Processional banners are one of the most recurrent symbols used in processions and religious festivities, incorporating them since the Middle Age. As these pieces are composed of different materials and subjected to constant handling, they often exhibit severe degradation, posing as a challenge for its conservation and restoration. This case study is focused on a processional banner, presumably from the 18th century, depicting, on one side, Saint Michael Archangel and, on the other, Our Lady of the Rosary. The intervention was supported by several analytical techniques such as textile fibres analysis, optical microscopy (OM), scanning electron microscopy with energy dispersive spectroscopy (SEM-EDS), X-ray fluorescence spectroscopy (XRF), and Fourier transform infrared spectroscopy (FTIR). The results provided a better insight on the technological features of the object.
{"title":"Challenges in the conservation and restoration of processional banners – a case study","authors":"A. Dias, A. Bidarra, P. Antunes","doi":"10.14568/cp2020034","DOIUrl":"https://doi.org/10.14568/cp2020034","url":null,"abstract":"Processional banners are one of the most recurrent symbols used in processions and religious festivities, incorporating them since the Middle Age. As these pieces are composed of different materials and subjected to constant handling, they often exhibit severe degradation, posing as a challenge for its conservation and restoration. This case study is focused on a processional banner, presumably from the 18th century, depicting, on one side, Saint Michael Archangel and, on the other, Our Lady of the Rosary. The intervention was supported by several analytical techniques such as textile fibres analysis, optical microscopy (OM), scanning electron microscopy with energy dispersive spectroscopy (SEM-EDS), X-ray fluorescence spectroscopy (XRF), and Fourier transform infrared spectroscopy (FTIR). The results provided a better insight on the technological features of the object.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42182294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marian Aguiar, Gonçalo Vasconcelos e Sousa, Joana Teixeira, Maria Luísa Soares
At the end of 2019, the 5th edition of the Portuguese-Brazilian Conference on Conservation and Restoration took place, and was organized by CITAR (Catholic University of Portugal) in collaboration with the Federal University of Rio de Janeiro. During the 9th and 10th of December topics were discussed related to recent events, such as the tragic fire in the National Museum of Rio de Janeiro, which occurred just over a year earlier; to the challenges posed by the conservation of new media art, contemporary art and scientific collections, as well as to the preservation of so-called more "traditional" cultural assets; without neglecting the necessary joint reflections about training on conservation and restoration on both sides of the Atlantic.
{"title":"5th Portuguese-Brazilian Conference on Conservation and Restoration – an introductory note","authors":"Marian Aguiar, Gonçalo Vasconcelos e Sousa, Joana Teixeira, Maria Luísa Soares","doi":"10.14568/cp38fm2","DOIUrl":"https://doi.org/10.14568/cp38fm2","url":null,"abstract":"At the end of 2019, the 5th edition of the Portuguese-Brazilian Conference on Conservation and Restoration took place, and was organized by CITAR (Catholic University of Portugal) in collaboration with the Federal University of Rio de Janeiro. During the 9th and 10th of December topics were discussed related to recent events, such as the tragic fire in the National Museum of Rio de Janeiro, which occurred just over a year earlier; to the challenges posed by the conservation of new media art, contemporary art and scientific collections, as well as to the preservation of so-called more \"traditional\" cultural assets; without neglecting the necessary joint reflections about training on conservation and restoration on both sides of the Atlantic.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48056991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. M. Cardeira, A. Cardoso, C. Tavares, F.A.Baptista Pereira, A. Candeias
This study illustrates the analytical characterization of 20 academic nude paintings from the collection of the Faculty of Fine Arts of the University of Lisbon, made between 1899 and 1918. The study was performed by combining in situ non-invasive methods (infrared reflectography, radiography, and EDXRF) and laboratory microanalytical techniques (micro-Raman, micro-FTIR, and SEM-EDS). Infrared reflectography revealed underdrawings, underpaintings, painting style, and execution methods. Analytical techniques allowed the identification of painting materials, such as gypsum, lead white, barium white, zinc white, yellow ochre, chrome yellow, zinc yellow, red ochre, vermilion, ultramarine blue, hematite, Mars red, and lamp black. This study provides valuable information on the academic nude paintings’ palette and its artistic production technique. Finally, it intends to continue a systematic analytical study of the Faculty of Fine Arts’ collection, allowing the characterization of Master painters, their students, and other authors.
