The decree on the
and
Solé Gili
The altarpiece of Sant Ramon in Cardona Castle
Main altarpiece of the Sanctuary of the Miracle
The gold of the Rhine, by Jordi Benito
Les ànimes del Purgatori of Sta. Ma. de Guissona
Landscape of the Catalan coast by Ramon Martí Alsina
Several years ago, the Centre for the Restoration of Artefacts of Catalonia, under the management of Àngels Solé, reached an agreement with the Association of Conservators and Restorers of Catalonia (CRAC), then chaired by Marta Gabernet, to draft a decree that would regulate the conservation and restoration of artefacts and of historical, archaeological and artistic assets that are part of real estate properties.
The CRAC’s initial proposal was amended by the Centre’s management in order to make it technically and legally viable. The draft did not take into account, among other matters, the historical and artistic assets that are part of real estate properties, and included aspects such as a register of conservatorrestorers, as well as issues related to the code of ethics of conservation-restoration professionals, which could not be addressed in the decree, since it is not the appropriate regulatory framework for these matters.
The Centre worked with the CRAC on a proposal that would be acceptable to the legal office of the Government of Catalonia’s Department of Culture. Meanwhile, the proposal made by the CRBMC
(Centre for the Restoration of Artefacts of Catalonia) argued that the decree had to entail amendments of the decrees regulating cultural heritage commissions, in order to recognise conservators-restorers and make them full members of such commissions alongside architects or archaeologists, and to incorporate, as one of their areas of expertise, historical and artistic elements in real estate properties. The issues are complex, and our only precedent for a similar decree in Catalonia is the decree regulating archaeological excavations.
The end result of all these efforts, having been filtered through the Legal Office of the Department of Culture, is very disappointing, but if an effort were made to reach an agreement on a baseline proposal, this would allow for a decree that would constitute a major step forward. In this way, professionals and the discipline as a whole would have a foundation to work with. Progress must be made with regard to the legal recognition of conservators-restorers and their field of work as qualified professionals in the conservation and restoration of cultural heritage.
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During the conservationrestoration work on Tarragona Cathedral’s organ doors.
CRBMC
The decree on the conservation and restoration of artefacts and the historical, archaeological and artistic elements that are part of real estate properties. Current situation
Born in Lleida in 1962, Angels has a long career in the field of cultural management. She began her career at the Autonomous University of Barcelona, in the project to set up the Centre for the Documentation of Local History of Catalonia. Later, as a technical officer for the Government of Catalonia, she worked on the project for the Museum of the History of Catalonia and, when this was inaugurated, became the head of the Documentation and Dissemination Department. A few years later, she joined the Museum of Science and Technology of Catalonia as head of the Department of Exhibitions, Dissemination, Publications, Education and Sponsorship. For a time, she directed exhibition and museum projects as a self-employed professional, and in 2000 she became part of the management team of the National Art Museum of Catalonia. From 2003 to 2007 she was Deputy Mayor for Culture for Sant Cugat del Vallès Town Hall. From 1 March 2011 to 15 March 2022, she was the director of the Centre for the Restoration of Artefacts of Catalonia.
Restoration of
Graduate in History from the Autonomous University of Barcelona (1987), with a Postgraduate Course in Artistic and Cultural Institution Management, ESADE (1997).
Àngels, your career endorses you as a tireless working woman (before I met you, someone told me you were like a rocket), a clear-minded family-loving, mother of four children and grandmother of five grandchildren, a friend to your friends, a tireless traveller and passionate about poetry and art. How do you balance this intense family and personal life with a passion for heritage?
As you rightly say, my two passions have been family and culture. And especially cultural heritage, in all its aspects. My dedication has been intense in both Departments, and for me the recipe has always been intense work accompanied by reflection, strategic planning and demanding the best of myself.
Your initial training is as a historian, before joining the management of the Centre for the Restoration of
Artefacts of Catalonia (CRBMC) you had worked, among other places, at the National Art Museum of Catalonia (MNAC) and the National Museum of Science and Technology of Catalonia (MNACTEC) on cultural management issues, two national facilities with important but very different collections, and which have a lot of collections to conserve. Was it from there that you entered the world of cultural heritage conservation and restoration?
I have always been clear that there is no heritage without conservation. In the projects I have worked on, both at the Museum of the History of Catalonia (MHC) and at the MNACTEC and MNAC, conservation has always been present. It was unthinkable for me to dissociate it from any project or programme, although I was very clear that, within museums, it was a very technical and highly specialised field. Curators-restorers have always inspired
admiration and great professional respect.
At MNACTEC, the conservation of technical and industrial artefacts posed complex judgements, and is still a hotly debated issue today. There I especially understood the value of interdisciplinarity. On the other hand, the director of the MNACTEC, Eusebi Casanelles, was the one who best understood the importance of the territory, of the Museum’s relationship with its agents and interlocutors, in order to preserve the country’s technical and industrial heritage.
I was especially impressed by the MNAC because I had never seen a museum with a restoration workshop of its size and features. Curation-restoration technicians worked in makeshift premises while the new Museum was being renovated. It was not at all comfortable for them, but they adapted intelligently to the situation.
When I was offered the management of the Centre for the Restoration of Artefacts in Catalonia, I didn’t expect it, I didn’t even know that Josep M. Xarrié had retired. I was surprised at first, but when I spoke to the regional government minister Mascarell and he conveyed his interest in the role of cultural manager, which would give the Centre added value in its management and status as a national facility, I viewed it as an interesting challenge. Accordingly, I requested that the CRBMC become a facility that reports directly to the General Directorate of Cultural Heritage, and not a service attached to a sub-directorate, in order to give it the capacity for leadership and strategic action. Management with the territory is complex and requires some freedom of action to forge the necessary ties. The eleven years I have been running the CRBMC have been a privilege.
You had a political stage as Deputy Mayor and Councillor for Culture in Sant Cugat City Council, a term of office with Lluís Recoder as mayor, as well as serving as a spokesperson for the EMD of Valldoreix, where you worked on the local cultural heritage and where you started the Museum of Sant Cugat, which directly influenced the CRBMC. With your first-hand knowledge of the political world, what is the relationship between politics and culture? Or, more specifically, in heritage conservation?
I would first like to make a clarification: I directed the project of the Museum of Sant Cugat before entering council politics. I combined it with my work at the MNAC. The CRBMC, located in the monastery, took part in that project, as it actually restored most of the works currently on display in the Museum. It was then that I got to know it more deeply.
The relationship between politics and culture or, more specifically, the relationship between politicians and cultural managers who look after the conservation of heritage is not easy. There is a certain frustration or disappointment involved. I always say that artists, musicians, actors or poets, to give examples, and not to mention cultural companies in the audiovisual or digital realm, defend their interests very directly and better, they are more demanding, they generate more political tension and thus get more resources than those of us who manage the work of artists or architects who are already dead. I have always thought that we resign ourselves too easily and that we are too easy-going when it comes to the cultural policies of public institutions, which place conservation very low in the pecking order. And unfortunately, it’s not just a matter of lack of resources, that too, but I see this fact rather as a consequence. One has to wonder why the Culture budget is always the lowest, be it the regional, municipal, provincial or national government. For me, the reason is simple and at the same time uncomfortable: our society, and Catalonia is no different, does not prioritise culture as an indispensable asset for its personal, economic and social development. And politicians, who do not want to lose the recognition of their voters, give preference to those actions that give them more social recognition and, therefore, more votes. And here we could add that, often, the cultural concern of politicians in general is not very high, which does not help. There is a widespread belief among citizens that culture is synonymous with grant funding, but this is not true. In any case, it is not more than in other sectors. All ministries award grants. Professionals working in the field of cultural heritage, mostly small businesses and self-employed
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During the conference of 14 June 2012, as part of the celebration of 30 years of the Centre for the Restoration of Artefacts of Catalonia: «CRBMC: Thirty years in the service of the conservation and restoration of cultural heritage. Prospects for the future», by Josep M. Xarrié, former director, and Àngels Solé, then director of the CRBMC.
professionals, also generate economic activity, they create employment and pay taxes just like other companies and self-employed people in other sectors of the economy. But this fact is never acknowledged. Fortunately, I have noticed that in recent years mayors, especially new generations, have shown greater cultural sensitivity and have been concerned with increasing the general public’s awareness in order to find the recognition and support needed to preserve their heritage. I value it very positively. I have seen mayors climbing on top of scaffolding to see the restoration work up close. This shows a very important change in trend.
When they offered the role to you, what made you take the helm of the CRBMC?
The regional Minister of Culture, Ferran Mascarell, and the Secretary General, Xevi Solà, explained to me in January 2011 that they wanted to strengthen the CRBMC as a national institution that would assume the leadership of conservation and restoration in the region and provide the management, against those who pressed for the CRBMC to be a service dependent on national museums. The reality is that the CRBMC had no management for a few years and was subordinate to a museum
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During the inauguration of the restoration of the mausoleum of General Prim in October 2012.
sub-directorate. On the other hand, the minister Mascarell wanted a profile as a cultural manager. I considered the proposal a professional challenge and called for autonomy in decision-making and in the relationship with the region. From there, after analysing the needs, I set out a plan, with strategic and specific objectives, which allowed the whole team to develop a roadmap to follow, provide the Centre with new specialities and establish a new management model and new strategies for relating to the region. The CRBMC’s link with the Catalan Cultural Heritage Agency (ACdPC) allowed us to have legal personality with a tax ID and a new, more efficient and effective management model.
In these eleven years, the CRBMC has grown in interventions and recognition, and the curatorrestorer has become much more visible in the cultural landscape. Among other things, the role of the curator-restorer has been fully established in the fields of architecture and archaeology and in the heritage commissions, the specialities of Document, Work on Paper and Photography, that of Preventive Conservation, etc. Among the goals you set at the
beginning of your leadership of the CRBMC and which you achieved, which one gives you the most pride?
The creation of the new special roles of Document, Work on Paper and Photography, Preventive Conservation and Contemporary Art has been very important for the national recognition of the Centre. Therefore, they were an essential goal and, despite the difficulties, they were achieved. In relation to the professionals, I am happy with the work done. Recognition of the discipline and its professionals has not been easy, it has often been very difficult, especially in its interaction with architecture and archaeology. When I joined, almost no one questioned the competence of the curator and restorer of artefacts, with a few exceptions, but in the restoration of the architectural and archaeological heritage the curatorrestorer was systematically questioned.
Ignorance is very insolent, and ignorance of the discipline made some architects veritable supremacists who underestimated the technical abilities of curatorsrestorers, even though they did not even know the basic principles and criteria of the discipline. Thanks to minister Mascarell, who was very receptive to my demands, we managed to get the heritage commissions to have curators-restorers, to have the CRBMC technicians issue a white paper on the projects that went to the territorial heritage commissions and to require a conservation-restoration plan. It would be hard for us to imagine now that this did not exist, but that was the situation. It was a difficult time. I want to emphasise that we also received the necessary respect and recognition from many external architects.
Fortunately, over time, things have changed. However, a major learning process has been required between architects and archaeologists. There is still a long way to go. The restorers on the heritage commissions have also done a very good job in this regard, so that now they understand and value the discipline they represent.
I am also pleased that the CRBMC has a structured innovation and research plan, with well-defined lines and linked projects. This is a major issue in a public and national centre like ours, which also seeks to have an international profile. It is modest in resources, but ambitious in goals. With a small team, you need to plan and prioritise very well in order to move forward with scientifically significant challenges.
Finally, the best thing has been to share the work with great professionals who are very committed to the project. We have all worked in the same direction, with an institutional sense and good coordination.
What is it that you wanted to do at the CRBMC that you considered necessary and that, for whatever reason, you were unable to achieve?
I would have liked to have published a «de minimis» decree regulating the discipline. We have done a lot of work in this regard, with the Association of Conservators and Restorers of Catalonia (CRAC), which I hope can come to fruition later. I would have liked to have more budget for the conservation of the Department of Culture’s own heritage and, in general, all the heritage protected within the UNESCO World Heritage category. In this regard, we have made a plan for the conservation of the elements of the World Heritage of Tarraco, of which there is still a lot of
work to be done. During these years, we have given a strong impetus to the conservation of the Catalan Baroque heritage, but we must be more insistent, and we have gone further in terms of the conservation of Catalan archaeological sites, especially with the intention of establishing criteria and coordination with archaeology and archaeologists, but we have only just begun. There is need to deepen and expand the scope of action. Finally, if we had increased the budget item dedicated to the conservation of heritage and historical property, archaeological and artistic elements that are part of real estate by only another €100,000, we could have done much more work in the country, and the municipalities, bishoprics and heritage organisations would have been very grateful. In any case, the economic crisis of the last decade and the limited budget have led us to seek many ties with other public administration agencies and with civil society. This has been positive.
The CRBMC is the mainstay of heritage conservation and has become a key institution in Catalonia, with great recognition throughout Spain and Europe. What do you think should be the goals of the CRBMC for the future?
From my point of view, the CRBMC must continue to work on two fundamental objectives: legal and economic. It is essential to have a regulatory framework that allows us to work with the utmost rigour, legitimacy and recognition. This means that a review of the Catalan Cultural Heritage Law needs to be made, which includes essential aspects that it does not currently regulate. We worked on a proposal in this regard some years ago. It needs a decree that regulates the discipline and accredits professionals, we need to modify the decrees of the cultural heritage commissions to incorporate the curators-restorers as full members, and there needs to be an expert spokesperson of the CRBMC to present the projects to the commissions. The Centre should have a decree or legal instrument regulating its powers. When joining the ACdPC, a great opportunity was missed. Its statutes are completely inadequate from this point of view. I have always stated this. We have recognition de facto, but no de jure
And, of course, the economic goal is essential. The CRBMC’s staff is too small in view of its competencies, responsibilities and its expectations. We have been able to provide it with new special fields, but the budget is insufficient to carry out its strategic plan.
