8 Goldsmithing

8

Goldsmithing

Material/Technique

Iron and damascening; bronze and silver galvanization

Author

Mausoleum: Plácido Zuloaga (iron and damascening). Bronze and silver sculpture, panels and fixtures: Émile Hébert

Origin

Pantheon of Illustrious Men, Madrid

Location

General Cemetery of Reus (Baix Camp county)

CRBMC Register NO

11255

Coordination

M. Àngels Jorba and Pere Rovira

Joan Prim i Prats was born in Reus in 1814 and was assassinated in Madrid in 1870. He was the most important Catalan politician of the 19th century and was Head of Government and Minister of War at the time of his death.

As a head of State, the government ordered the construction of a large mausoleum in the «Pantheon of Illustrious Men» next to the Basilica of Atocha in Madrid.

The city of Reus asked for the remains of its illustrious son to be returned, and on the occasion of the centenary of his death, the remains were moved to Reus, along with the large mausoleum made by Plácido Zuloaga. The monument was installed in a square, among pine trees, in the General Cemetery of Reus.

The mausoleum

It is one of artist’s masterpieces, built in the neoclassical and renaissance styles.

The mausoleum consists of three parts: from bottom to top, the four supporting legs; the sarcophagus, on which the coffin containing the remains rests, and the reclining figure of the general, on top. The central part of the sarcophagus is decorated with embossed bronze and silver panels, with scenes from the battle of Castillejos and the General’s entry into Madrid; four panels with portraits of Roman soldiers; the shield, enamelled, and the name, rimmed and damascened. At the bottom, there are four bronze fixtures, painted and silver plated, with a clock and a skull.

The iron is adorned all over and damascened (inlay of precious metals that form patterns on iron and steel, on a finely striped surface, with a blued finish). 33 goldsmiths worked on it for two years. The piece came with a canopy supported by four columns with florets and a cross in the upper centre. It is currently thought to be missing.

State of conservation

When the mausoleum was moved to Reus (1970), it was placed outdoors in the cemetery, surrounded by the original perimeter fence. It stayed like this for many years, until a glass showcase was built around it. Although this protective structure helped mitigate the deterioration, the metal had suffered temperature and humidity changes over many years.

In general, the mausoleum was in quite a stable state of conservation, but the ornamentation of the sarcophagus had suffered. Its deterioration was mostly due to the rusted iron.

Close-up during disassembly for its documentation and transfer to the CRBMC for conservationrestoration.

Restoration

Mausoleum: Carolina Jorcano (team leader), Xisca Bernat, Lourdes Domedel and Magdalena Gómez. With the collaboration of the interns Laia Contreras and Sílvia Marín Coffin: Montserrat Xirau (coffin),

Years of restoration

2012-2014

General photograph of the mausoleum before the start of the intervention  Mausoleum in the protective glass urn placed in the cemetery of Reus

Close-up of the peeling decoration due to oxidation of the underlying metal Close-up photograph of the corrosion of the metal base covering the damascening

This superficial rust was significant, above and below the noble metal, leading to bubbles, uplifts, warps, peeling and losses of the material. There were also several alterations to the silver, which had blackened and contained several gaps. There were parts which had been repainted with purpurin.

The reclining figure had been given a surface layer of protection which, over time, had oxidized resulting in black spots of silver sulphide and green spots of copper chloride, which had migrated to the surface from the bronze sculpture.

A thick layer of grease in the holes of the screws and in the couplings of the different pieces, applied during the assembly in Reus, without doubt prevented their oxidation, and the whole piece was disassembled without any problems.

Intervention and final assembly

The conservation-restoration intervention involved a drastic mechanical cleaning of the grease, especially in the internal areas; the external decorative parts were cleaned, piece by piece, mechanically and chemically using different gels.The bent and raised parts of the gold and silver threads that were still in place, in some case stuck with rust, were attached.

Finally, a layer of inhibitor was applied to protect the metal and to preserve it from damage caused by external agents. Altogether, it was a long process, carried out by a team of 4 restorers and 2 interns, over 10 months.

For the assembly, the existing documentation was followed, since each of the pieces of the whole work was numbered and identified. Also, from the beginning, each piece had been engraved or painted with an identifier–letter or mark.