{"title":"Analytical characterization of academic nude paintings from the Faculty of Fine Arts of the University of Lisbon","authors":"A. M. Cardeira, A. Cardoso, C. Tavares, F.A.Baptista Pereira, A. Candeias","doi":"10.14568/CP2021006","DOIUrl":"https://doi.org/10.14568/CP2021006","url":null,"abstract":"This study illustrates the analytical characterization of 20 academic nude paintings from the collection of the Faculty of Fine Arts of the University of Lisbon, made between 1899 and 1918. The study was performed by combining in situ non-invasive methods (infrared reflectography, radiography, and EDXRF) and laboratory microanalytical techniques (micro-Raman, micro-FTIR, and SEM-EDS). Infrared reflectography revealed underdrawings, underpaintings, painting style, and execution methods. Analytical techniques allowed the identification of painting materials, such as gypsum, lead white, barium white, zinc white, yellow ochre, chrome yellow, zinc yellow, red ochre, vermilion, ultramarine blue, hematite, Mars red, and lamp black. This study provides valuable information on the academic nude paintings’ palette and its artistic production technique. Finally, it intends to continue a systematic analytical study of the Faculty of Fine Arts’ collection, allowing the characterization of Master painters, their students, and other authors.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49644394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Frederico Hudson Ferreira, Fernanda Freitas Costa de Torres
The Workshop-School of Restoration of Modern Furniture is an action of Teaching, Research and Extension of the Federal Institute of Brasilia in the Federal District coordinated by teachers of the Center for Research in Modern Furniture Campus Samambaia (IFB/CSAM) which aims to preserve pieces of modern furniture, created and produced in the 1960s and 1970s, exclusively for the Palaces of Brasilia. It will be described in synthesis the actions that have been developed, followed by a case study: the restoration of a table designed by Anna Maria Niemeyer (1930-2012) for the former President of the Republic of Brazil Juscelino Kubitschek (1902-1976). This restoration is part of a set of actions to preserve part of the collection of the Palaces of the Presidency of the Republic of Brazil under the coordination of the Directorate of Historical Documentation of the Presidency.
{"title":"Workshop-School of restoration of modern furniture","authors":"Frederico Hudson Ferreira, Fernanda Freitas Costa de Torres","doi":"10.14568/cp2020027","DOIUrl":"https://doi.org/10.14568/cp2020027","url":null,"abstract":"The Workshop-School of Restoration of Modern Furniture is an action of Teaching, Research and Extension of the Federal Institute of Brasilia in the Federal District coordinated by teachers of the Center for Research in Modern Furniture Campus Samambaia (IFB/CSAM) which aims to preserve pieces of modern furniture, created and produced in the 1960s and 1970s, exclusively for the Palaces of Brasilia. It will be described in synthesis the actions that have been developed, followed by a case study: the restoration of a table designed by Anna Maria Niemeyer (1930-2012) for the former President of the Republic of Brazil Juscelino Kubitschek (1902-1976). This restoration is part of a set of actions to preserve part of the collection of the Palaces of the Presidency of the Republic of Brazil under the coordination of the Directorate of Historical Documentation of the Presidency.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47394340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Acrylic sheet, also known by the commercial names Plexiglas or Perspex, consists of poly(methyl methacrylate) (PMMA). Attractive to artists since its development in the 1930s, it became especially popular during the 1960s. In Portugal, knowledge about its use by artists and its condition is scarce. In this work, the main Portuguese art collections were surveyed with the goal of gaining an overview of the use of acrylic sheet in the Portuguese art context and its current condition. The paper describes the methodology used and the results obtained regarding 137 artworks by 69 different artists registered as containing acrylic. Results show that this material is being used by Portuguese artists at least since the 1960s. It has been used in several artistic forms, from painting and sculpture to photography, installation, objects/reliefs, and artist books. Most of the artworks were in good or fair condition. The main problems observed were dust and dirt deposits, abrasion, and scratches.