If we take a professional look at the nearest European countries, France and Italy, as well as some autonomous communities, we realise that we are lagging behind due to the lack of financial resources and staff assigned to heritage conservation.
The strategic importance of keeping heritage in good condition, so that it both visible and can be visited, must be understood. We all benefit in the process.
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Taking a break in front of Tortosa Cathedral, while visiting it to see how the restoration was progressing.
What needs to be done to improve heritage conservation and restoration in Catalonia?
As I said before, there is no doubt about the involvement of politicians, the increase in the budget and the relationship between the different disciplines. The CRBMC works hard in this regard, because interdisciplinarity is everything.
From the amount of quality historical heritage that we have in Catalonia and that we have preserved at the CRBMC, what would you highlight?
This is a question that I find difficult to answer. Everyone has a different relationship with the great works that make up our heritage, beyond their objective historical or artistic value. It has a lot to do with your birthplace, with personal experiences, with the relationship you have with the region or the people, to name a few examples. As a native of Sant Cugat, I feel great devotion for our monastery, and I have been living in Sant Cugat since I was eleven, and I got married in the monastery. Someone from Ripoll would surely say the same about its monastery and its wonderful portal, which we recently restored and which I admire so much.
We all have in mind the importance of the restoration of major works, such as the original remains of the murals in situ of Sant Climent de Taüll; the baroque altarpiece of the shrine of the Miracle, by Riner; the doorway of Ripoll monastery; the tapestry of the Creation of the Cathedral of Girona; the Beatus of the bishopric of Urgell, and the Roman site of the town of Els Munts, to name a few examples known to all. But I would rather highlight the
Centrerestoration of small or large unknown jewels, such as the roof of the Roman village of Els Munts; the set of altarpieces of the church of the monastery of Santes Creus; the large format painting of the Port of Barcelona; the work of Bartolí in the national collection of the Department of Culture; the act of consecration of Sant Vicenç de Cardona; the layout of the cathedral of Barcelona; the cover of Santa Maria d’Agramunt; the mural paintings of the churches of Son and Sorpe, in the Pallars Sobirà; the Chapel of the Sorrows, in the church of Santa Maria de Mataró; the doorway of Conques, in the Pallars Jussà; the cloister of Santa Maria de Mur; the doors of the organ of the cathedral of Tarragona; the Virgin of the Ribbon; the façade of the cathedral of Tortosa, or the chapel of La Pietat of the Diocesan Museum of Urgell. In the field of preventive conservation, in recent years it has been important to highlight the development of a reservation programme for Catalan museums, the «Re-Org», which is a challenge for the Centre. There are many recovered works that form an unimaginable and wonderful heritage mosaic in the Catalan region. The list is endless and all of them are important, because heritage is what it is to the extent that it has the collective recognition of a large town or a small community.
The most special moments have been those that have led me to the discovery of the most local and unknown heritage, in corners of the region of a special singularity or beauty, facilitated by the heritage officers of the
bishoprics, rectors of parishes or highly motivated and aware mayors and councillors of small towns and villages. I also remember especially those moments that I shared with my team, with each of them, the companionship in the face of difficulties, joys and satisfactions, when we managed to carry out a project that we were concerned on account of its complexity, its intense dedication or for lack of resources. That’s what I take away.
Now that you have a perspective and know the world of conservation-restoration well, what future do you see for the curator-restorer?
I am positive. There is still a lot of work to be done, as I explained before, but the most difficult thing is to make yourself visible and for other disciplines and professionals to identify you and recognise the value you contribute to heritage conservation. This, now, with exceptions and nuances, I think is an irreversible fact. But we need to continue to have a regulatory framework and education. Recently, during the inauguration of the restoration of the façade of Tortosa cathedral, the lead architect of the intervention, Carles Brull, made a major public statement in recognition of the curators-restorers, as had never been heard before. It is an important, I would say historic moment.
What are you going to do from now on? Will you remain involved in heritage and its conservation?
El patrimoni sempre formarà part de la meva vida. Si alguna entitat, institució o persona creu que puc ajudar-la d’alguna manera, em trobarà sempre al seu costat. Una passió no s’abandona mai!
During the visit to the main altarpiece of the Miracle de Riner sanctuary to see how the curative conservation was progressin.
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Photo: Pep Paret
THE EXISTENCE OF A CHAPEL DEDICATED TO SANT RAMON NONAT in the castle of Cardona is a consequence of the devotion of the Marquise of Medinaceli, Catherine of Aragon and Sandoval, who in 1681 ordered its construction in the place where, according to tradition, the saint died.
Manresa artist Pau Sunyer was hired to carve the
altarpiece, while the gilding and estofats are the work of Magí Torrebruna, a native of Cardona. According to the contract that the artists signed with the senior accountant of the Dukes of Medinaceli, the dimensions of the altarpiece had to be «twenty-eight feet wide and forty high, which is the capacity the chapel will accommodate.» Therefore, it is inferred that the altarpiece that is preserved today is not the original work and that some parts have been lost.
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Altarpiece in situ before and after the intervention.
AITANA VALDERRAMA conservator-restorer of moveable assetsIn addition, thanks to the contract between the dukes and the builder in charge of building the chapel, Rafael Gallart, we have evidence that the altarpiece had «A wooden balustrade that has to run along the entire pedestal of the altar until it reaches the altarpiece [...]». The contract signed by Magí Torrebruna also specifies exactly how the altarpiece was to be gilded and polychromed.1
All seven pieces are of white poplar wood. It is a medium-high relief with a very detailed depth perspective. The support had several signs of damage: small scratches and abrasions, typical of the handling of the tables; small cracks due to the movements of the wood, some repaired with putty and grafts, and small holes produced by the presence of a slight attack of wood-eating insects. There was also a loss of support for different elements of the relief scenes. Finally, there were figurative elements drawn with graphite and others made with some kind of ink, which had finally penetrated the wood fibres.
— Detail of the scene with the body of the saint on a mule on the way to its burial, after the restoration.On the pictorial layer, the altarpiece fragments have a rich polychromy and gilding with a profusion of estofats and sgraffitos. The gilding, made with the tempera technique, covers practically the whole of the pictorial surface, with the exception of the carnations, made with a greasy technique, characteristic of oils. In addition, it also had reddishcoloured drapes that decorated the clothing of some figures.
Altogether, the main damage to the pieces of the altarpiece was the numerous losses of polychromy and gilding, which exposed the layer of bole clay and, in some cases, also the layer of preparation, both of which had a very powdery appearance.
Widespread peeling and cracks were also observed, due to the loss of adhesion of the binder used, as a result of its degradation and rusting.
Also, a thick surface layer of rusty varnish could be seen with a yellowish hue, accompanied by dust and dirt on the surface.
As in previous interventions, we could see mainly the placement of the scenes inserted in a large wooden frame that did not belong to them. The entire perimeter of the pieces featured dark retouches that masked remnants of original gold leaf. There were also retouches done with bronze powder.
The seven pieces underwent a process of curative disinsectisation in the anoxia chamber, in order to eliminate any bugs and neutralise the attack of xylophagous insects. In addition, they were given a preventive treatment with the application of a liquid insecticide.
The aim of the intervention was to preserve the
pictorial layer and return the correct aesthetic reading to the work, so it was necessary to properly fix and consolidate the pictorial layer in order to subsequently carry out a cleaning of the painting.
Tests were made to determine the most suitable fixative, to refrain from glosses that differed from the matte appearance of the painting technique and excessively thick layers that would hinder the subsequent cleaning process. It was decided to consolidate the pictorial layer with fish glue diluted to 3%, in a general way, and, occasionally, with 5% sturgeon glue for the adhesion of polychrome liftings.
Then, to determine the best cleaning methodology, the CRBMC cleaning protocol was followed. It begins with a study of the pH, to determine which was the most suitable to work during the process of chemical cleaning, and then measures the conductivity of the surface to be restored, to ascertain the concentration of ions on the surface and, of In this way, use the most isotonic solution possible during cleaning, which prevents both the addition of salts to the piece and their removal. Given the results, the pH safety ranges were between 5.5 and 6.5. In terms of conductivity, it was found that it was necessary to work with solutions equal to or slightly lower than 0.6 mS / cm2
The solubility test is also performed on each polychromy, to choose the most suitable solvent. It was determined that ethanol is the most efficient reagent in all respects, as it was probably an aged varnish that masked the rich colour and the delicate estofats and sgraffitos of the piece, so the restorers tried to gel the ethanol, so that it would act longer on the surface, softening the varnish and surface dirt, thus allowing complete removal without damaging the pictorial layer.
For areas difficult to clean, a pH buffer emulsion was tested of 6.4 gelled with 2% xanthan gum, emulsified with 1% ethanol and 1% benzyl alcohol, where benzyl acts most effectively.
For the removal of the glitter, the gelled acetone worked, but too much insistence was needed. It had to be mixed with other solvents, such as benzyl alcohol, to find the most effective blend.
The main intervention of the support was carried out on piece no. 4, as it had a separation of the posts, due to its loss of shape. It even had wooden wedges and putty that filled in the gaps created. These additions were removed and all three posts were relocated so that the figures
— New anodised aluminium structure for mounting the altarpiece. Centre de Restauració de Béns Mobles de Catalunyadepicted fit together perfectly. The post on the right side had a concave curvature, so when it was repositioned it did not rest on the crossbars. On the reverse side, wooden wedges were made, covered with a two-component epoxy-based wood paste, to fill the space and prevent accumulations of dust and dirt.
As a final presentation, a colour of bole clay was given to the polychromy losses and it was decided to apply a layer of a low molecular weight varnish, in a proportion of 30%.
For the exhibition of the pieces of the altarpiece in the same chapel of Sant Ramon in Cardona Castle, a new modular double frame structure made from anodised aluminium was designed. The first frame, the innermost one, allows the piece to be attached to the facing with a proper separation from the floor and the wall, and the second frame, the front, to which the pieces of the altarpiece are attached, is opened by hinges like a door to make the necessary checks of the state of conservation.
1. MADURELL MARIMÓN, J.M. 1965, p. 292-300.
MADURELL I MARIMON, J. M. “The chapel of San Ramon Nonat in the castle of Cardona and the main altarpiece of the shrine of Portell”. Analecta Sacra Tarraconensia. (1965), no. 38.2, p. 281-307. ISSN 0304-4300. Aso available online at: <http://www.bibliotecabalmes.cat/content/capilla-san-ra mon-nonat-del-castillo-cardona-y-retablo-mayor-del-san tuario-portell >. [View: 28 April 2022].
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Photograph with ultraviolet light from the front of the altar before the intervention.
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Photograph with ultraviolet light of the relief with the scene of the saint on a mule on the way to its burial.
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Detail of the front with the Cardona coat of arms once restored.
GENERIC CLASSIFICATION: painting on wood and wooden sculpture | SUBJECT: various altarpiece item | MATERIAL/ TECHNIQUE: carved, polychrome and gilded wood | DESCRIPTION: six reliefs with eight scenes from the life of Saint Ramon, and the front of the altar with the Cardona shield: piece 1: Appearance of the Virgin; piece 2: Entry in the Order of Mercy; piece 3: Delivery of the cardinal’s hat / Conversion of the Saracens; piece 4: Saint Ramon crowned by Christ / Liberation of captive Christians; piece 5: Administering of the viaticum; piece 6: Burial, and piece 7: altar front | DATE/PERIOD: 16821683 | DIMENSIONS: piece 1: 68.3 x 32.7 x 9.3 cm; piece 2: 69.4 x 33.1 x 6.7 cm; piece 3: 67.2 x 119.8 x 11.4 cm; piece 4: 65.9 x 119.2 x 10.2 cm; piece 5: 67.1 x 31.4 x 6.4 cm; piece 6: 69.4 x 31.4 x 8.3 cm, and piece 7: 176.5 x 98.2 x 7.7 cm | LOCATION: monumental complex of the castle of Cardona, Cardona (Bages) | ORIGIN: chapel of Sant Ramon, Cardona (Bages) | CRBMC REGISTRATION NUMBER: 14013 | CRBMC REGISTRATION INVENTORY: 620-MH-EN. Asset cataloguing: BCIN | COORDINATION: Pep Paret | RESTAURATION: Sara Hernández and Aitana Valderrama | YEAR OF RESTORATION: 2020
Introduction. Work methodology and intervention criteria PEP PARET
Conservation and restoration KREIT-RESTAURO, SL (KORO ABALIA, IMMA AMORÓS, EULÀLIA ARAGONÉS, CLAUSTRE AUGÉ AND ROSAURA JANÓ)
Historical and artistic information
CÈSAR MARTINELL DEFINED THE ALTARPIECE OF THE SANCTUARY OF THE MIRACLE IN RINER as one of the most notable examples of excellence achieved by Catalan sculpture workshops in modern times.
When we began the conservation work on the main altarpiece of the sanctuary of the Miracle of Riner in 2020, our goal was twofold: first, as a centre, we wanted to ensure the good state of conservation of cultural assets of national interest (BCIN, from its Catalan initials) and catalogued assets — the whole Miracle set is a BCIN, and second, as conservation and restoration professionals, we sought to establish a working methodology and intervention criteria, on the basis in this case of a systematic collection of data of the work, in order to gain knowledge of the materials, pictorial techniques and execution procedures of the different art forms that converge in a piece of furniture of such characteristics.