Currently, the mausoleum of General Prim is back in the cemetery of Reus, where a new exhibition space has been set up, with controlled environmental conditions to ensure its future conservation, allowing the general public to visit and admire the extraordinary masterpiece by Plácido Zuloaga.

— Xisca Bernat and CRBMC

 Left column: Images taken from the book El Damasquinado de Eibar, 1981. Various authors. Right column: Example inside the mausoleum

Surface preparation

Striating the metal with a knife tip

Damascening

Inlaying thin metals, gold or silver onto iron or steel

Bluing

Coating the surface of a ferrous metal with blackening to prevent it from rusting Blackening: Very thin layer of bluish metallic sulphides and chlorides

Chipping

Action of engraving a pattern in relief using a gouge, burin, or chisel

Visual comparison in the same piece Photograph of the mausoleum once the intervention was completed and of the subsequent assembly at its new location in the cemetery of Reus

Close-up of chemical cleaning using gels

Title/Topic

Processional cross of Sant Joan de les Abadesses

Author

Unknown

Date/Period

Girona workshop, first quarter of the 14th century

Origin

Monastery of Sant Joan de les Abadesses, Sant Joan de les Abadesses (Ripollès county))

Location

Episcopal Museum of Vic, Vic (Osona county)

CRBMC Register NO

11943

The cross of Sant Joan de les Abadesses is a processional cross and also a reliquary cross, a common type of cross in high medieval Europe. In terms of its manufacture, it was made in a goldsmith’s workshop in Girona at some point in the first half of the 14th century.

The support of this cross potent is made of wood and is covered by 18 plates and 10 medallions of silver with gilding and enamels in the centre. Most of the wood is covered with a thinner silver band, decorated with parallel stripes that form rhombuses and flowers inside.

The remarkable transparent enamels stand out for their beauty and quality, and are made in low-relief, a technique that emerged in Siena and quickly spread to the great artistic hubs of Gothic Europe.

Thanks to the work carried out at the Centre for the Restoration of Artefacts of Catalonia (CRBMC), two parchments and some relics, wrapped up in small bundles, were found inside.

State of conservation

The relics contained small fragments of organic and inorganic matter.Meanwhile,the parchments contained some important information.

One of them certifies that the relics are of the True Cross, possibly in 11th century writing. Based on this dating, it is believed that the parchment and relics may have come from a previous reliquary-cross owned by the monastery.

The other parchment is written on both sides and mentions two interventions on the work: a repair carried out on the cross in 1508, and a clean and examination of the relics in 1633.

Intervention

A decision was taken to carry out an in-depth analysis of the piece prior to its restoration, examining the composition of the enamels, the composition and manufacture of the metals, and the morphology of the wood, to understand the causes of the alterations. As a result, a project was launched involving the Episcopal Museum of Vic (MEV), as the owner of the piece, the Polytechnic University of Catalonia (UPC), to carry out all the analyses, and the CRBMC, to perform the restoration and coordination of the work.

First, the components of the cross were separated, after which a treatment of the metals was carried out involving a clean with bicarbonate to remove the deposits, dust and corrosion. Work was carried out on some of the rusted nails of the plates and on some of the copper chloride in the cracks and welds. Around 100 iron nails were replaced with silver ones, to prevent further corrosion. The remains were then removed from the layer of shellac.

Xylophagous insects had infested the pinewood base in some areas. As a precaution, the base was placed in the CRBMC’s anoxic chamber for a month, and the wood of the arms was then reinforced.

As for the relics and parchments, they were also treated by the corresponding specialized departments. The intervention criteria agreed with the conservators of the MEV involved displaying the items in order to give them the exposure they deserved, after so many centuries hidden away.

— CRBMC

Scientific photography

Víctor Illera and Ramon Maroto

Analysis techniques

Trinitat Pradell (UPC) i Ricardo Suárez (CRBMC)

Years of restoration

2015-2017

At the end of the conservationrestoration intervention

 Discovery of the package containing the relics inside the cross

 One of the parchments attesting to the presence of relics inside the cross Close-up of Christ’s face, in which we can see the intricate goldsmithing work, after restoration

Title/Topic

True Cross of Anglesola

Date/Period

12th century (interior), 17th century (outer case)

Dimensions

18.5 × 7 and 10 (upper and lower crossbars, respectively) × 1.7 cm

Coordination

M. Àngels Jorba

Restoration

M. Àngels Jorba and Carolina Jorcano

Years of restoration

2013-2014

This is a Romanesque cross, which has been in Anglesola for centuries. According to tradition, relics of the True Cross can be found preserved inside.