{"title":"A survey of acrylic sheet in Portuguese art collections","authors":"Sara Babo, Joana Lia Ferreira","doi":"10.14568/CP2020075","DOIUrl":"https://doi.org/10.14568/CP2020075","url":null,"abstract":"Acrylic sheet, also known by the commercial names Plexiglas or Perspex, consists of poly(methyl methacrylate) (PMMA). Attractive to artists since its development in the 1930s, it became especially popular during the 1960s. In Portugal, knowledge about its use by artists and its condition is scarce. In this work, the main Portuguese art collections were surveyed with the goal of gaining an overview of the use of acrylic sheet in the Portuguese art context and its current condition. The paper describes the methodology used and the results obtained regarding 137 artworks by 69 different artists registered as containing acrylic. Results show that this material is being used by Portuguese artists at least since the 1960s. It has been used in several artistic forms, from painting and sculpture to photography, installation, objects/reliefs, and artist books. Most of the artworks were in good or fair condition. The main problems observed were dust and dirt deposits, abrasion, and scratches.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42622629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The photographic collection by the sports photographer Roland Oliveira (1920-2007), belonging to Sport Lisboa e Benfica, is comprised of an estimate of 40000 images captured in 35 mm silver gelatine negative film, which are currently rolled and stiffened. This study has strived to survey the current procedures undertaken by Portuguese institutions concerning the conservation of these type of materials, by conducting a questionnaire. It became evident that new treatments to allow the flattening of rolled films were needed. Therefore, a conservation treatment was developed to unroll and restore the original flatness of the negatives under study. The main purpose of the treatment was to enable proper handling, digitization and storage of this collection. The developed procedure was based on a de-shrinking process (chamber with vapours of glycerol, acetone and water) adapted from the conservation of motion-picture film literature, combined with flattening under weights. This paper discusses the adopted methodology which allowed to achieve positive results.
体育摄影师罗兰·奥利维拉（Roland Oliveira，1920-2007）的摄影集属于里斯本体育俱乐部（Sport Lisboa e Benfica），估计由40000张用35毫米银明胶底片拍摄的图像组成，这些底片目前正在轧制和加固。这项研究通过问卷调查，努力调查葡萄牙机构目前在保护这类材料方面采取的程序。很明显，需要新的处理方法来使轧制薄膜变平。因此，开发了一种保护处理方法来展开和恢复所研究底片的原始平整度。处理的主要目的是对这些藏品进行适当的处理、数字化和存储。所开发的程序基于一种去收缩过程（带有甘油、丙酮和水蒸气的腔室），该过程改编自电影文献的守恒，并结合了在重量下的压平。本文讨论了所采用的方法，从而取得了积极的成果。
{"title":"Unveiling Roland Oliveira’s photographic images: development of an unrolling and flattening treatment for silver gelatine 35 mm negative films","authors":"Joana Silva, Sandra Garrucho, Filipa Carvalho","doi":"10.14568/CP2020072","DOIUrl":"https://doi.org/10.14568/CP2020072","url":null,"abstract":"The photographic collection by the sports photographer Roland Oliveira (1920-2007), belonging to Sport Lisboa e Benfica, is comprised of an estimate of 40000 images captured in 35 mm silver gelatine negative film, which are currently rolled and stiffened.\u0000\u0000This study has strived to survey the current procedures undertaken by Portuguese institutions concerning the conservation of these type of materials, by conducting a questionnaire. It became evident that new treatments to allow the flattening of rolled films were needed. Therefore, a conservation treatment was developed to unroll and restore the original flatness of the negatives under study. The main purpose of the treatment was to enable proper handling, digitization and storage of this collection. The developed procedure was based on a de-shrinking process (chamber with vapours of glycerol, acetone and water) adapted from the conservation of motion-picture film literature, combined with flattening under weights. This paper discusses the adopted methodology which allowed to achieve positive results.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49424970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tiles are found on numerous Portuguese facades. The exposure to external agents causes degradation and, in some cases, detachment of these tiles. In the coastal area of Aveiro city (Portugal), the building's facades, exposed to adverse atmospheric conditions are in constant contact with aggressive agents, which cause the detachment of a significant amount of facade tiles. Within the scope of the SOS Azulejo Project, and in partnership with the University of Aveiro, Fábrica Centro Ciência Viva de Aveiro, the Prison of Aveiro and DDL Arg, this study encompasses the conservation of a tile facade, after degradation and detachment of the ceramic body. Several replicas of the tiles were made in the specific context of a training action that took place at the Aveiro Prison. The technical study was carried out to analyse the compatibility and reversibility of the mortars and ceramic tiles used. The mortars were tested in their fresh and hard state for consistency through spreading, flexural tensile strength, compressive strength, water absorption, and pull-off adhesion tests on bricks surfaces. The results were satisfactory and the replicated tiles were applied on a building’s facade on the National Tile Day, as part of an awareness campaign.
