An Italian restorer denied removing the lucky testicles of a bull mosaic located in a Milan shopping arcade during recent preservation work [1].
The dispute centers on a cherished local tradition where visitors interact with the artwork for good fortune. Because the mosaic is a public focal point, any perceived change to its anatomy sparked concerns among those who follow the custom [1, 2].
The bull mosaic is situated on the floor of a grand shopping arcade in Milan [1, 2]. For years, thousands of passersby have worn down the image by stamping or spinning on the bull's testicles [2, 3]. According to local tradition, visitors perform three spins on the area to ensure good fortune [3].
This constant physical contact necessitated restoration efforts to prevent further deterioration. Work on the mosaic was reported as complete on May 29, 2026 [2]. While some reports indicated the testicles were restored to their former glory [2, 3], other accounts suggested the features had been removed entirely [1, 2].
The unnamed restorer said he did not remove the lucky testicles during the process [1, 2]. The work aimed to stabilize the tiles that had been eroded by the volume of foot traffic [2, 3].
Despite the restorer's denial, the incident highlights the tension between preserving ancient art and allowing the public to maintain living traditions. The mosaic continues to be a destination for tourists and locals seeking luck, a practice that continues to threaten the physical integrity of the stone [1, 3].
“Visitors traditionally perform three spins on the bull’s testicles for good fortune”
This situation illustrates the conflict between cultural heritage preservation and 'folk' traditions. When a piece of art becomes a tactile ritual object, the physical wear caused by the public necessitates intervention, but any alteration to the object's perceived 'power' or appearance can lead to public outcry and conflicting reports on the outcome of the restoration.