The cross is deposited within another, dated from the 17th century, in the form of a box or case with a gold lid, chiselled and inlaid with coloured and transparent glass. For display purposes, it is embedded on a silver base, embellished with chisel work, which dates from 1676, and is decorated with two angels holding a red cord.

State of conservation and intervention

A comprehensive examination was initially carried out on the oldest cross, as a preliminary analysis of its state of conservation. The owners of the piece were told about this study and informed that in order to learn more about the state of internal conservation, it would be necessary to disassemble and lift the glass cross, the sides and the plates. This would help determine if the cross is made of solid wood and which sacred relics are located where.

The process was started very cautiously. The cross was in a poor state of conservation and appeared to be very fragile. The first step was to remove the long nails in order to detach the strips from the sides 1, right and left. These strips originally belonged to a large Gothic processional cross, and were reused in the form of a staple to bind and hold the cross together. They cover the sides and part of the front and back of the cross. Under the cross there is another strip, which is older and thinner, with fine embossed decorations of crosses and stripes. It covers the exact thickness of the right and left side of the cross. There are broken folds. The strip corresponding to the lateral part 2, the upper right, when removed, confirmed that, indeed, there is a plate 2, front and back, hitherto totally unknown.

The decorated plates (plate 1, front) are cut to the exact size of the cross and are fastened with silver nails with different points. In the area of the two intersections there is an empty circle of metal that separates the plate into seven different parts, corresponding to each of the arms and through which another plate can be seen (plate 2). Currently, half of the former is missing, and the latter is completely damaged by the inlay of the glass cross.

In the second step, all parts of plate 1 were raised, and the whole of plate 2 was revealed underneath, front and back. The symbolism is the same as the one above, but the execution is better, with larger drawings and a relatively similar to the upper one.

The third step involved lifting the longest longitudinal part of plate 2. For this part of the process, the wooden cross was emptied and refilled with organic material consisting of monocotyledons, pebbles and bone. The section between crossbars was also raised. No more plate sections could be raised.

  Exterior case or cross before the restoration

  Front and back of the inner cross before the intervention revealing the materials from which it is made. Close-up of the inclusion of the glass cross in the central part

Disassembly of the side strip (staple) and extraction of nails. It is from a later period. Side 1, right or left

Side strip below the previous one. Same date as the inner cross. Study. Side 2, right or left

Raising of the front plate. Plate 1, front: parts 1 to 7; back: parts 1 and 2

Front

Plate hidden below the above one. Study. Plate 2, front: 1 to 5 (broken between them)

Back

Plate 2 Plate 1 Plate 2 Plate 1

Relics

We consulted with the historian Francesca Español who informed us that, since the cross probably came from Jerusalem and considering the precision of the drawing of the Holy Sepulchre, it is possible that the material comprising the relics originated in one of these holy places and was converted into precious relics, so highly valued in that era.

The fourth step of the restoration process consisted of cleaning all the plates and nails. The loose plates were cleaned in ultrasonic baths, totally submerged in water and neutral soap. They were subsequently bathed in distilled water to rinse them.

Finally, everything was dried in alcohol baths. The plates that were not removed were cleaned with a mixture of water and alcohol. Using the appropriate tools, the most warped and bent metal parts were flattened so they could be placed properly back into position. To cover the central hole, a thin, transparent plastic plate, similar to methacrylate, was cut to the size of everything that needed to be covered. This also served to prevent the internal material of the relics from falling out. To cover the upper opening, a thin piece of the same plastic was cut, and for the lower area, since side nails needed to be inserted, a small piece of cedarwood was cut to size, to act as a plug. Once the set of pieces (plates 1 and 2, side parts 1 and 2) and the nails had been restored, everything was placed back into its corresponding place. Where possible nails were hammered back in, and the rest was glued with a reversible adhesive. Finally, it was placed inside the gold case and closed. The Romanesque cross was now visible through the glass of the lid.