瓷砖出现在许多葡萄牙的立面上。暴露在外部介质中会导致这些瓷砖的降解，在某些情况下会脱落。在阿威罗市(葡萄牙)的沿海地区，建筑的立面暴露在不利的大气条件下，不断与侵蚀剂接触，导致大量立面瓷砖脱落。在SOS Azulejo项目的范围内，与阿威罗大学(Fábrica Centro Ciência Viva de Aveiro)、阿威罗监狱(Prison of Aveiro)和DDL Arg合作，该研究包括在陶瓷体降解和分离后对瓷砖立面的保护。这些瓷砖的几个复制品是在阿威罗监狱进行的训练活动的具体背景下制作的。对所用砂浆和瓷砖的相容性和可逆性进行了技术研究。通过铺展、抗折抗拉强度、抗压强度、吸水率和砖表面的拉脱附着力测试，测试了砂浆在新鲜和坚硬状态下的一致性。结果令人满意，在全国瓷砖日，作为宣传活动的一部分，复制的瓷砖被应用在建筑物的立面上。
{"title":"Case study of a tile facade intervention – Aveiro, Portugal","authors":"S. Moutinho, A. Velosa","doi":"10.14568/cp2020068","DOIUrl":"https://doi.org/10.14568/cp2020068","url":null,"abstract":"Tiles are found on numerous Portuguese facades. The exposure to external agents causes degradation and, in some cases, detachment of these tiles. In the coastal area of Aveiro city (Portugal), the building's facades, exposed to adverse atmospheric conditions are in constant contact with aggressive agents, which cause the detachment of a significant amount of facade tiles. Within the scope of the SOS Azulejo Project, and in partnership with the University of Aveiro, Fábrica Centro Ciência Viva de Aveiro, the Prison of Aveiro and DDL Arg, this study encompasses the conservation of a tile facade, after degradation and detachment of the ceramic body.\u0000\u0000Several replicas of the tiles were made in the specific context of a training action that took place at the Aveiro Prison. The technical study was carried out to analyse the compatibility and reversibility of the mortars and ceramic tiles used. The mortars were tested in their fresh and hard state for consistency through spreading, flexural tensile strength, compressive strength, water absorption, and pull-off adhesion tests on bricks surfaces. The results were satisfactory and the replicated tiles were applied on a building’s facade on the National Tile Day, as part of an awareness campaign.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66721057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Elin Figueiredo, T. Ferreira, A. Miller, Sílvia O. Sequeira, A. Claro
{"title":"Conservar Património, a consolidation process","authors":"Elin Figueiredo, T. Ferreira, A. Miller, Sílvia O. Sequeira, A. Claro","doi":"10.14568/CP37FM2","DOIUrl":"https://doi.org/10.14568/CP37FM2","url":null,"abstract":"","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":"1 1","pages":"8-9"},"PeriodicalIF":0.3,"publicationDate":"2021-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41323588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ana Vieira (1940-2016) left a set of installations without systematised documentation or set guidelines. In an attempt to preserve her legacy, heirs have promoted exhibitions as a way to document the tangible and intangible characteristics of these complex works. In 2017, there was an attempt to reinstall the video installation The drawing of the girl running away from her support at the Graça Morais Contemporary Art Centre, but without success. However, in 2019, the necessary conditions were met for its reinstallation at the Museum of Art, Architecture and Technology. Through this case study and based on Latour's Actor-Network-Theory, it was demonstrated that the exhibition is a crucial moment in the trajectory of the work and in the analysis of a network of agents, human and non-human, giving rise to documentation that is essential to inform future decision-making.
