Restoration of alabaster relief "Virgin and Child" attributed to Gregorio Pardo
The Virgin and Child relief, attributed to the Renaissance sculptor Gregorio Pardo, is a small high-quality alabaster medallion.
Restoration of alabaster relief "Virgin and Child" attributed to Gregorio Pardo
Stolen at the end of the 20th century, the relief was damaged when it was recovered. Fragmented into ten pieces, it presented problems highlighting cracks, adhering dirt and the loss of the original polychrome. The intervention, carried out with the criterion of minimum intervention, reversible and differentiable technique at close range, has allowed an aesthetic restitution and the protection of relief and support over time.
The relief Virgin with the child, attributed to the sculptor Gregorio Pardo, belongs to a series of small alabaster medallions, very Italian, that follow the model created by Diego de Siloé, which are attributed to the “Burgos school”. It is a type of work of small size, of an intimate character for oratorios, but that reaches a high level of quality and beauty. It presents an oval format in which the figure of the Virgin is inscribed with a half body and in a three-quarter position, who holds the Child with her left arm, while holding him with her right hand.
El Niño, in slight contraposto, caresses his mother's chin with his right hand while with the left he grasps his index finger. The position of the head of the Virgin, slightly inclined towards her son, puts the two figures in communication.
The Virgin wears a tunic and mantle tied to the chest by a brooch. Above the head is a toque that swells and flaps, producing wide folds that expose the hair with wide undulations behind the ear and a lock that falls in front of it. El Niño wears a long tunic and his hair is made of smooth strands.
A chain of cherubim surrounds the scene, with blond hair and swollen cheeks, between which is placed a long ribbon of folded cloth.
The scene is set on a cobalt blue background, on which the natural light color of alabaster stands out. All the hair and wings of the cherubs are golden and the lips and nostrils are decorated with red vermilion.
The frame that supports the relief is oval, molded and gilded to the water.
The general opinion attributes these reliefs to the workshops of Diego de Siloé or those of Felipe Bigarny. However, some authors have attributed them to Gregorio Pardo. Born and trained in Burgos and Zaragoza, this sculptor moved to Toledo where he married the daughter of architect Alonso de Covarrubias and where he developed most of his activity, mainly in the cathedral. On the death of his father, the sculptor Felipe Bigarny, assumed the direction of his workshop. Gregorio Pardo shows a style characterized by great refinement and the search for formal beauty in the Italian way, manifesting a clear knowledge of classical vocabulary and an adaptation to Italian Renaissance models. His work presents correct forms, a refined technique and an expressiveness that approaches Mannerist forms.
The relief was stolen in the nineties of the twentieth century and later recovered although with some damage. For this reason, its intervention was considered necessary, in order to achieve a correct recovery of the relief and its framework, which is currently exhibited in the museum of the Basilica of the Assumption of Our Lady of Colmenar Viejo.
Initial state
At the surface level, the relief had a dull and darkened shade due to grease dirt and adhered dust particles.
Initial state
At the surface level, the relief had a dull and darkened shade due to grease dirt and adhered dust particles.
Initial state
The blue polychrome background was largely lost and had the remains of two ancient repolicromados.
Restoration process
De-constructability
Restoration process
Cleaning
Restoration process
Volumetric reintegration
Restoration process
Chromatic reintegration
Restoration process
Frame and rear mounting
Restaurants
At the structural level, it presented numerous cracks and fissures, both in the alabaster and in the wooden frame. The alabaster piece was broken into ten fragments due to some trauma. Fortunately, the fractures were located in the areas of less thickness of the piece, so they did not affect the most important parts of the figures. At the surface level, the relief had a dull and darkened shade due to grease dirt and adhered dust particles.
The blue polychrome background was largely lost and had the remains of two ancient repolicromados. The golden zones showed some wear in the most outstanding areas, as well as some oxidation in the varnishes. The frame was very altered, fragmented into six parts and the coat of gold very worn, presenting dirt and oxidation of varnish. The wooden back cover had some cracks in assembly areas.
The entire restoration process was considered following the criterion of minimal intervention, reversible technique and differentiable at close range.
Once the relief was removed, a chemical cleaning of the alabaster was carried out. The blue patches in the background were removed. The golden areas were cleaned with alcohol. Once the cleaning was completed, the stone material was consolidated by sealing the pieces with inert epoxy resin pigmented in a clear tone.
Then the volumetric reintegration was carried out in those areas where the lack of volume altered the reading of the whole, using watercolor colors in light veils and plots depending on the type of pond. In the golden areas, fine gold was used in the lamina attached to the mixture.
Finally, as protection, it was varnished with acrylic resins.
On the frame and back, the process began with the removal of adhesive remnants used in a previous restoration. The woods were then cleaned with a mixture of solvents in different proportions depending on the needs of each area. A preventive antixylophagous treatment and a waterproofing treatment were applied to the rear with a laminate of fiberglass and epoxy resin.
Once the woods were prepared, the frame pieces were adhered with polyvinyl acetate. To provide greater strength to the frame, fiberglass rods were inserted to strengthen the joints of the different pieces. The cracks showing displacement of planes were filled to close the alteration pathway. The missing volumes were replenished with resin. The same procedure was followed in the case of the rear cover.
Then the gold was cleaned. Fine gold sheets were applied to the mixture, which subsequently became worn. As a final protection, a varnish with acrylic resins was applied.
Finally, the final assembly of the work was carried out.