We wanted to become familiar with the altarpiece as well as conserve it. It was a matter of adding its technical characteristics to its wellknown stylistic and formal aspects. We were dealing with one of the most important Baroque altarpieces in Catalonia; a true piece of polychrome and gilded woodwork architecture, one of the most imposing in Catalan art. It is for this reason that we did not want to miss the opportunity to investigate
and learn more details about its constituent materials and the techniques involved.
It is thus that the whole conservation project revolved around two main ideas: first, a curative conservation of the obverse and reverse of the altarpiece, with the focus on improving and stabilising all the compositional layers of the work (basically, by fixating the preparatory and the painting layer, and performing surface and chemical cleaning to eliminate the dust and dirt deposited on the surface); and second, a study of the work’s materials and constituent techniques.
In order to carry out these two objectives, the conservators and restorers have relied on a multidisciplinary team: art historians, architects and scientists, among others, thanks to which some highly diverse information regarding the piece and its history has been gathered.
On the one hand, a compilation was made of the historical-artistic, material and technical documentation (various manipulations, previous interventions, etc.), the graphic-historical documentation, the photographs and the archive data, the new contributions made by art historians and the documentation kept in the Documentation Area and in the CRBMC’s photographic archive.
On the other hand, use was made of the scientific contribution of the CRBMC laboratory, which was basic for analysing the materials of the work.
And finally, all of this documentation was supplemented with a visual examination of the piece, performed by then actual conservators and
JOAN BOSCH, FRANCESC MIRALPEIX AND THE CATALAN INSTITUTE FOR CULTURAL HERITAGE RESEARCH (ICRPC FROM ITS CATALAN INITIALS) - UNIVERSITY OF GIRONA
restorers. In this sense, the work on the scaffolding has made it possible to reach every corner of the piece and made its study easier.
Cèsar Martinell vdefined the altarpiece of the sanctuary of the Miracle de Riner sanctuary as one of the most outstanding examples of the level of excellence achieved by modern Catalan sculptural workshops. The canopy altarpiece, which is the name given to this furniture type, in which one can move around the interior, is one of the largest and most spectacular ever erected in Catalonia. The design and carving were created by the Solsona sculptor Carles Morató i Brugaroles (1747-1757), who worked there between 1747 and 1758. The mural paintings that extend the architecture with a trompe-l’oeil effect towards the walls and gilding and polychrome are the work of Antoni Bordons i Aguilar (d. 1779), who spent 14 more years there, from 1760 to 1774.
The iconography of the altarpiece commemorates the miraculous apparition of the Mother of God before two young shepherds, Jaume and Celdoni, in the summer of 1458. They then went
on to tell the local leaders in Riner that the Virgin wanted the people in the region to worship her. Following the mandatory checks and having listened the shepherds’ testimony, the inhabitants of Sant Martí de Riner asked the bishop of La Seu d’Urgell to authorise the construction of a church under the auspices of Our Lady of the Miracle. A century later, the master builder Laurent Miquel began to construct a larger church that incorporated the previous one as a side chapel. There are very few extant remains of that second church the most notable one being the splendid fifteenth-century altarpiece painted by the Barcelona-based Portuguese artist Pere Nunyes, which is now housed in the Chapel of the Blessed Sacrament.
The extraordinary influx of pilgrims during the 17th century encouraged the administrators of the sanctuary to erect a new church, which was even larger than the previous one. Construction began in 1652 under the direction of the Vigo master builder Josep Morató and lasted until 1731, when the decision was taken to stop the works and begin to embellish the interior. The temple, as it stands now, consists of a pentagonal apse attached to a large hall with vaulted sections of ridges and sails - a
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(Left)
General view of the altarpiece before the intervention.
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(Right)
General view of the altarpiece before the intervention with the scaffolding already installed.
rather old-fashioned feature at the time - and side chapels with ribbed vaults, longitudinally connected by corridors and high grandstands, which extend into exterior balconies. The current access to the nave is through the south door that leads to the square, with a discreet portal of Doric columns on pedestals and rustic ashlars. On the west side one can still see the foundations of the unfinished sections of the large nave that had been designed and the start of the bell towers that were to flank the door of the main façade.
The remodelling and expansion of the sanctuary, undertaken to turn it into a major pilgrimage site that was certainly to rival the nearest Marian shrines, required a high altar to accommodate the grandeur of the new presbytery. The powerful residents of the farmhouses in the parish spent 5,000 pounds, quite a fortune at the time. The project was entrusted to Carles Morató, one of the most renowned sculptors in the diocese and a member of a prominent line of house masters and sculptors. The poplar and pine wood needed, the accommodation and maintenance of the architect and his family were left to the administrators. The result was a work with a marked architectural accent and full of overlapping perspective solutions resulting from the sculptor’s knowledge of the most common perspective treatises, such as Juan Caramuel’s on straight and oblique architecture or the Italian manuals by Andrea Pozzo and Ferdinando Galli da Bibiena, who had been guiding the scenic rhetoric
of the Principality for several years. It is not surprising, in this regard, that the monstrance tabernacle, conceived as an autonomous temple located above the stands, has a pavement that rises slightly as the columns decrease in depth. The subtlety with which the sculptor resolved the exaltation of the Eucharistic reserve, a true centre for celebrating the sacrifice of the Mass, contrasts with the uninhibited and emphatic display of the remaining ensemble.
Above the curvilinear relief that narrates the miraculous apparition of the Mother of God – and her disappearance as well, as the restoration has allowed us to see more clearly –, the altarpiece grows in size and rises to assert the triumph of Mary. It does so by presenting the medieval icon that is planted in the middle of the wooden belly of the great machinery, which is accessed through the wooden doors on each side of the altar. Once inside the camarín, devotees are imbued with the close contact of the image and walk through a winding forest of columns with oblique capitals guarding the shoulders of the sculptures of the declaiming saints until they reach the nave. With the characteristic elegance Carles Morató bestowed on his figures, there are representations of Saint Joseph and Saint John the Baptist, flanking the carvings of the Virgin, Saint Raymond Nonnatus and Saint Peter, on the front pillars, and of Saint Stephen and St. Thomas the Apostle, at the turns closest to the walls. Above this, the entablatures with curves and counter-curves
— View of the back of the altarpiece. Centre de Restauració de Béns Mobles de Catalunyabecome larger to present the dove of the Holy Spirit in the middle of a concave relief that enters the attic of the altarpiece. The cusp, of smaller proportions, is presided over by a sculpture of St. Martin, patron saint of the parish of Riner, accompanied by the theological virtues of Faith (with the chalice) and Hope (with the anchor), which recline beautifully above the pediments. Bulbous bodies at the ends, both original and strange, simulate a celestial atmosphere that culminates in the placement of the celestial orb and figures of angels riding on the mixed profile of the crown.
As if the splendour of the architecture and carving were not enough, the workers wanted the gilding and polychrome of the whole to be extended to the walls and vaults. This task was carried out by the painter and gilder who used to work with Carles Morató, Antoni Bordons i Aguilar, who was also from Solsona and worked there between 1760 and 1774. The lacquered chinoiseries on the cartouche fields, one of the earliest and most beautiful examples of Rocaille art in Catalonia, and the illusory perspectives coexist in perfect harmony with the abundant repertoire of scrolls, garlands, shells, cornucopias and filigrees that the sculptor imagined. The result of all this is one of the best examples of the technical exquisiteness that Catalan workshops have achieved and one of the best showcases of the exquisiteness of Baroque altarpiece art in Catalonia.
The altarpiece is made of poplar and pine wood. The sculptural elements are carved in poplar wood, while most of the structural elements are made of pine. The 16th century image of the Virgin Mary is made of wood from a fruit tree.
The altarpiece typology, in terms of its constructive characteristics, is one of selfsupporting structure, which means that the very construction of the altarpiece has a structural function; all the weight of the furniture is distributed between the columns, the pedestals and the entablatures. As a reinforcement, the back of the altarpiece has several anchors on the wall, in the form of wooden straps, to prevent any possible forward movement. The separation from the wall is of approximately two metres, which makes it possible to access its reverse. It is worth noting, from a documentary point of view, that the marks of the tools used for woodworking are highly visible: the figures on the upper part of the third body — St. Martin, Faith, Hope and the Angels — are carved in a half-relief as well as hollow on the reverse, and the marks of the adze can be seen; the planks and beams that are part of the construction System also bear the imprint of the saw and the adze.
All the sculptures that adorn the altarpiece are attached to the structural part of this work with wrought iron straps in different sizes. The iron elements constitute a feature of great importance in this altarpiece, as an element for holding the sculptures and also as a constructive element for holding the beams and posts.
On the reverse of the altarpiece we can see half-blind joints of pieces and planks with a dovetail, also glued to the head with strong glue or fastened with forged nails, most of them nailed from the front to the back and without riveting. The fastening to the wooden beams anchored to the wall and to the sculptural elements is done with wrought iron in the form of staples or plates, depending on their function.
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The iron elements that hold the beams, posts and sculptures.
Photograph: Kreitrestauro, SL
The altarpiece offers a wide range of painting techniques and procedures. Gilding is the most widely used technique in the altarpiece. The optical properties that gold has for reflecting light have been used to attract attention and display wealth and prestige.
Two main gilding techniques can be observed in the altarpiece: the size or mordant technique
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Painting techniques: gilding in the mixture and in the water with the incorporation of lacquers, silver gildings, estofados, sgraffitos and chiselled, mottled decorations and decorations with chinoiseries.
Photo: Kreit-restauro, SL.
which results in a matte finish, without shades, and water gilding, which yields all kinds of qualities and with which nuances can be achieved from bright to matte. One should note the different ways of applying the gilding, as, in addition to playing with the glossy and matte effect, they also include work done with chisels, lacquers, silver gilts, estofados and sgraffitos Other painting techniques that can be observed are mottling and chinoiserie.
According to the analyses performed, the main technique for applying the pigments is tempering with a protein-type binder, which could be egg or animal gelatine. The lacquers analysed are composed of rosin resin mixed with pigments, such as Prussian blue, for both shades of green (low concentration) and blue; cochineal, for the orange hue, and earth tones, for browns.
The assembly of the scaffolding (the first week of February 2020) made it possible to inspect the altarpiece in detail, especially in the upper areas. The complex was found to be in a poor state of conservation. There was a great deal of generalised dust accumulation, especially in the upper parts of the altarpiece. The passage of time and the work that has been done on the sanctuary during these years had generated a layer of dust and thick dirt that had adhered to the varnish layer. The hygroscopicity of the dust, along with the moisture and movements of the wood, had caused uplifts and losses of material, regarding both polychrome and gilding.
In the structural and supporting part of the wood there were cracks in the carvings and separations in the joints of fragments. In these joints, union reinforcements using the clothlining technique could be seen on some of the elements. This practice gives the wooden support a smooth finish, which covers the joints and creates a base so that the wood is properly prepared for painting. There were also fragmented and detached elements, and some pieces of the fingers had been lost in the images.
Xylophagous attacks were occasional and mainly confined to the ornamental parts, there being no traces on structural elements.
In the camarín area and also at the access doors, which are places where there is contact with visitors, there were cracks, scratches, incised graffiti and wear of the layers of polychrome and gilding from contact with hands.
Conservation and restoration: state of conservation of the reverse of the altarpiece
The altarpiece is located in the presbytery, with the exception of the camarín, which is external to the central nave of the building, making it more vulnerable to climate change.
The visible part of the reverse of the altarpiece is separated into two parts: the upper part, which is accessed through a door from the upper outbuildings of the church, at the height of the upper cornice, and the lower part, which is accessed through the two doors on the ground floor. Between these two parts one finds the chapel of the camarín, which reaches to the outer wall of the church.
The altarpiece is anchored to the wall by wooden beams of considerable thickness that separate it from the wall by some two metres. There were some wooden beam-to-beam panels that allowed for visual inspection, but the entire visible surface could not be easily accessed. There was also electrical wiring attached directly to the wooden stand.
Regarding the state of conservation, mention should be made of the considerable accumulation of dust, dirt and cobwebs on the wooden support, with significant thicknesses in localised areas, as is the case of the great dome of the Holy Spirit. There was some separation in this element of planks and fissures and the dirt reached the front of the polychrome.
Generally speaking, the wooden support was in a good state of conservation, in terms of both the structural part and possible alterations. There were no active xylophagous attacks, although the odd cork holes could be seen. There were moisture stains on the roof of the camarín, leading to previous leaks of water from the roof of the church, which had already been resolved by then.
The initial planning of the restoration work was adapted to the needs and problems that arose during the intervention. Moreover, taking into account the large dimensions of the altarpiece, the decision was taken to do the work in sections.
Fixation was combined with surface cleaning, although in some cases it could be a priority given the severity of the uplifts.
Most of the areas with gilding and polychrome decohesion were of considerable thickness, as the detachment included the preparation layer. There were both uplifts with ridges and bags. The latter
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Organoleptic examination: the scaffolding allows for a detailed inspection of the altarpiece.
Photo: Kreit-restauro, SL
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Organoleptic examination: the scaffolding allows for a detailed inspection of the altarpiece.
Photo: Kreit-restauro, SL
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Organoleptic examination: occasional loss of support.
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Organoleptic examination: accumulation of dust and loss of the preparation and painting layer.
Photo: Kreit-restauro, SL
Centre de Restauració de Béns Mobles de Catalunyaare more dangerous, as they can go unnoticed without a thorough examination.