The broken glass of the small cross containing the fragments of the True Cross was also restored; the silver case containing it and the decorations on the edges were replaced and the cross was cleaned. Since this does not belong to the Romanesque cross, it was decided that it should not form part of the whole piece and should be stored separately.

Conclusion

This project allowed us to completely disassemble the True Cross of Anglesola and carry out a thorough historical study of its composition, manufacture and materials; research which will be added to all previous studies of the cross. Finally, the cross will be put permanently on display, since it is greatly revered in its hometown, and it will be catalogued and placed together with other crosses of the same era and style.

— CRBMC

Front and back after the restoration of the metal plate, still pending the placement of the nails

Title/Topic

Reliquary bust of Saint Peter

Author

Francesc Via

Date/Period 17th century

CRBMC Register NO

12036

Coordination

M. Àngels Jorba

Restoration

Montserrat Cañís

Year of restoration

2013

This piece of silversmithing by Francesc Via, dating from t he 17th century, replaced another wooden reliquary that is also preserved.

It is an extended bust dressed in a tunic, stole and halo. The head of Saint Peter is slightly raised, depicting him as an old man with a beard. The tunic is wide and fitted at the waist, has marked folds and depicts a brocade fabric. The oval reliquary is embedded in the chest, preserved in the Priory church, and houses a fragment of the skull of Saint Peter the Apostle; it features gilded mouldings and a filigree crest with nineteen red glass inserts featuring roses. His left hand is holding the symbolic keys of heaven and his right hand is holding a book by the clasp; the covers are decorated in a similar manner to the clothes; the halo is embossed with ornamentation resembling a wreath; the plinth is octagonal, and at each corner there is a cast iron leaf.

State of conservation

After arriving at the Centre for the Restoration of Artefacts of Catalonia (CRBMC), the bust was carefully examined to check its state of conservation

These goldsmithing works are made of separate pieces joined together with screws, so they can be disassembled if necessary, as was the case here.

The most affected part, which required a more thorough restoration process, was the cuff of the left hand. This area was damaged in several places, and the piece supporting the hand with the keys was broken. There were also two significant fractures on the same sleeve. It should be noted that just the hand and keys together weigh 1,041 grams.

The examination revealed that the plinth was held together by rusty iron nails, which had damaged the silver and wood, and that one of the leaves of the plinth and several nails and screws were missing.

Intervention

The conservation-restoration process involved a thorough clean of all the disassembled pieces using the appropriate products. The bust section was cleaned by hand, since the polychrome right hand could not be disassembled.

Then, all the missing pieces were reconstructed, while in parallel a study was carried out to decide what kind of piece was needed to support the damaged part. The decision was taken to use a more resistant, threaded, piece, with the same construction technique as the original, used by the goldsmith Francesc Via in the 17th century, in order to support and consolidate the left hand, so it could be screwed to the bust.

The two fractures on the sleeve were welded and reinforced internally to support the full weight of the hand and thus prevent any movement.

The plinth was also reinforced with an internal wooden structure, to prevent the plinth base from swaying and the whole bust from moving.

The process was completed with the application of a protective layer to the work to prevent the silver from oxidizing and blackening, and all the parts were reassembled.

— CRBMC

 Reliquary bust of Saint Peter after the intervention

 Close-up before the intervention

 During the disassembly of the base of the bust and separation of the plinth

Saint George killing the dragon. Fountain of the Pati dels Tarongers (Orange Tree Courtyard) of the Palau de la Generalitat

Material/Technique Bronze/casting

Title/Topic

Saint George killing the dragon

Author

Frederic Galcerà Alabart (Barcelona, 1880-1964)

Date/Period

1926

Dimensions

65.5 × 54 × 35 cm

CRBMC Register NO

12278.1

CRBMC Coordination

M. Àngels Jorba and Pere Rovira

Restoration

Carolina Jorcano

This sculpture, which crowns the stone fountain in the Pati dels Tarongers of the Palau de la Generalitat de Catalunya, is a good example of the conservation problems suffered by metal sculptures that are located outside. Over the years, the work has had to be restored several times, due to the deterioration caused by the alteration of the metal.