Ana Vieira(1940-2016)留下了一套装置，没有系统的文档或指导方针。为了保护她的遗产，她的继承人推动了展览，作为一种记录这些复杂作品的有形和无形特征的方式。2017年，有人试图重新安装格拉帕拉·莫莱当代艺术中心的视频装置，这幅画是女孩从她的支持下逃跑的画面，但没有成功。然而，在2019年，它在艺术、建筑和技术博物馆重新安装的必要条件得到了满足。通过这个案例研究，并基于拉图尔的行动者网络理论，展示了展览是工作轨迹的关键时刻，也是对人类和非人类代理人网络分析的关键时刻，产生了对未来决策至关重要的文件。
{"title":"Trajectory and exhibition of a time-based media work. ‘The drawing of the girl running away from her support’ (2014), by Ana Vieira (1940-2016)","authors":"Sofia Gomes, R. Macedo","doi":"10.14568/CP2020062","DOIUrl":"https://doi.org/10.14568/CP2020062","url":null,"abstract":"Ana Vieira (1940-2016) left a set of installations without systematised documentation or set guidelines. In an attempt to preserve her legacy, heirs have promoted exhibitions as a way to document the tangible and intangible characteristics of these complex works. In 2017, there was an attempt to reinstall the video installation The drawing of the girl running away from her support at the Graça Morais Contemporary Art Centre, but without success. However, in 2019, the necessary conditions were met for its reinstallation at the Museum of Art, Architecture and Technology. Through this case study and based on Latour's Actor-Network-Theory, it was demonstrated that the exhibition is a crucial moment in the trajectory of the work and in the analysis of a network of agents, human and non-human, giving rise to documentation that is essential to inform future decision-making.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47738609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The panels of Martyrdom of Saint Sebastian and Saint Lucy, executed after 1610 by the Portuguese mannerist painter Belchior de Matos for the main altarpiece of the chapel of Saint Sebastian and Saint Lucy of Geraldes, Peniche, were subject to an intervention of conservation and restoration which aimed, in the first place, to restore the dignity indispensable to their adoption by the community and to their return to a place of worship. The works had several damages, but the most serious were the structural problems that jeopardized their stability and compromised the aesthetic value of the paintings. Therefore, it was necessary to reassemble the boards using a synthetic adhesive (PVA) with sawdust and phenolic resin microspheres. The frames, with significant lack of wood, were reconstituted with wood in the joints and with a filler paste (Araldite SV427) over a bamboo dowels structure in the grooves where the supports are inserted.
{"title":"Intervention in Mannerists wooden paintings representing Saint Sebastian and Saint Lucy, by Belchior de Matos, constituents of a diptych of the chapel of Geraldes, in Peniche","authors":"Elisabete Ferreira, António João Cruz, C. Rego","doi":"10.14568/CP2020051","DOIUrl":"https://doi.org/10.14568/CP2020051","url":null,"abstract":"The panels of Martyrdom of Saint Sebastian and Saint Lucy, executed after 1610 by the Portuguese mannerist painter Belchior de Matos for the main altarpiece of the chapel of Saint Sebastian and Saint Lucy of Geraldes, Peniche, were subject to an intervention of conservation and restoration which aimed, in the first place, to restore the dignity indispensable to their adoption by the community and to their return to a place of worship. The works had several damages, but the most serious were the structural problems that jeopardized their stability and compromised the aesthetic value of the paintings. Therefore, it was necessary to reassemble the boards using a synthetic adhesive (PVA) with sawdust and phenolic resin microspheres. The frames, with significant lack of wood, were reconstituted with wood in the joints and with a filler paste (Araldite SV427) over a bamboo dowels structure in the grooves where the supports are inserted.","PeriodicalId":55942,"journal":{"name":"Conservar Patrimonio","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47841057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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