In order to establish the methodology to be followed in the fixation process, a first test was performed with Lineco® (neutral pH polyvinyl acetate). The result was good with small uplifts, but less effective in areas with large uplifts due to the delay in drying and the impossibility of maintaining a constant pressure for the long time it takes for it to set properly. The use of a natural adhesive, such as hide glue, was ruled out as injecting this adhesive when hot and while working on the scaffolding required a complicated infrastructure and also because of the undesirable moisture that the glue would have brought about. The next test was done with Beva® D-8-S, an ethyl vinyl acetate adhesive emulsified with a highly volatile, quick-drying material that leaves no residue. Once dry, it is insoluble in water, but reversible with alcohol and white spirit. The fact that it is very viscous gives it a high adhesion power and also prevents the adhesive from penetrating the surface where it is applied. These fast-drying, highadhesion characteristics make it easy to quickly and effectively fix the thick layer of preparation and gilding.
A surface cleaning was initially carried out with a trowel and a vacuum cleaner to remove the accumulated dust, done very carefully, due to the poor adhesion of the polychrome and the gilding.
The layer of acrylic varnish, which was applied to the entire altarpiece in the 1992 intervention, made it possible to perform an aqueous cleaning with a regulated pH, both in the polychrome and the gilding. The aqueous test of the CRBMC’s polychrome cleaning protocol revealed that the most suitable buffer to remove adhered dirt without the danger of damaging the pictorial layer was a pH 6.8 buffer solution with the addition of a weak chelator, citric acid. In the gilding areas, cleaning tests were also carried out with a fat W/O emulsion, and the same buffer was used as the aqueous medium. Although the cleaning was adequate, the final result was not entirely satisfactory, because it gave the varnish a matte effect that was already there, probably due to the white spirit solvent. The cleaning was eventually done with cotton soaked in the buffer solution and great care was taken with the gilding, which must be dealt with using only slightly moistened cotton or working with Sontara®. The characteristics of this non-woven fabric, which combines cellulose with polyester, cause it to absorb a large amount of dirt with very little moisture, making it ideal for cleaning hard-toaccess areas.
Intervention were carried out on numerous elements and attributes that were disunited, cracked, detached or fractured. This intervention was done with PVA and, in some cases, also with a two-component epoxy-based putty (Balsite® W + K).
For the final presentation, the minimum intervention criterion was followed. It was noted that the altarpiece had already been restored in 1992 and that our action consisted in a curative restoration. Despite this, putty was applied in specific areas as a reinforcement measure and to prevent detachments. Paint reintegration, to cover the whites caused by polychrome losses, was done with occasional watercolour retouching. The idea of selectively varnishing the obverse of the altarpiece was evaluated and chosen. Since the altarpiece had already been fully protected in the previous restoration, there was no need for it to be varnished in its entirety. The varnishing was carried out using Paraloid® B72 acrylic resin, as in the 1992 restoration, with 8% acetone. Care was taken not to varnish the gold parts and the silver gilts which, once clean, retained the characteristic brilliance of gold. By contrast, all the figures were varnished as were, selectively, the rest of the elements.
First of all, a cleaning was done with a scraper and a collector to remove the accumulated of dirt and the heavier surface layers. The hard-to-reach parts were the most problematic, as they contained much accumulated dirt. A second cleaning followed, using a spatula and vacuum cleaner to remove all dust. When cleaning, great care must be taken with the sharp edges of the wrought iron nails, which hold the tables and form the boxes in the altarpiece. The next step consisted in cleaning all the wood with 10% -20% alcohol water, with the help of sponges.
Once the wood was clean, a protective primer of Cedria®, which protects the wood from fungi and insects, was applied with a trowel. Two layers of this product were applied to the whole reverse.
Wooden walkways were built to access all the corners of the reverse of the altarpiece, except for the ground floor, which can be accessed by a staircase. This aids inspection and future conservation work.
The walkways, which are attached to the original beams as they are the strongest points of the altarpiece, are made up of cedar planks of different lengths, depending on the space between the selected beams: of variable width, between 15 and 25 centimetres, and with a thickness of between 4 and 4.5 centimetres.
Cedar wood is very resistant, both to the attacks of wood-eating insects and to moisture.
The planks were fixed to the beams, on both sides, with 8 cm galvanized steel screws and a chamfer was created to accommodate these.
It is a sixteenth-century polychrome wooden image, of an earlier vintage than the Baroque altarpiece where it is located. The image was created for the second church of the Miracle, which was consecrated in 1590. According to the study and analysis carried out, the carving is of fruit tree wood. The gold polychrome is really a silver gilt with an amber resin that gives it a golden hue. It also has a green lacquer on the silver background and there are traces of gold in the hair. The polychrome it bears at present is not the original one. It is necessary and convenient to subject it to a technoscientific study with UV, infrared and X-ray photography, analysis and
Conservation and restoration process: fixing the preparation and painting layer. Photo: Kreit-restauro, SL
Conservation and restoration process: aqueous cleaning of the painted surface.
stratigraphy, to determine if the original polychrome has been preserved; and additionally to carry out a study of the support.
A conservation process was carried out, keeping intervention down to a minimum: an aqueous surface cleaning of the polychrome and silver gilt; the application of putty to the cracks of the fingers of the Virgin’s right hand; minimal paintwork reintegration with watercolours to give chromatic unity to the whole; the application of a
— — Photo: Kreit-restauro, SL Centre de Restauració de Béns Mobles de Catalunyalayer of varnish; and a change of the fabric of the base, which was in very poor condition.
There are two large canvases painted in tempera glue on either side of the altarpiece, depicting the archangels Michael and Raphael. These canvas paintings are the work of the same artist responsible for the painting on the altarpiece, Antoni Bordons.
This being unvarnished tempera painting, the paint layer is very sensitive to water. The fabrics are mounted on a frame of approximately 10 m in height and 1.20 m in width, and are attached to the wall. The frame is not entirely regular, sometimes becoming rounded in shape to fit into the space. The fabric is flanked by embedded painted pieces of wood of the same thickness as the frame and following the shape and colour of the figures painted on the fabric. With this succession of different supports, the artist aimed to give depth to and highlight the figures he painted in both scenes. The union of these polychrome elements (fabric, board and mural) confers an element of technical uniqueness onto this space and gives continuity to the altarpiece.
These fabrics are painted directly in tempera glue, without a preparation layer or with a very fine preparation, and are akin to a type of twill. The thick weft of the fabric is highly visible to the naked eye and gives it a very special character; it is an open weft and the fabric is of a simple, taffeta type. In addition, one can see different joints of the fabric with a stitching on the front.
The polychrome was in a good state of preservation and the alterations were on the support, with a few tears and deformations.
The intervention consisted in cleaning it mechanically with a duster to remove the surface dust, and repairing the tears of the fabrics, albeit only on the front as it was impossible to access the reverse. It was sewn or darned with a curved needle and a strong polyester thread whose colour was similar to that of the fabric. This system was chosen because the loss of the paint layer in the areas affected made it possible to see the weft through which the curved needle could pass with the thread.
The mural that is a part of this set is located on either side of the altarpiece and also decorates
—(Left and below) Conservation and restoration process: occasional reintegration of paintwork.Photo: Kreit-restauro, SL
the upper dome. The technique used was glue tempera painted directly on the prepared wall. Its state of preservation was not very good, with dustiness and lack of cohesion, especially at the top. This paint is very sensitive to water.
The paint on the side walls were more consolidated but there were still large areas with worn colour. There were also holes with loss of mortar as a result of accidental blows. The mural was covered by a thin layer of surface dust and cobwebs.
Intervention here was minimal and done very gently, with mechanical cleaning by means of a synthetic fibre duster, in order to remove surface dust. Cleaning with an aqueous or chemical system was discarded.
The large gaps with loss of mortar were volumetrically refilled with lime mortar and retouched with the hue of the surrounding paint.
Conservation and restoration: other interventions. Floor mosaic of the camarín
This is a mosaic of floral motifs made of marble tiles in various colours. The structure of this receptacle is made up of wooden planks that generate a constant movement with the footsteps of parishioners and visitors. These vibrations caused the tiles to come off and jump. Fortunately, many have been saved.
In a previous intervention, those gaps with a loss of tiles had been filled with a mortar of plaster as well as of cement. In general, there was a great deal of surface dirt accumulation as well as very thick embedded greasy dirt. The criteria for intervention in the mosaic were
agreed with the monks of the Benedictine monastery as well as with the Generalitat technician, and an illusionist approach was chosen. The loose tiles were relocated and new tiles of the same material and similar shades were made to make up for the loss.
There are seven votives lamps in various metals, with a silver bath, with amber glass tulips, located around the vault of the camarín. These lamps are made of a set of elements: the chains, the tulip holder and the lamp. Above the scene of the apparition of the Virgin Mary before two shepherd children there are four floral tulip lamps. They all had much dust accumulation and had blackened. The seven votive lamps were taken off the anchors of the altarpiece. As they had a silver coating, they were first cleaned ultrasonically, and then, with the help of a surfactant, treated with 3% tannic acid with alcohol and given a final protection with synthetic varnish.
The wrought iron railing, located in the camarín area, in front of the Virgin, and the railing of the access staircase to the camarín were once painted with imitation-gold paint and the decision was taken to maintain this. There was considerable dust accumulation. The railings were cleaned with the same surfactant, with brushes and a scalpel. A tannic acid treatment was performed on the parts with no traces of gold paint. The finish is made with a synthetic varnish.
Conservation and restoration process: wooden walkways that have been placed to favour better access to all the corners of the reverse of the altarpiece.
Photo: Kreit-restauro, SL
Centre de Restauració de Béns Mobles de Catalunya
GENERIC CLASSIFICATION: wood carving | OBJECT: polychrome sculptural altarpiece | MATERIAL/TECHNIQUE: wood carving, polychrome and gilding | DESCRIPTION: camarín altarpiece of the Mother of God | DATE/PERIOD: 1747-1774 | AUTHOR: Carles Morató i Brugaroles (sculpture) and Antoni Bordons i Aguilar (gilding and polychrome) | DIMENSIONS: 21.50 × 14 × 10 m | LOCATION: Sanctuary of the Miracle, Riner (Solsonès). Main altarpiece | CRBMC REGISTRATION NO: 4107 | CATALOGUE NO: BCIN 385-MH-EN | TECHNICAL MANAGEMENT: Pep Paret | EXECUTIVE MANAGEMENT: Claustre Augé (Kreit-restauro, SL) | RESTORATION: Koro Abalia, Imma Amorós, Eulàlia Aragonés, Claustre Augé and Rosaura Janó (Kreitrestauro, SL); Mercedes Bruned, Olga Íñigo, Núria Jutglar, Beatriz Montobbio and Oriol Mora | YEAR OF RESTORATION: (in 1992 the CRBMC performed an intervention on the altarpiece with a strong emphasis on the curative conservation of its obverse)
The work is on display in the Sala Borralleras of the Ateneu Barcelonès, and consists of five wooden plywood posts with lead plates nailed and painted on the obverse, with neon lines and numbers running through it, and a shelf made from a piano cover that holds a blanket. Benito’s entire universe is condensed into this magnificent work.
The intervention is based on the state of preservation of the piece: one of the lead plates was coming off the wooden support and the neons were hanging on the obverse, some broken and others unused. The acquisition file does not contain any detailed photographic documentation of the initial state, in order to know the original position of the lead panel that came off, nor any notes on the technical characteristics (especially the colour) of the neons.
Therefore, the first step that had to be taken, first of all, was to get all the possible documentation about the piece in its original state. The research begins with the consultation with the depositories of Benito’s work, the Granollers Museum, which provides us with the contact of Mr. Jaume Lecha, Benito’s collaborator in making neons for this work and many others. They also provide us with the catalogue Jordi Benito. Ideas as images / Documents as works of art (1985-2008), by Vicenç Altaió, in which there are photographs of the piece at the time of its creation, in Benito’s workshop. These photographs
show the work from the front and do not allow us to understand the initial position of the lead plate that we have detached. But, thanks to the captions in the catalogue, signed by Pere Cornellas, we were able to locate this photographer, who used to work with Benito and who kindly offered to consult his private collection in search of more documentation. Luckily, he found an image of the work in which he could see the exact original position of the lead plate that was out of place.
At the same time, we talked to Vicenç Altaió, an art critic, poet and essayist, a great friend of Benito and author of articles and catalogues about his work. Altaió told us about Benito’s artistic technique, so closely linked to «arte povera», to «happening», to «environments», to «body art», to «performance» and to the premises.
ESTHER GUAL Coordinator of the contemporary art conservation-restoration speciality of CRBMCHe explained the meaning of this work and the motivation of the elements that make it up. The reason for its title: a tribute to Carles Santos (Vinaròs, Baix Maestrat, 1.7.1940 - 4.12.2017), with whom Benito had a close relationship, and The gold of the Rhine, the first of the four operas from «Der Ring des Nibelungen» by Richard Wagner. Two large initials painted in black: Benito’s B and Wagner’s W: Benito reinterpreting Wagnerian symbolisms, the transgression of the established norm and the political conflict as the origin of society. The neon numbers in the work refer to the Fibonacci sequence and the golden number, which represent the ideal of beauty, the perfection of nature, and the divine proportion. The great symbol of infinity painted in black, which occupies a central place on the golden number, is a sign of knowledge, very present in the works of Benito, as the one that crowns the installation of the Parc de Ponent, Granollers. The letters Vz, in reference to the Mauser Vz 24 rifle bayonet that Benito had already used in the performance of the Georges Pompidou Center, in 1978. Again, war, conflict and transformation. And finally, the piano cover, a tribute to life and death, because this instrument is present in all the commemorative events of birth and death. The piano as a generating device, as a
tribute, again, to Carles Santos.