Conservation history and previous interventions

The first restoration of the sculpture was carried out in the 1970s by Jaume Mayas (restorer) and Eduard Porta (chemist) from the Institute of Prehistory and Archaeology. The sculpture was almost 50 years old and suffering from bronze disease. The tip of the spear was missing and Saint George’s leg was practically broken.

The causes of the alteration of the metal and the deterioration of the sculpture were attributed to water and moisture, and the restorers recommended that the fountain spout from the mouth of the dragon be closed and that periodic checks be carried out. The intervention consisted of removing calcareous concretions, stabilizing the corrosion and applying a protective layer, consisting of a polyester resin bath.

Mayas and Porta warned of the temporary durability of the restoration if the sculpture was returned to the same location and under the same conditions. Water and air would cause the protective layer to wear away and would result in new calcareous concretions being deposited on the surface.

In August 2013, a new intervention was performed in situ by the CRBMC (Elena Iglesias). The metal appeared to be covered in a stable layer of copper carbonates, showed signs of oxidation, and suffered from calcareous concretions and active corrosion produced by chlorides. The cause of the corrosion of the metal was attributed to three factors: the algaecides used to treat the water sprayed by the fountain; the constant moisture on the sculpture when the fountain was in operation, and, finally, the effects of the pollution of Barcelona that causes chemical and electrochemical reactions on the surface of the metal.

An intervention was carried involving the elimination of the corrosive products and stabilization of the piece, the application of a protective film of acrylic resin, the adhesion of areas with structural fractures and the material and chromatic reintegration of missing parts. Finally, an alternative treatment for the water not involving chlorine (the most important factor in terms of salt intake) was proposed and a pre-established maintenance protocol was followed.

Intervention 2017

By 2017, the sculpture was once again covered in a layer of active corrosion and calcareous concretions; it was disassembled and taken to the CRBMC, where it was subjected to a dechlorination and stabilization treatment through immersion.

The corrosion of the metal was irreversible, widespread and advancing more and more, since the sculpture was located outside in a fountain in discontinuous operation. It was therefore recommended that the original sculpture be removed and replaced with a copy, in order to guarantee its future conservation, and stored in a space where it would be protected against the harmful effects of environmental agents.

— Carolina Jorcano

 Alterations of the metal surface covered with a layer of active corrosion (blue-green) and calcareous concretions (white)

 Assembly of the sculpture of Saint George slaying the dragon from the fountain of the Pati dels Tarongers, at the end of the conservationrestoration intervention.

Disassembly

M. Àngels Jorba and Pere Rovira (CRBMC coordinators); Carolina Jorcano (restorer of the sculpture), and Nieves Marí and the intern Jaime Salguero (external collaborators)

Assembly

Carolina Jorcano (restorer of the sculpture), Carmelo Ortega and Mònica Salas (CRBMC collaboration), and Nina Baldrich and Laura Magrinyà (external collaboration)

Packaging logistics

Carmelo Ortega (CRBMC)

Years of restoration

2017-2018

Back of the bronze sculpture of Saint George slaying the dragon from the fountain of the Pati dels Tarongers of the Palau de la Generalitat de Catalunya, at the end of the conservationrestoration work.

Frontal view of the bronze sculpture of Saint George slaying the dragon at the CRBMC (2017), before the conservationrestoration intervention

Object

Various objects: 4 candelabra, 2 monumental candle holders, religious interior decorative elements, pax, incense boat and 2 low candle holders

Material/Technique

Bronze, silver, gilded silver and paper. Wooden cores and iron structures. In some cases, fixtures and decorative elements in colour

Title/Topic

Liturgical goldsmithing items

Date/Period

2 monumental candle holders: 1670; 2 low candelabra: 1623; other objects, undated

Dimensions

Various

Location

Sacristy of the chapel of Sant Jordi. Palau de la Generalitat, Barcelona (Barcelonès county)

Located on the first floor of the Palau de la Generalitat, the chapel of Sant Jordi is a richly decorated room, which houses two monumental candle holders in bronze.

