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Abstract Varnish layers are optical coatings that act as physico‐chemical barrier between the historical paint layers and the environment. Understanding how varnish materials protect historical paintings over time and in the presence of humidity or organic vapors is of central importance for art preservation. However, probing the behavior of varnish after aging in real conditions remains a challenge. Here the question is addressed by “reshaping” the varnish material from the masterpiece of G. Bellini, the “Transfiguration”, into an optical layer; coupling in situ Ultraviolet‐Visible (UV–vis) and Infrared (IR) ellipsometries, the chemical state is correlated, optical properties and swelling of the varnish in presence of water and organic vapors. It shows that the varnish material aged since the 1950s still exhibits effective water repellence. The methodology may be applied to other relevant historical systems beyond paintings and may help in establishing more efficient preservation strategies for historical artworks.