Another aspect that concerned us was the composition of the piece: lead-plated wood plywood. Although no degradation was seen at first glance, we had to make sure that there was no carbonation of the lead, due to the reaction of this metal with the organic vapours coming from the wood. If this had happened, in addition to being a problem for the piece, we could have had another health and safety issue. The detailed inspection confirmed to us that the lead was in good condition and that there was no degradation whatsoever. This was probably due to the location of the piece: the mural had been hung a long way from the wall due to the presence of water pipes. This meant that the piece had very good ventilation on both the front and back, but this is an issue that must be monitored periodically, and this has been stated in the documentation of the intervention.
Once all this information was gathered, we went to the Ateneu with Jaume Lecha, author of the original templates and neons. It was found that the old transformers were burnt and needed to be replaced, and as for the neons, it was necessary to repair the broken ones (weld the glass) and equip the whole set with gas, so that they all had the
— Photography after the intervention.same light intensity (otherwise, the restored ones would look brighter than those that have not been recharged with gas).
As for the colour of the neons, since the technician who will restore them is the same one who made them, he has perfectly referenced the colour that Benito used in this work. In order for the installation of the numbers and neon lines to be located exactly as they were, the photographic documentation of Pere Cornellas and the position marks and perforations that the artist himself made on the work are used. In this way, the new electrical installation respects the route of the original and no new anchors need to be made. Burned transformers are replaced by electronic transformers; one of 8,000 V / 25 mA, which is what gives intensity to the line-shaped neon, and another of 10,000 V / 25 mA, which connects to the neons that make up the letters and numbers. The tubes are recharged with neon gas and all the wiring and connections with double layer of silicone are protected.
The detached lead plate is straightened to the original position and anchored to the wood with a screw, taking advantage of an existing perforation and, therefore, without the need to make a new hole.
In short, this intervention could not have been carried out rigorously, without a good search for all possible information about the work. The contact with Benito’s close collaborators and the custodians of his legacy have provided us with essential graphic, technical and historical-artistic documentation to understand the piece from all points of view. This is what we mean when we talk about the importance of multidisciplinarity in conservation-restoration.
Facing an intervention with the collaboration of various professionals, from different disciplines, and all with the same goal, always ends up reverting to the knowledge and preservation of our heritage.
With gratitude to: Vicenç Altaió, Pere Cornellas, Glòria Fusté, Jaume Lecha and Rosa Maria Malet.
Photograph before the intervention. Detail of the raised lead plate.
Photography after the intervention. Detail of the lead plate.
GENERIC CLASSIFICATION: contemporary art | OBJECT: mural | MATERIAL/TECHNIQUE: mixed media. The mural consists of five wooden posts with lead plates nailed and painted on the obverse; red neons on the obverse, depicting a cross line and numbering, and a piano cover that acts as a shelf with a blanket over it. | DESCRIPTION: The gold of the Rhine and / or the bullring of Vinaròs | AUTHOR: Jordi Benito i Verdaguer (Granollers, 1951 - Barcelona, December 9, 2008) |
DATE/PERIOD: 2000 | DIMENSIONS: 206 x 396.5 cm | LLOCATION: Sala Borraleras, Ateneu Barcelonès, Barcelona (Barcelonès) | CRBMC REGISTRATION NUMBER: 14373 | COORDINATION: Esther Gual
RESTORATION: Esther Gual | YEAR OF RESTORATION: 2021
THE WORK IS CLASSIFIED WITHIN THE LITURGICAL TRADITION AS A NOVENA OF SOULS. It is part of the Christian manifestations of popular art that took place mostly during the 18th and 19th centuries.
The historical-artistic information used to write this article has been extracted from the following publications:
AMADES, Joan. Costumari Català, volum II. El curs de l’any. Barcelona: Salvat Editores, SA, 2001
BOSCH, Joan; MIRALPEIX, Francesc. L’art de l’època moderna a Andorra. 16TH-18TH CENTURY. Andorra la Vella: Departament de Patrimoni Cultural. Ministeri de Cultura, Joventut i Esports. Govern d’Andorra, 2017. MIRALPEIX, Francesc, amb la col·laboració de Francesc Agustí, The mural paintings of Sant Climent de Talltorta. Girona: Catalan Institute for Cultural Heritage Research, 2021.
The work is classified in the liturgical tradition as a novena of souls. It is a painting on canvas framed by a carved and polychrome wooden structure, which is part of the Christian manifestations of popular art that took place mostly during the 18th and 19th centuries, although we may find examples earlier than this period. Within the history of art, they are considered a sample of ephemeral art, due to the expiration of its public exhibition.
Essentially, for nine days, the churches adorned the altars with scenery from the Day of Remembrance of All the Faithful Departed, popularly called Day of the Dead and Day of the Souls
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Obverse and reverse of the set, before the intervention.
NÚRIA LLADÓ conservator-restorer of cultural assets
Iconographically, the novenas of souls represent mostly — in a very simple way — the conceptual space of purgatory, where two concepts were articulated: death and redemption. According to the latter meaning, the path of souls, to whom minor or grave unresolved sins were ascribed in the form of forgiveness or penance, had to pass through purgatory, in spite of having attained eternal salvation, and this space is stood as a place of transition and reflection for the faithful. This iconography is exemplified, in this case, by a single record in which the heads and torsos of the characters appear, consumed by the atoning flames of the sins committed and surrounded by a rock in the form of an arch, waiting for the ascent to Glory. It is not known whether the work was accompanied by other fragments, as the related documentation is very scanty or almost non-existent.
The Heritage Delegation of La Seu d’Urgell addressed the request for a project for the intervention and safeguarding of the work to the CRBMC, given the high degree of deterioration, both in terms of support and pictorial layer, in which the whole was, severely affected by various alterations and degradations that had diminished its structural stability of way significant
This is a large, tempera glue painting canvas mounted on a pine stretcher of 4x4 cm, very simple and reinforced by two lengths. The canvas is a dense taffeta weave fabric of Liberian fibres, linen and hemp. It has exactly the same dimensions as the stretcher and is nailed to it on
the obverse of the painting, with the consequent loss in these areas of fibres and pictorial layer. It depicts the ordeal of souls in purgatory in a rock cave engulfed by the flames of hell, with a tonal treatment limited to yellowish whites, reds and browns, almost like blood. The framing of the canvas consists of a carved wooden structure, decorated with a semicircular arch with side shells, with two flat side pilasters with plinth, fluted shaft and capitals with laces, so that the whole set simulates a door of entrance. It is crowned, at the top, by a triple moulding, and at the bottom by a simple moulding and a support post. Of clear neoclassical influence, it is decorated in a visibly popular way, with a polychrome also in tempera, marbled in white, blue and red tones. It would not seem wrong to consider that the two pieces, the frame and the painting, do not correspond to the same historical moment, given the poor quality of the first.
Adverse climatic and environmental factors, accidents related to the maintenance of the storage area, human manipulation and biological aggression triggered a series of significant degradations, both in terms of support and pictorial layer, the latter really affected.
The wooden structures, the stretcher and the frame, had lost some of their compositional elements: a vertical crosspiece and part of the lower one, in the case of the stretcher, and mouldings, lintels and half of the lower post in the
— (Left) Detail of the state of conservation of the assembly keys area.
Photo: Núria Lladó — (Below) Detail of the cracks and the loss of the pictorial layer.
Photos: Núria Lladó
Centre de Restauració de Béns Mobles de Catalunya
case of the frame. These cracks were part of the degradation caused by the materials themselves, such as the weakening and disintegration of the wood fibres by the attack of rodents and woodeating insects. Both pathologies, triggered in large part by moisture excess, direct water and improper handling, among others, were also present in the supporting fabric of the paint. This fabric, subjected to the still existing continuous moisture, mutilated and free already in its lower part (without contact with the stretcher) showed a swelling of the fibres and a dimensional shrinkage, which caused serious damage, both in the preparation and in the pictorial layer. Also noteworthy was the succession of keyholes, from the assembly with the stretcher and the frame, distributed throughout the surface.
Both the preparation layer, traditional of plaster and glue, and the pictorial layer in the tempera had alterations that coincided and were totally associated with the canvas deterioration. The cohesion of the two layers had greatly diminished due to moisture excess, which eventually diluted the binders and left the fillers and paint unprotected on the surface. This alteration was particularly concentrated in the lower area; the rest of the painting had a widespread network of cracks, the source of many losses of small and large format.
At the time of collecting the work, the
polychromy had to be fixed in situ, to be able to make the transfer safely. 3% Tylosa® 300 was applied to the most vulnerable areas and, occasionally, sprayed cyclododecane. Once the whole set was protected, it was transferred to the CRBMC and introduced to the anoxia chamber for twenty-one days, in order to eliminate possible biological activity. Before the works began, it was recorded and photographically documented with diffused light, on the obverse and reverse, and with flush and UV light, and then transferred to the painting laboratory and disassembled. The preservation of the stretcher was rejected, as it was demolished during the separation of the pieces, and it was decided to make a new one with similar characteristics.
As soon as the painting was free of the elements that accompanied it, both the obverse and the reverse of the canvas were mechanically cleaned, and the parameters of pH and conductivity of the painting surface were determined, in order to address a cleaning up — with aqueous agents — in safe conditions. Therefore, the protocol was carried out with semi-rigid agarose disks applied on different places and colours, and the subsequent measurement of pH and conductivity with a digital pH-meter and a conductivity meter. The measurements indicated a 5.5 pH (glue safety pH) and a conductivity of 1,000 μS (slightly hypertonic).
Before starting the cleaning, however, the disintegrated pictorial and preparation layers
— (Left)
The paint, once disassembled from the rigid support.
— (Below)
Agarose disks to measure pH and conductivity.
Photos: Núria Lladówere completely fixed. After carrying out tests with different adhesives, it was decided to use leather glue (7% L&B), given the need to restore the lost binders and to give a certain elasticity to the layers. Three general applications were applied, followed by pressure and heat.
5% Kremer® liquid fish glue Yes Dismissed
3% powdered fish tail No Yes
7% L&B leather glue A little Yes
Aquazol®500 at 3% in OH No No. Transfer too much
Once the paint was fixed, the intention was to clean the painting surface in a condition of conservation, but at the same time the excess glue from the fixing of the painting had to be removed. First, a 5.5 pH buffered solution was prepared that respects the paint binder, and another 5.3 pH buffer solution that could partially dissolve the adhesive residue on the surface. Then, two W/O emulsions were made: 95% isooctane and 5% of each of the two buffer substances prepared. Occasionally, an AE solution was applied to remove small remnants of very persistent adhesive.
It was decided to restore the losses of the preparation layer to help preserve the painting and make it easier to read the scene. 3% Aquazol® 500 (H2O and 50% ethanol), saturated with white from Spain (CaCO3). This non-traditional resin was chosen because it allows you to work more safely in the temper in a pictorial layer.
Subsequently, and after the relevant tests, a matte varnish was chosen with the following
formula: Regalrez® 1094 (20 g), Shellsol®d-40 (10 ml) and 2 g of Cosmoloid® H80 wax as the final protective layer, the option that best restored the matte colour saturation of the paint. The colour reintegration was done with urea aldehyde resin Gamblin® colours
The consolidation of the canvas consisted of the application and adhesion, on the one hand, of reinforcement to the lower margin with 100% linen canvas and, on the other, in the adhesion of small pieces, also of reinforcement, in the central holes (with the same linen) and perimeter of the canvas (with silk crepeline). Both canvases had previously been impregnated, through a silkscreen, with Beva® 371 diluted in cyclohexane in a 1:2 vol.
In the new wooden stretcher, formally identical to the original, a silkscreen canvas was applied to reinforce the original one (loose-lining).
It was nailed to the side of the frame with stainless steel staples with the interposition of a cotton strip. The original canvas, the painting, was mounted on the new stretcher reinforced with a light tension, and it was stapled over a cotton strip on the obverse to reproduce the original montage. Finally, with regard to the protection of the canvas obverse and the access of pathogens, it was solved with the application of a Tyvek® 1442 fabric attached with Velcro® adhesive strap and secured with small stainless screws.
The intervention in the frame focused mainly on the reinforcement of the wooden structure and on the fixation and cleaning of the marbled polychromy, with 3% fish glue and a W/O emulsion of isooctane and 6’4 pH, 20%, and Akapad® rubbers of different hardness. The consolidation of the wood was mainly focused on restoring the mouldings, the lentils and the missing lower post, with cedar wood, although resins in liquid state were also included (3-4% Paraloid® B72) and small leaks were rebuilt with solid epoxy resins (Balsite® WK).
Finally, the processes were completed with the mounting of the frame on the stretcher with stainless steel angles, screwed to the frame with a separation between the canvas and the frame of 2.2 cm.
The environmental recommendations for the correct maintenance of the work are the following:
HR: 45-60 % (±5 %), T: 18-22 ºC (±2 ºC), and lighting with a maximum of 200 lux, always free of infrared and ultraviolet radiation.
and con ductivity mea surements.
AFTER THE CONSERVATION-RESTORATION PROCESS, the work by Ramón Martí Alsina titled Landscape of the Catalan coast (1866), which forms part of the National Art Collection of the Government of Catalonia, is presented in Mataró once the original luminosity and pictorial quality have been restored.
The Mataró Museum. Can Serra Història de la Ciutat envisaged the exhibition titled «A landscape by Ramón Martí Alsina» (from 14th May 2021 to 30th January 2022) as a proposal for discovery, based on the idea that an analysis of a landscape painting from the perspectives of different disciplines is essential for further interpretation of the work and understanding it as an artistic object and a historical document. For a history museum, landscape painting becomes a primary source of knowledge related to the memory of the territory, regarding the latter as the discovery of the changes or permanences that have taken place over time due to the effects of nature and as a result of human activity.
The exhibition has received the contributions of different specialists, including M. Lluïsa Faxedas (art historian), Pere Tió (historian), Salvador Ribas (architect) and Joan Manel Riera (biologist), who make different readings to provide a global and multi-disciplinary view of the whole.
