Restoration of sculptures from the Barefoot Trinitarians Convent

The work presented lack of preparation and polychromy on a large part of the front surface and adhered surface dirt that obscured and distorted the perception of the work, caused by environmental pollution, greasy fumes, dust, candle wax, etc.

The polychrome was yellowed due to the presence of oxidized layers of varnish and, in addition, the work suffered an attack by xylophagous insects in the past.

Conservation-restoration work:

• Consolidation of polychromy to stop the risk of detachment. 
• Various cleaning jobs, first superficial and later chemical cleaning. 
• Saturation of the polychrome and stucco, thus leveling the surface and preparing it for chromatic reintegration. 
• Chromatic reintegration with varnish paints, soluble in aromatic solvents that do not damage water-based gilding. Watercolors were used on the carnations.
• Final protective varnishing appropriate to the nature of the work.

The sculpture was intervened previously. It is thought that it was fragmented and that the fragments were attached. Likewise, the piece was re-plastered and re-polychromed on its mantle and clothing. The carnations, the globe and the cherubs at the feet of the virgin retain their original polychrome.

Likewise, the presence of a strong oxidized varnish was observed, which acted as a yellowish filter, altering the original colors. The sculpture had a layer of dirt adhered to it.

Conservation-restoration work:

• Careful mechanical removal of dirt and varnishes with a scalpel. Removed rusty varnishes and dirt on the underside.
• Re-plastering of preparation lagoons
• Polychromy and leveling of the pictorial layer.

Due to the application of repaints, the work had a somewhat rough appearance similar to that produced by plastic paint. It had oxidized glitter on the original water-based gilding and the head of the cherub at the feet of Saint Anthony was dislocated from its original position. As in the other restored pieces, there was a large presence of dirt and wax remains that caused losses in the polychrome and various deteriorations.

Conservation-restoration work:

• Cleaning.
• Removal of repaints using a scalpel, making it necessary to remove the layer of stucco next to the repaint. The glitter overlays arranged on the gold ones were chemically removed.
• Modeling of volumetric faults.
• Plastering and leveling the polychrome layer.
• Placing the pieces in their original place.

The piece had adhered surface dirt, caused by dust and other types of environmental pollution such as greasy fumes. This layer of superficial dirt caused the work to have a matte, dull and blackish appearance, which completely altered the correct aesthetic perception of the piece. Likewise, glitter repaintings could be seen on the water-based gilding with fine gold, which hid the inimitable shine of clean gold. Reintegrations of previous interventions and remains of wax were also found.

The silver crown that the image wears is not the original, it was donated in the 19th century. XX and was slightly blackened. There was also loss of volumes and fragments in especially delicate areas such as the hands.

Conservation-restoration work:

• Superficial cleaning of dirt, removal of glitter and oxidized varnishes that yellowed the polychromes.
• Volumetric reintegration of the fingers.
• Application by impregnation of a layer of varnish for saturation.