State of conservation

Both pieces were in a moderate state of conservation, with lots of white residue from cleaning products visible on the surface, especially between the decorative reliefs, which had allowed surface dirt and moisture accumulate and speeded up the corrosion of the metal. Drops of wax from the prayer candles could also be seen, especially at the top. The adjoining room is the sacristy, where the goldsmithing pieces are stored perfectly protected. Nine of these objects were selected for intervention at the Centre for the Restoration of Artefacts of Catalonia (CRBMC).

Monumental candle holders. Cleaning in situ

 Cleaning with cotton swabs The base material of the silver pieces was stable, but the surface had become tarnished due to environmental factors, darkening the colour and reducing the original shine of the metal. This reaction occurs because silver, in contact with atmospheric hydrogen sulphide, creates silver sulphide on the surface, which is black. In fact, the darker the surface, the more heat it absorbs and the faster sulphidation occurs. As before, there were remnants of cleaning products and remnants of wax on the candle holders along with dust.

Intervention

Once the relevant organoleptic examination and preliminary analyses had been carried out, the pieces were restored. First, the monumental candle holders were treated in situ, due to their size and weight. The dust was cleaned mechanically, using vacuum cleaners and paintbrushes, and the incrustations were removed with the help of a scalpel.

The wax was removed using a device that blows hot air and solvent. The remnants of cleaning products observed in the reliefs were removed through a cleaning process using aqueous gels and gentle mechanical treatments. Finally, acetone was applied to dry the surface.

Then, the silver pieces were restored. These were disassembled whenever possible. The first step consisted of a physico-mechanical cleaning and then, depending on the characteristics of the piece, it was wet cleaned if necessary.

In the case of the candelabra and the incense boat, an electrochemical bath was applied to them, which managed to remove the black sulphide. Once clean, the parts were placed in an ultrasonic cleaner to remove the remnants of cleaning products and the most inaccessible dirt. Immediately afterwards, the pieces were dried in the stove and finally given a protective layer of shellac for metals, to protect them from the environment.

Then, the pax was cleaned with just cotton swabs and alcohol to remove the black layer, and a resin was applied to protect the piece.

Finally, a mechanical and then a wet cleaning and was carried out on the religious decoration made from paper, which gave the piece a sharper and neater appearance.

— M. Nieves Marí

Restoration

Sara Bordonado, Magda Gómez, M. Àngels Jorba and M. Nieves Marí

Year of restoration

2016

  Incense boat Before and after the conservationrestoration intervention.

 Low candle holders. Before and after the conservationrestoration intervention

Material/Technique

Silver and gilded silver. Wooden cores and copper structures. In some cases: glass, fabric, velvet, natural sponge, semiprecious stones and enamels

Title/Topic

Various liturgical goldsmithing items

Date/Period

Between the 15th and 19th centuries

Dimensions

Various sizes

Location

Diocesan Museum of Urgell, Seu d’Urgell (Alt Urgell county)

CRBMC Register NO

13022 to 13052 and 13072

Restoration

Montserrat Cañís (processional cross of The Pity), Carolina Jorcano and M. Nieves Marí (other objects)

Analysis

Ruth Sadurní and Ricardo Suárez

Ph Analysis and advice on cleaning

Clara Bailach

Anoxia

Pep Paret

Logistics

Carmelo Ortega

Replacement of parts

Montserrat Cañís and Laguarda Joiers

The Diocesan Museum of Urgell has one of the largest collections of religious art in Catalonia, and since 2015 it has been working to modernize its museography and provide the cathedral with a new discourse.

In view of this aim of updating the collection, a very diverse set of goldsmithing pieces was sent to the CRBMC.

State of conservation

In general, the pieces had suffered typical alterations: darkened and tarnished appearance, caused by the sulphidation of the silver; surfaces without their characteristic polish, with abrasions and scratches, and in some cases even a missing metallic layer. The use of these objects over time means that they often arrive here incomplete and out of shape having suffered breaks, cracks, blows, deformations and old repairs.

As is usual with objects of this type, most had a layer of soot, wax and dirt, in most cases the result of their environment and smoke, and those used in liturgy were also covered in candle wax. In addition, in the most inaccessible areas there were often remnants of cleaning products, which together with moisture had accelerated the corrosion process.