In support of the discourse and analysis, the exhibition includes a small selection of natural objects and specimens that form part of the collections of the Mataró Museum to contextualise the period in which this landscape was painted.
The relationship between Ramón Martí Alsina (1826-1894) and the city of Mataró is another of the reasons that endorses this proposal for an
exhibition based on a single work, one which the artist painted using the notes he had collected on the natural world in a setting located very near Mataró.
As part of the vast pictorial production of Martí Alsina, this painting belongs to an era of full artistic maturity and constitutes a relevant document when it comes to studying both the pictorial realism of the 21st century, of which Martí Alsina was the finest exponent in Catalonia, and the different aspects that characterise a nearby historical landscape, ranging from the morphology of the land, the plant species and the rural architecture to the clothing and customs of the characters who are depicted.
Anna Capella , director of the MdM Conxita Gil , curator of the MdMIt’s a large-format oil painting on canvas (160.3 cm in height and 305.8 cm in width with the frame). In the prior diagnosis of the state of conservation of the work, a number of alterations requiring a conservation-restoration intervention in order to halt the process of deterioration were observed. The state of conservation of the painting before its treatment was poor.
As for the backing fabric, it’s a 2:1 taffeta (two warp yarns for one weft yarn) and on the top edge it has a selvage that can define the direction of the warp and weft with linen vast fibre threads, as indicated by the comparative analysis of the fibres. It had deformations, the most notable one located in the upper right-hand corner, as well as eleven tears, mostly with patches on the reverse applied in previous restorations.
The rigid support upon which the fabric is mounted is a wooden frame with a Spanish-style fit and without crossbars, an exceptional aspect in view of the large size.
The pictorial layer is made of pigments agglutinated with oil that are applied over a white preparation layer based on calcium carbonate and white lead. It was detached and lost in several parts and it had cracks. The surface layer displayed accumulated dust and dirt, a thick layer of varnish that had turned yellow over time and retouching altered during previous restorations. The above caused the original colours to look dull and darkened. An examination with ultraviolet light was able to locate the retouching and the varnish, the latter composed of natural triterpene dammar resin, according to the analyses by means
of Fourier transform infrared spectroscopy (FTIR).
The frame dates back to the period; it’s made of wood with floral and gold motifs. The corners of the frame fit diagonally and they are reinforced by laminated veneer lumber. Beneath the gilding there’s a white preparation layer and a bowl that’s reddish in colour. The state of conservation of the frame was good. It only occasionally displayed some wear, lifting and loss. There was accumulated dust and dirt on the surface layer.
The intervention process, after the preliminary examination and diagnosis phases, began with the disinsectisation by means of the anoxia chamber system. After the thirty-day period of disinsectisation, the painting was taken out of the
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Photo of the painting with ultraviolet light before the intervention.
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During the cleaning process. First phase with pH buffer.
Photo:
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During the cleaning process.
Second phase with solvents to remove the aged varnish.
Photo:
frame and the mechanical cleaning of the reverse was performed with a brush and the suction of the existing dust and dirt. The pictorial surface was then cleaned in several phases, with an initial dry one with a soft brush to remove the superficial dust and a second one with an aqueous system by means of pH control and ionic concentration to remove the most adherent dust and dirt. The option providing the best results in the tests was chosen: the pH8 buffer with a weak chelating agent and 1,800 μS/cm conductivity rinsed with a pH8 base buffer with the same conductivity. After the testing it was decided to remove the old varnish and repaint the previous restorations with a mixture of solvents (IA7 with 5% benzyl alcohol). This cleaning phase was especially complicated in the sea area and also in the vegetation area. The cleanliness of the pictorial surface made it possible to restore the work’s brightness and highlight the quality and details of the landscape.
Then, after removing the varnish that made it difficult for the adhesive to set, the non-adherent areas of the pictorial and preparation layer, concentrated in the upper part of the sky and the vegetation area, were set with 3% skin glue with the aid of suction and slight heat using the mini table. Once the setting was complete, it was possible to turn the frame to begin the localised consolidation of the backing fabric. Any old patches causing tension on the original fabric were removed. The tears were treated by means of the textile microsurgery technique, using sturgeon glue and wheat starch (1:1). A thin polyester gauze, previously prepared with a synthetic adhesive (Beva® 371 with cyclohexane, 2:1, sprayed) as a reinforcement, was applied to the areas where it was required. Linen fabric
prepared with adhesive (Beva® 371 with cyclohexane, 2:1, sprayed) was applied to the edges of the fabric to minimise deformations and strengthen the fastening area with the supporting frame and it was stretched.
The presentation system was implemented with the levelling of the gaps and pictorial reintegration with the illusionist technique, with stable and reversible conservation paints, Gamblin®. As protection for the pictorial surface, a Regal®Mat and Regal®Glossy (varnish (50:50) based on low molecular weight resin was applied.
The treatment of the frame and supporting frame began with the cleaning of the wood to remove remnants of Kraft® paper, dust and surface dirt, first mechanically with a brush and then with an aqueous solution to remove the most adherent dirt. At some points it was necessary to consolidate the wood of the supporting frame and frame with a PVA-based adhesive (Lineco®). Finally, the front of the frame was consolidated and fixed. Its surface was cleaned while dry with an emulsion so as not to damage the gilding. The presentation system consisted of levelling and reintegrating the small gaps and the frame was reassembled on the work’s supporting frame. Finally, the reverse was protected as a precautionary conservation measure with Tyvek® 1443.
After the intervention, the recommended environmental conditions to keep the work stable for as long as possible are: 45%-55% relative humidity (maximum daily fluctuation: 5%) and a temperature of 18ºC-22ºC (maximum daily fluctuation: 2ºC). The lighting has to be a maximum of 200 lux, free of infrared and ultraviolet radiation.
Process of consolidating the edges of the fabric with occasional strips.
Details of the paint during the chromatic retouching process.
Setting of the pictorial layer.
(On the next page)
Analytical technique and summary of results.
(From left to right)no. CRBMC: 13944
Sampling location
M. 6. Horizontal thread M. 7. Vertical thread
Analytical technique and summary of results
Comparison of fibres by optical microscope (OM) M. 6 and M. 7. Fibre analysis by OM: Both samples were viewed under an optical microscope to determine their nature. The presence of dislocations along the fibre indicates that it is a bast fibre. A more detailed observation shows a narrow, discontinuous lumen and cross-shaped dislocations, indicating that it is a flax fibre.
Sampling
M.
Sample
Sample M.3 Preparation layer
The sample was
Protective layer 1 Yellow Dammar resin
Polychrome 2 White White lead and oil
Preparation 3 White White lead, CaCO 3 and oils
The
Stratigraphy at 200 magnifications
FTIR spectrum of sample M3.2: The white layer consists of white lead and lead carboxylates agglutinated with oil.
Legend: Sample M.3.2 White lead pattern Pb carboxylate band
FTIR spectrum of sample M3.3: According to the resulting spectrum, the preparation is comprised of white lead and calcium carbonate CaCO 3 agglutinated with oil.
Legend: Sample M.3.3 CaCO 3 pattern White lead pattern Oil band
FTIR spectrum of sample M3.1:
Legend: Sample M.3.1 Natural resin pattern
Chromatogram of sample M3
FTIR results: resin. GC-MS results: dammar i àcids grassos. The varnish found appears to be a natural resin, as can be seen in the FTIR spectrum.In order to determine the type of varnish more specifically, the sample was analysed by gas chromatography. The presence of dammarenolic acid, in addition to other components of the resin, indicates the use of dammar triterpene resin. On the other hand, the presence of azelaics in the polychrome indicates that it is agglutinated with flaxseed oil, according to the proportions obtained.
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Details of the supporting frame consolidation process.
Photo: Teresa Schreibweis
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During the setting process with skin glue and cleaning with solvents.
Photo: Teresa Schreibweis
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General photo of the obverse and reverse following the intervention process.
GENERIC CLASSIFICATION: painting on canvas | SUBJECT: picture with frame | MATERIAL/TECHNIQUE: oil painting on canvas
TITLE/TOPIC: Landscape of the Catalan coast | AUTHOR: Ramon Martí Alsina | DATE/TIME: 1866 | DIMENSIONS: 160 × 306 cm | ORIGIN: art collection of the Government of Catalonia | CRBMC REGISTRATION NUMBER: 13944 | COORDINATION: Maite Toneu | INTERVENTION: Teresa Schreibweis and David Silvestre | YEARS OF RESTORATION: 2020-2021
Centre de Restauració de Béns Mobles de Catalunya
MARTÍ BELTRAN Doctor of physics and musicologist. Department of Physics at the Polytechnic University of Catalonia (UPC). Group of Characterization of Materials (GCM).
JORDI BONET Chemist. Stained glass restorer at J.M. Bonet Vitralls, SL.
TRINITAT PRADELL Professor of the Department of Physics at UPC. Group of Characterization of Materials (GCM). Specialized in the study of ancient materials.
THE LEGACY OF CATALAN MODERNIST WORKSHOPS IS IMMENSE, OF HIGH QUALITY AND GOES BEYOND THE GEOGRAPHICAL BOUNDARIES OF THE REGION, since exports to the Americas and orders to many places in Spain were constant.
This important element of modernist heritage, built with glass, lead, grisaille enamel and enamel, suffers from alterations common to those of stained glass made in other periods, as well as others that are quite specific. The paints used by the stained glass artist can be grouped into three families: grisaille enamels, silver stains, and enamels. Grisaille enamels have been used since the beginning of this art, which was in the 8th century according to the oldest archaeological remains, to make opaque black lines or glazes and volumes. Silver stains have been used since the second half of the 14TH, century and create intense colours ranging from yellow to orange. Enamels, the third type of product, are coloured glasses that are ground to a powder that is applied to the glass, kneaded with water. All paints must be baked at about 600 degrees to adhere to the glass. Enamels are a thin decorative layer that is applied on top of a base material, in this case, glass, and consist of a vitreous phase in which different pigments are dissolved. We have records of their use since the 17TH century, and an enamel recipe appears as early as 1612 in The Art of Glass Florentine priest Antonio Neri. To prepare glazes at lower temperatures and thus avoid the risk of deforming the base glass, different fluxes were soon used to reduce working temperatures. To this end, in the 18TH century, borax was introduced as a flux. As for Catalan workshops, the enamels applied on glass to make stained
glass began to be used regularly from the beginning of modernism.
In the 19 TH century, the Industrial Revolution promoted a scientific impetus to find new materials and improve the properties of those that already existed. In this context, there is a whole set of discoveries regarding the production techniques of blown glass, thanks to which more uniform glasses with less impurities were obtained. Enamels also underwent a transformation in terms of their formulation, and chemists such as Frenchman Adolphe Lacroix researched new materials, such as borosilicates, to obtain enamels that are more resistant to corrosion and can be worked with at lower temperatures.
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Stained glass preserved in the Acadèmia Mariana in Lleida which shows the effect of deterioration on blue enamel.
Photo: Jordi BonetThe research carried out during the thesis directed by Dr Trinitat Pradell has been the result of the need to know the constituent materials of modernist stained glass and the their deterioration mechanisms. The lack of scientific studies on historical enamels, especially modernist ones, left unanswered the fact that practically all the stained glass windows from this period present some degree of alteration to their decorative layers. These alterations have diverse aspects, from a whitish and purulent appearance to cracked surfaces or faded colours, usually starting at the outer perimeter. This phenomenon is worrisome, especially regarding green and blue enamels, as they are the ones that show a greater degree of deterioration.
Research goals have been achieved by determining the composition and micro-structure of the enamels used by modernist workshop Rigalt, Granell i Cia. To analyse them, both raw enamel samples and replicas were studied, obtained from the private collection of J.M. Bonet Vitralls, SL, a workshop founded in 1923 with a long tradition in the conservation and preparation of stained glass. To deduce the deterioration mechanisms, these results have been compared with the analyses of enamelled stained glass samples created by the main Catalan stained glass artists of the period (Bordalba; Rigalt i Granell; Boixeres i Codorniu; Amigó, and Maumejean). Their composition was studied with the help of the laser ablation technique as a source of sample introduction to inductively coupled plasma mass spectroscopy (LA-ICP-MS). Their structure and micro-structure were analysed with optical and scanning electron microscopy (SEM); the presence of crystalline particles, with X-ray diffraction and microdiffraction (XRD), and the presence of chromophores, with visible ultraviolet and near-infrared spectroscopy (UV-VIS-NIR). The thermal properties of enamels were studied using different analytical techniques, such as differential scanning calorimetry (DSC) or hot stage microscopy (HSM).
Modernist enamels are lead and zinc borosilicates, in which the colour is defined by transition metal ions dissolved in glass (Co 2+, Fe 2+ ,
Cu2+, etc.), pigment particles such as iron oxides or cobalt aluminates, and gold and silver nanoparticles. For the decorative layer to properly adhere to the base glass, we must take into account the thermal properties of these two materials. The firing temperature must be high enough to increase the diffusion coefficients of both materials and thus encourage the enamel to diffuse into the base glass. This necessary point for proper adhesion is given by the glass transition and softening temperatures, which will be exceeded in the case of the enamel. Furthermore, although it is necessary to work above the glass transition temperature of the base glass, the deformation temperature can never be exceeded, given that the stained glass would be damaged. This fact means master stained glass artists have a narrow margin to fire the enamel and, therefore, any small modification in the materials’ composition has consequences on the result.
