who claim the cherished landmark has been ‘cleaned to death’. The mosaic, which depicts a bull and is believed to bring good luck to those who stand on its genitals, now appears noticeably brighter and smoother, with critics accusing restorers of stripping away its historic patina.
Social media erupted with accusations of ‘cultural vandalism’ as images of the newly polished bull went viral. ‘It looks like a cheap tourist souvenir,’ said one commentator. Another compared the work to the botched restoration of a fresco of Jesus in Spain a decade ago, which became infamous as ‘Monkey Christ’. The controversy has reignited a broader debate in Italy about the balance between preservation and overzealous repair.
The Galleria, a 19th-century shopping arcade, is a symbol of Milanese elegance. The bull mosaic has been a fixture in the centre of the octagonal floor for over 140 years. Tourists and locals alike have long paused to place a heel on the bull’s testicles, a tradition said to ensure a return to Milan. But after weeks of work, the mosaic’s aged colouring has been replaced with a flat, uniform tone that detractors say drains the artwork of its character.
‘They have erased history,’ said a shopkeeper who works nearby. ‘The scratches, the wear, that was the story of the city. Now it’s like a plastic floor.’ The restoration was carried out by the city council in partnership with a luxury brand, sparking suspicion that commercial interests were behind the decision. Critics claim the mosaic was polished to appeal to high-end shoppers rather than to preserve its authenticity.
A spokesperson for the city’s cultural department defended the work. ‘The mosaic had suffered decades of foot traffic and environmental damage. Our aim was to restore it to its original condition using modern techniques. The colour is true to the original design.’ But many remain unconvinced, pointing to archival photographs that show a darker, more muted palette.
The row comes amid growing concern in Italy about the management of cultural heritage. From the Colosseum to the canals of Venice, restoration projects have often ignited public anger. The Galleria’s bull is the latest flashpoint. For the people of Milan, it is not just a piece of stone. It is a touchstone of identity. And now, many feel that touchstone has been sanded smooth.
As one passerby put it: ‘They have cleaned it so much that the luck has been scrubbed away.’