Intervention

Once the relevant preliminary examination and analyses had been carried out, work began om restoring the pieces. Whenever possible, they were dismantled to be able to get to the more inaccessible areas. A physical and mechanical cleaning of the surface was then performed, and if this was insufficient, a bath was applied to them.

This chemical bath was necessary for those pieces that had a layer of indissoluble, encrusted dirt. Those pieces which didn’t have any enamels or polychrome, which could have become damaged as a result of the bath, were submerged in it. In the case of the pieces covered in black oxide, a typical feature of silver, were given an electrochemical bath.

In both cases, and in order to remove the cleaning products and the most encrusted dirt in the interior areas which were hard to access, the pieces were rinsed in the ultrasonic cleaner with distilled water.

Once clean and rinsed, excess moisture was removed by inserting the pieces into the hot air stove. The pieces with deformations were adjusted mechanically, which improved not only their appearance but also their stability. The broken parts were consolidated and reintegrated using metal-suitable epoxy resins. The pieces that could not be submerged were subjected to a controlled cleaning process using aqueous gels and gentle mechanical treatments.

The cleaning systems applied helped to remove silver chlorides and sulphides, and give the pieces back their silvery and shiny appearance, while respecting the original patina, which helps to highlight the chiaroscuro of the work done with chisel and burin.

To prevent future oxidation, a protective layer of shellac for metals was applied. The polychrome areas were protected with a low molecular weight resin, and the gaps were chromatically reintegrated with acrylic paints or silver and gold coloured mica.

The final step, once the protective layer had been applied, was to reassemble the pieces. The rusty iron nails, not original, were replaced with silver nails, and chains and rings, easily distinguishable, were replaced in order to complete the set without creating a false historical artefact.

— M. Nieves Marí

Chrismarium from the 17th century. Cleaning using an aqueous gel. This type of cleaning was used given the impossibility of dismantling the wooden support from the metal

Processional Cross of the Pity (MDU 489) - CRBMC 13022 Ciborium donated by Ramon Grau (MDU 124) - CRBMC 13023 Body-part Reliquary of Arcavell (MDU 123) - CRBMC 13024 Amphoras for the holy oils of the cathedral (MDU 78/79/80) - CRBMC 13026 Episcopal cruet and tray (MDU 128/129) - CRBMC 13027 Lunette holder from Galceran de Vilanova (MDU 127) - CRBMC 13028 Three sacraments of the cathedral (MDU 130) - CRBMC 13029 Cathedral Censer (MDU 532) - CRBMC 13030 Amphora of Bishop Simeó de Guinda (MDU 125) - CRBMC 13031 Reliquary of the Holy Thorn (MDU 115) - CRBMC 13032 Reliquary of St Francis (MDU 243) - CRBMC 13033 Reliquary ciborium of Sanaüja (MDU 422) - CRBMC 13034 Pax of the Pity (MDU 507) - CRBMC 13035 Cathedral incense boat (MDU 541) - CRBMC 13036 Chrismarium (MDU 593) - CRBMC 13037 Chrismarium (MDU 611) - CRBMC 13038 True Cross (MDU 119) - CRBMC 13039 Cruets and tray (MDU 250) - CRBMC 13040 Sculpture of St Ot (MDU 77) - CRBMC 13041 Aspergillum of Saint Balaguer (MDU 699) - CRBMC 13042 Aspergillum of Saint Balaguer (MDU 700) - CRBMC 13043 Episcopal candlestick with finial snuffer (MDU 291) - CRBMC 13044 Risen Christ (MDU 126) - CRBMC 13045 Chalice from the 18th century (MDU 116) - CRBMC 13046 Chalice from the 9th century (MDU 117) - CRBMC 13047 Chalice from the 8th century (MDU 118) - CRBMC 13048 Chalice from the 18th century (MDU 121) - CRBMC 13049 Four candelabra from the cathedral (MDU 262-265) - CRBMC 13051 Ciborium (MDU 431) - CRBMC 13051 Monstrance of Bishop Benlloch (MDU 318) - CRBMC 13052 Chalice from the 19th century CRBMC 13072 (MDU no number)

Reliquiary ciborium of Sanaüja, possibly from the 16th century. Before and after the conservationrestoration intervention

Chalice from the 19th century. Oxidation of the silver on gold