As for the deterioration mechanisms, atmospheric corrosion has also proven to be the main cause of enamel deterioration, with moisture, pollution and solar radiation as triggers. It should be noted that green and blue enamels deteriorate more because they contain a structure stratified by the presence of lowerdensity particles of cobalt and chromium aluminates . UV-VIS-NIR spectroscopy has also revealed that enamels with particles of Cu2+, Co2+ o Fe 2+ have higher absorption in the near infrared area, which causes thermal imbalances between the decorative layers and the base glass leading to their premature loss.
This research is particularly useful for conservators and restorers working with modernist stained glass. For a good restoration practice, both the composition and the factors that influence the alteration of this heritage element must be known, to start with the characteristic material properties of Catalan stained glass: the methods, the materials used, and the weather conditions to which they are usually exposed. Thus, based on the analysis results, we recommend incorporating elements that preserve the enamels against factors that trigger deterioration as the main conservation strategy. During our research, we verified that stained glass windows that are located in
GENERIC CLASSIFICATION: ceramics, glass and metal | OBJECT: stained glass | MATERIAL/TECHNIQUE: glass, lead, grisaille enamel and enamel | DESCRIPTION: diverse | DATE/ERA: Modernism
protected or indoor environments present a smaller altered surface area, compared to those that are exposed to the outdoors or pollution. Therefore, different protective elements against infrared radiation should be added, as well as isolating and protecting them from moisture, dirt and environmental effects. Furthermore, we must remember how Antoni Rigalt, in his entrance speech to the School of Fine Arts in Barcelona in 1884, describes the application of grisaille enamel
and enamels to the same section of glass as an extended practice in the Catalan school of stained glass. The study has shown how the application of these two elements together changes the composition of the vitreous phase, decreases the resistance to atmospheric corrosion and introduces elements that accelerate their deterioration, which is why it is a practice that should be limited as much as possible to improve the future conservation of stained glass.
Jar of raw blue enamel, from the laboratories of A. Lacroix, used in the modernist workshop of Rigalt, Granell i Cia. from the collection of J.M. Bonet Vitralls, SL.
Photo:
SEM-EDS image revealing the stratified structure of blue enamels.
Photo:
Samples of baked enamels under study at the workshop of J.M. Bonet Vitralls, SL.
Photo:
Absorption spectra of blue and green enamels in the UV-VIS and NIR regions in which the absorption of blue enamels in the NIR region stands out.
Author:
JORDI BONET Chemist. Stained glass restorer at J. M. Bonet Vitralls, SL. MARTA GOLOBARDES Conservator and restorer of glass material. Master’s Degree in Conservation and Restoration Project Management from the University of Barcelona (UB)
THIS ARTICLE INCLUDES PART OF THE FINAL WORK OF THE MASTER OF THE COAUTHOR OF THE TEXT, MARTA GOLOBARDES, based on international research, on documents from the workshop of J. M. Bonet Vitralls, SL and on new applications of instrumental methods and restoration materials.
This article describes the technique, the most relevant authors/workshops, the construction methods and the most common causes of alteration of concrete stained glass. A later article will cover the first non-destructive investigations regarding the diagnosis of the state of conservation and some of the methods of preventive conservation applied to practical cases.
This field has been little studied, although it is rich, renovating, intense and long-lasting. Objects built between the years 1950 and 1970 — the period on which this study is based — are at risk, both because of their natural aging and the difficulty of their restoration, and also because of the perception that it is recent art, of little value and failed aesthetics. Their low appreciation as works of art has often led to their conservation and restoration being neglected, to their being replaced with other enclosures in the event of breakage, or to their destruction. Examples of this include the disappearance of the stained glass windows of the former headquarters of the ONCE in Barcelona (c/Calabria, 66, Barcelona),
the stained glass Windows created by RiuSerra ı for the Sancho de Ávila funeral home in 19681 (c. Almogàvers, 93, de Barcelona) or the stained glass dome of the bar of the amusement park of Montjuïc, built by the Union of Glass Artists of Irún (Guipúzcoa).
This is not to say that all concrete stained glass must be preserved, but that the conservation debate should be based on historical and technical documentation, known to a very small number of
specialists know and, in part, still awaiting completion. Over and above the lack of knowledge of the conservation and restoration of these panels, it must be borne in mind that the weight and dimensions of these objects tend to make their disassembly much more laborious than that of leaded stained glass. It is therefore very important to prevent them from reaching an advanced state of degradation.
These are placed according to a previous drawing inside a formwork or mould. A metal rod structure is placed around the parts. It is then covered with concrete, usually with grey Portland cement and coarse, fine aggregates; the use of white cement, of Griffi® with marble sand, was also popular. In this way, a reinforced concrete structure is achieved. The result is much heavier than traditional leaded stained glass and also much more solid.
Concrete stained glass, unlike its traditional counterpart, is made of glass tiles or slabs with a thickness of between 25 mm and 30 mm and known as dalles, a term that comes from the French. They are placed in accordance with a previous drawing inside a formwork or mould. A metal rod structure is placed around the parts. Then it is covered with concrete, usually with grey portland cement and coarse, fine aggregates; the use of white Griffi® cement with marble dust, was also popular. In this way, a reinforced concrete structure is achieved. The resulting panels are much heavier than those of traditional leaded stained glass as well as much more solid.
The inner metal structure was generally made of tempered carbon steel, during the period when this art form was at its zenith (1950-1970). Subsequently, other materials were also used, such as stainless steel or fiberglass. The inner structure could be a 15 × 3 mm handrail (in the Duxcrom method) or 4 mm to 6 mm circular rods. Initially, the rods were tied together with wires or
overlapped without fastening. With the popularisation of portable welding equipment, the joints between rods became welded. For metal reinforcements, it was not necessary to make so many calculations, especially in comparison with what engineers had to do when building reinforced concrete. The selection of materials only required that they not be tempered in order to make it possible to bend the rods and adapt them to the drawing.
Cement stained glass, made of epoxy adhesive, became popular in some countries with the replacement of the metal structure by strips of fiberglass and the mixing of the epoxy adhesive with sand to achieve a similar consistency and colour. None of the workshops working in Catalonia adopted this method. Alterations in these stained glass windows are different, but will not be covered in this text.
Commercial glass pieces are usually the standard 20 × 30 cm size and rarely larger, as otherwise the annealing periods required to gradually cool the pieces are extended to the point of making production very expensive. No original documentation has been preserved regarding the composition of these glass objects, but their good state of conservation suggests that they are industrial formulas of proven stability.
A major difference from other periods when this art form was fashionable was that stained glass uncharacteristically involved local glass artists and suppliers.
Labouret and Décorchemont have been credited with the first creation of a concrete stained glass window, to be presented at the International Exhibition of Modern Decorative and
— Stained glass window by Joan Montcada from the church of Sant Domènech de Puigcerdà, with Regiopistrina glass and detail of the Duxcrom slabs. Photo: Marta GolobardesIndustrial Arts in Paris in 1925, and the first person to popularise it was the French glass artist Jean Gaudin, who used 25 mm thick glass and patented the technique. While the stained glass window was developing, construction with glass and concrete pavers, which shares some of the same materials and methods, also became widespread.
The world of stained glass in the fifties, sixties and seventies experienced a revolution, as a generation of artists created, supported and applied stained glass to architecture, as well as to other crafts: tapestry, forging, ceramics and concrete reliefs. Within the field of stained glass, one should mention such authors as Albert Ràfols Casamada, Claude Collet, Domènec Fita, Francesc Fornells, Josep Grau Garriga, Carles Madiroles, Llucià Navarro, Joan Vila-Grau and Emília Xargay are examples. These new airs lead to the development of new techniques, such as stained glass slabs and cement.
Similarly relevant in the world of stained glass in religious settings were the renovating airs of the Second Vatican Council of 1962,ıı which promoted the opening of the church to new forms of sacred architecture and gave priority to those encouraging the participation of the faithful and emphasising beauty over sumptuousness. The council took up new trends which artists,
architects, parishioners and even clerics had been promoting and working on for years.
In Catalonia, the promoter and disseminator of this technique was the Regiopistrina workshop in Molins de Rei, founded in 1948 by the artist Jaume Padrós ııı (1918-1971). Despite his unquestionable talent as an entrepreneur, his strong fascist leanings and closeness to the cultural spheres of the dictatorship make him an awkward character; nevertheless, he was a successful artist and prominent entrepreneur in the world of Catalan artistic glass. Although best known for his mosaics, he also produced glass tiles marketed as Vitromosaic, which were extensively used on building facades in the 1960s and 1970s, and which, according to historian Anna Álvarez, constituted his most substantial source of income.
The key figure in Padrós’s success was the glass specialist Mario Mallerle Belonkansky, who was hired in Venice. This company is not only relevant as a construction workshop, but also as a supplier of materials for workshops that had hitherto specialised in leaded stained glass.
Initially, this company made stained glass windows by having the slabs filter or pour the glass into moulds made with a rail, thus obtaining the shape of the pieces when the molten glass was adapted to the shape of the suitably bent rail.
(From left to right and from top to bottom)
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Stained glass project of the façade of the Nativity of the Sagrada Família, built under the direction of the architect Isidre Puig Boada.
Photo: Arxiu del Fons Rigalt, Granell i Cia, del Museu del Disseny de Barcelona
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A moment of the concrete pouring operation during the restoration of a stained glass window of the Mater Dei Diocesan Seminary of Castelló, at the workshop of J. M. Bonet Vitralls.
Photo: Jordi Bonet
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Regiopistrina slab (red piece) and Granell i Cia. slab (white piece).
Photo: Jordi Bonet
CentreThis type of construction was marketed under the name Duxcrom. The stained glass windows had an iron structure made with rails, and the spaces between iron and glass were sealed with putty. There are few surviving examples of this method. They have constructive similarities with the stained glass windows preserved in the church of Sainte-Odile, produced by François Décorchemont in 1946.ıv The most important one is probably that of the artist Joan Montcada and Regiopistrina in the church of Sant Domènec de Puigcerdà, built in 1954.
The Molins de Rei workshop also made some of the concrete stained glass windows marketed by the Granell i Cia workshop and was also behind the stained glass windows of the church of Pare Claret de Sallent, by the architects Josep Puig and Josep Esquius (1968), designed by Josep Grau Garriga. It is probably the most elaborate and spectacular example extant in Catalonia and uses abundant recycled pieces in its composition.2 J. M. Bonet’s workshop also marketed Regiopistrina glass in several of its projects, such as the glass wall designed by Will Faber for the Unicolor company (1958).
The spread of the diamond blade made it easier to make complex cuts, it being no longer necessary to have a glass kiln to create the pieces. There were many workshops in Catalonia
using this method that built stained glass windows and bought slabs from various producers. The Cooperativa Obrera la Torrassa,v under the direction of Josep Pàmies, produced and supplied slabs. Former footballer, multifaceted artist and businessman Angel Atienzavı also produced glass slabs for their works, mostly located in Castile and South America, as well as selling them in Catalan workshops. His production method made it possible to produce a wide range of colours. This local market made it easier not to have to resort to the usual European producers, Saint Just (Saint Etienne) or Lamberts (Waldsassen).
The least-known company with the most projects carried out was probably Raventós, SA, which specialised in the integral decoration of churches: benches, wrought iron, fabrics, altarpieces and stained glass windows. The workshop worked in collaboration with artists and built pre-moulded modular structures. It remained active until 1981.
The Raventós workshop spawned the renovating company Mòdul, which built dalles de verre with volumes of concrete. Among the Catalan stained glass windows, we also find sets built by workshops not based in the country, such as those of Union of Glass Artists of Irún (UAVI), and those of Catalan artists such as Albert Ràfols Casamada (19232009), who worked on the avant-garde Virgen del Camino (1961) in León with a French workshop.
In one of its commercial brochures,vııı the UAVI describes the widespread use of this art: «This is the new procedure that can be said to have become resoundingly established in modern construction; It is, in essence, a type of stained glass window prepared on 20/25 mm thick coloured glass slabs, which are conveniently cut and mounted on waterproofed concrete and reinforced with concealed stainless steel rods».
The materials with which these stained glass windows are built are common to other specialties in the world of construction, and temporary repairs with cement by non-specialised personnel are very common. This entails all the problems bearing on unauthorised professional practice, including the fact that no documentary record had been created to establish general criteria for the severity of injuries, the stability of each type of cement, of glass, etc.
The conception of stained glass as part of the wall, and not as a decorative element, means that preventive conservation measures have not always been taken into account, and in some
cases an excessive trust in the properties of the method favoured forms of installation that have accelerated its deterioration. As evidence of this, the UAVI’s own trade brochure praises the resilience of the method, disproved by time: «Its architectural and aesthetic qualities are formidable. With this type of stained glass one can avoid partitions, walls, heat leaks, insulate from the cold and sound, and it is virtually unbreakable and non-flammable; its strength is extraordinary, to the point that one can only break this stained glass window by hitting it with picks or hammers. We have had the experience of dropping a 450 kg panel from a 4-metre height and it has not suffered the slightest deterioration.»
The first documented and published conservation project in Spain was by the architect Angel Albert,ıx the conservator of the Mater Dei Seminary (1961-1966) in Castellón, published by the AADIPA, in 2014.
Other publications address the difficulty of consolidating glass fractures with adhesives, x the possibilities of stabilising metal alterations with anodic protection xı or new strategies to replace the iron structure with epoxy resin. xıı The longest are Kristel De Vis’s
doctoral dissertations or publications describing the first attempts made in France.
All of them address the difficulty of assessing a general state of conservation, finding a way to document it, looking for non-destructive methods that allow the object to be evaluated
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Glass wall by the artist Will Faber, built by the J. M. Bonet workshop, with Duxcrom pieces made by Regiopistrina.
Photo:
(unknown author)
without great manipulation and also finding restoration materials that are durable and compatible with the original materials. The difficulty shared with traditional stained glass in most cases bear on architectural elements that are exposed to the outside and difficult to access. This greatly complicates the choice of useful restoration materials. It is also not easy to address the reversibility and identification of new incorporated materials. In most cases, for highly altered panels, the mortar and iron matrix is replaced by new materials and the original glass is retained. In the case of certain concrete stained glass windows made of 3 mm glass, this is not always possible. In the case of manufactured and customised glass from Padrós or Atienza, it is necessary to promote the diffusion of peculiarities and make an extraordinary effort to preserve them.
Concrete stained glass shares some causes of alteration with traditional leaded stained glass: environments with high humidity and frequent exposure to water are more aggressive than dry environments. Thermal breaks between materials with very different expansion coefficients - metal, cement and glass - are also a cause of alteration. The presence of simple elements, such as poorly positioned drains, the absence of rain gutters or the inclination of panels are decisive in the proliferation of such forms of alteration as salts, cracks, breaks, detachments ... Despite the apparent resistance of panels, anthropogenic causes such as vandalism, leaning on panels and the sudden opening or closing of practicable panels can also lead to the breakage and fatigue of materials.
In most stained glass windows, some degree of alteration has been detected. This study has focused on notable stained glass windows that are easily accessible and were built by the leading workshops of the time: Joan Montcada’s stained glass window of the church of Sant Domènech de Puigcerdà (Regiopistrina); Joan Vila Grau’s stained glass windows of the baptistery of the Virgin of Peace parish in Barcelona (Granell i Cia); Josep Grau Garriga’s, in Pare Claret de Sallent church
GENERIC CLASSIFICATION: ceramics, glass and metal | OBJECT: stained glass | MATERIAL/TECHNIQUE: concrete (grey Portland cement and coarse aggregates; white cement with marble dust), glass slabs, formwork and steel cores |
DESCRIPTION: technique, authorship/workshops, construction methods and most common causes of alteration of concrete stained glass | DATE/PERIOD: 1950-1970
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Alterations found on the stained glass windows of Joan Vila Grau and the Granell i Cia. workshop. in Verge de la Pau church, Barcelona:
1. Delamination at the edges of the glass
2. Corrosion of the metal structure
3. Cracks in the glass
Photo: Marta Golobardes
(Regiopistrina); Antoni Mas’s for the Sant Esperit de La Pineda church (J. M. Bonet); Rafael Casares’s stained glass windows for the Sant Pere de Calafell church (Crislor); those of the Santa Magdalena church, in La Seu d’Urgell (J. M. Bonet); those of the Sant Esperit church in Barcelona (Raventós), and those of the Sant Rafael old people’s home (Fornells Pla, J. M. Bonet).
If the condition is good, the panels should be rigid, with no erosion or cracks on the surface or traces of salt. The glass should be adhered to the mortar, clean, free of cracks and crevices and/or patinas of any kind; the metal structure should not be invisible and be completely covered by concrete. Unfortunately, we usually find that in most cases there are accelerated alterations due to the rods being positioned too close to the surface.
Some workshops would build a perimeter metal frame closing the entire panel but allowing the metal parts to come into contact with the atmosphere. In the case of overlapping rods, they are closer to the surface at the point where they intersect and favour exposure to the atmosphere and corrosion. The main conservation problems are described in the following points:
The structures that support the panels, as well as the inner rods, can be easily corroded. Their volume is thus increased, leading to pressures that fragment the cement while also facilitating the passage of water, which accelerates the oxidative process. In the event of negligence in the maintenance of these panels, parts of the
stained glass may come off or lose their adhesion to the cement.
Carbonation is a natural process in concrete; in contact with atmospheric CO2, the concrete carbonates and ceases to protect the metal reinforcement from corrosion. Corrosion fronts can be seen on the concrete of large architectural structures, where there is an affected surface and a healthy core. In the case of concrete stained glass, there are 2.5 cm thicknesses, so they usually carbonate completely after a few years’ exposure to the atmosphere. White cements with marble dust are usually in a worse condition. Cements with additives such as latex, which improves the elasticity of the material, have aged better (stained glass in Sant Gil and Sant Damià, Santuari de Núria, 1980, Llucià Navarro, J. M. Bonet workshop)..
The concrete of the stained glass windows of the La Paz parish is eroded. The coarser sand grain element still remains while the finer grain has disappeared. The glass pieces protrude more from the concrete matrix.
In some cases, the panels are compressed until they lose their flat shape. Large windows are built in several panels and have horizontal T-beams that hold the weight and distribute it. In some cases, however, they overlap. When this happens, the lower panels bear all the weight of the glass and tend to develop curvatures and a worse state of preservation.
In most cases, there are surface fractures that appear on glass perimeters in a shell-like shape. This is due to the increased pressure of the cement on the glass, caused by corrosion of the wire mesh. Fractures in the perimeter are common, advancing towards the inside of the piece and, in some cases, even crossing it completely. A pattern associated with colours or shapes has not yet been found in glass alterations. Some authors claim that yellow glass is especially prone to cracks spreading in all directions throughout the glass network. The experimental pieces from the Padrós workshop are in very good condition. The Puigcerdà stained glass window built with the Duxcrom method is in an excellent state of preservation, despite the harshness of the local climate and its enormous dimensions.
Some authors (Cuzagne, 2009) relate the widespread alteration of yellow glass, exposed to the outside for forty years, due to the presence of salts, mainly chlorides. In the case of the presence of salt efflorescence, a general weakness has been observed in the concrete matrix, but not in the glass. Forms of yellow glass alteration have been found on the outside of the Sant Rafael old people’s home (Fornells Pla, J.M. Bonet, 1968).
It is common to find panels that oscillate when touched and when low pressure is applied. This encourages the appearance of fractures and the loss of adhesion of the glass, which can come off. Such is the case of the stained glass window of Santa Magdalena in the Seu d’Urgell. Small panels tend to age better than large ones. The stained glass window of the Sant Esperit church in Barcelona (Raventós, SA), built in small 70 × 70 cm panels, is in good condition.
This brief text offers a quick look at the richness of the period, the variety of workshops, methods, materials and artists; and aims to contribute to a much-needed awareness of the fragility of current knowledge and the risk of disappearance of many works.
A future article will describe the actions taken to preserve and restore stained glass windows and the tests for diagnosing and documenting the alterations found. The knowledge generated will make it possible to establish the minimum interventions that, along with preventive conservation strategies, must respect the object,
guarantee its future and be viable for the managers of this heritage.
1
. Stained glass window called “Infinit/Enllà d’enllà” (1968) 280 × 255 cm. Installed at the entrance of the Sancho de Ávila Funeral Services (now defunct). His family keeps the project and photographs.
2
. Conversation with the stained glass master Josep Mayol, who worked in Molins de Rei and described the artist’s enthusiasm for all recycled material.
ı. Riu-Barrera, Eduard; Vélez, Pilar. Riu Serra 1921-2006. Escultor i dibuixant. Barcelona: Publicacions de l’Abadia de Montserrat, 2012, p. 284.
Constitución Sacrosanctum Concilium sobre la Sagrada Liturgia. [online] 4.12.1963. <https://www.vatican.va/ archive/hist_councils/ii_vatican_council/documents/ vat-ii_const_19631204_sacrosanctum-concilium_sp.html > [Consultation: 2 August 2021].
. Álvarez Fernández, Ana. Tesel·la a Tesel·la. Els Mosaïcistes Del Taller de Sant-Yago Padrós. Terrassa: Fundació Torre del Palau, 2010.
. Bouichou, Myriam; Marie-Victoire, Elisabeth. Visite de l’église Saint-Odile. Le Vitrail: Comment Prendre Soin d’un Patrimoine Fragile. París: LRMH Icomos France, Corpus Vitrearum, 2015, p. 179.
Salmeron, Inocencio. Històries de Collblanc. Hospitalet del Llo bregat: Museu de l’Hospitalet de Llobregat. La Torrassa, 2009.
. Noriega Montiel, Luisa. Atienza. Alpicat, 2008.
. Clemente Hernandez, Javier. Vitralls a tres Instituts de Batxillerat de Barcelona, Obra de Llucià Navarro De 1962 [online]. Barcelona: Institut Moisès Broggi, 2018. <https:// institutbroggi.org/els-vitralls-de-linstitut/> [Consultation: 15 August 2021].
Unión de Artistas Vidrieros. Arrecubieta y Cia. S.R.C. Irún: L. Tolosa Irún (S.d.). [Leaflet]
. Albert Esteve, Àngel; Bonet de Ahumada, Jordi; Montolío Torán, David. «Restauración de la vidriera de hormigón del Seminario Diocesano Mater Dei en Castellón: Retos de ayer y hoy.» A: XXXVIIè. Curset jornades internacionals sobre la intervenció en el patrimoni arquitectònic. Patrimoni sacre: permanent innovació. Barcelona: AADIPA, COAC, 2014, p. 1-1i.
. De Vis, Kristel. The consolidation of architectural glass and dalle de verre; Assessment of selected adhesives. [en línia]. University of Antwerp, 2014. <https://www.researchgate. net/profile/Kristel_De_Vis/publication/298344936> [Con sultation: December 2020] [PDF] [Doctoral thesis]
. Busse, Felix [et al.]. «Beglares II Protection and Restoration of Monumental Concrete-Glazing with Cathodic Protection Systems». Le Vitrail: Comment Prendre Soin d’un Patrimoine Fragile. París: Icomos France, Corpus Vitrearum, LRMH, 2015, p. 83–90.
xıı. Pepi, Raymond M.; Buchner, Laura N.; Gembinski, Christo pher. «Conservation of Dalle de Verre at the New York Hall of Science». [Nova York: APT Bulletin] Journal of preservation Technology, vol. 45, núm. 4 (2014), p. 1-12.
xııı. De Vis, Kristel; Koen, Janssens; Jacobs, Patric; Caen, Joost. «Dealing with architectural glasses: maintenance, monitoring and emergency treatment». 9th Forum for the conservation and technology of historic stained-glass. Stained-glass: How to take care of a fragile heritage? [online] https://www.researchgate.net/profile/Kristel_De_Vis/pub lication/281745872 [Consultation: December 2020]. París: ICOMOS France, Corpus Vitrearum, LRMH, 2015, p. 64-71.
xıv. Cuzagne, Laurence [et al.]. « Conserver Les Dalles de Verre: Un Nouveau Défi Interdisciplinaire Pour Le Vingt et Unième Siècle». The Art of Collaboration Stained Glass Conservation in the Twenty-First Century. Nova York: Harvey Miller, 2009, p. 176–82.
The Roman village of Els Munts (1st-8th centuries) is an archaeological site located in Altafulla, with unparalleled surroundings, and is part of the National Archaeological Museum of Tarragona (MNAT). Visiting the site gives us an insight into one of the most notable aristocratic and sophisticated villas in Roman Hispania, a place the political and economic elites of Tarraco would go for socialising and leisure. Despite the state of neglect it was in, there was renewed interest in the site starting in the 16th century, and excavation began in the mid-20th century.
The excavations revealed the structures and buildings that made up the complex, in addition to multiple objects, mosaics and elements that give an idea of the affluence of the site and attest to its grandeur and how well linked it was to Tarraco. The rooms, gardens, orchards, thermal baths, religious space (the mithraeum), water containers, etc. make up one of the largest such complexes that have been preserved on the Iberian Peninsula, with a large number of murals and mosaics.
In addition to the studies that have been carried out and the knowledge gleaned from the excavations, a great deal of preventive conservation and conservationrestoration work has been done in order to preserve the site and make it possible to visit. All this work was carried
out jointly by the MNAT and the Centre for the Restoration of Artefacts of Catalonia (CRBMC). It was a very important undertaking, as was seen in the seminar held from 28 September to 1 October, 2021.
The seminar was divided into four sections. The first part was an introduction covering the history of the site and the restorations that had been carried out there. The second part was focused on learning about some of the scientific studies and technical documentation produced. The third section discussed the most notable restorations. Of course, many studies and projects could not be covered due to lack of time. While the first three sections were online, the fourth was an in-person guided tour of the site, offering the opportunity to see first-hand what had been discussed in the seminar and go to the nooks and crannies and closed spaces that visitors don’t usually see.
During the visit to the site.
The technical conference on the restorative conservation work on the main altarpiece of the Shrine of the Miracle of Riner took place on Friday 22 October.
With the name «Learning and preserving: the altarpiece of the Virgin of the Shrine of the Miracle of Riner (Solsonès)» the day’s events were held in person and online. The morning of lectures had the overarching aim of promoting the work of restorative conservation and the technical-scientific studies that had been carried out during 2020 on one of the most remarkable Baroque altarpieces in Catalonia, highly representative of the final period of their development. However, the day also was an opportunity to explore in greater depth the Catalan Baroque era in general, particularly this devotion in the Shrine of the Miracle as the driving force of this art form.
To provide an explanation of the different visions that gave rise to the work done on this magnificent altarpiece, we were fortunate to have the Doctors in Art History of the University of Girona, Joan Bosch and Francesc Miralpeix, the Heritage Officer of the bishopric of Solsona, Carles Freixes, as well as two members of the conservationrestoration firm carrying out the work, Kreit Restauro, SL: Claustre Augé and Rosaura Janó.
Specifically, with regard to the intervention, in addition to the conservation of the altarpiece, a working methodology and intervention criteria were followed, which consisted of carrying out a systematic data collection of the piece in order to take stock of the materials, painting techniques and procedures employed in different art periods that have come together in an item with these features. We wanted to learn about the altarpiece, in addition to preserving it. The aim was to add the technical characteristics of the piece to its already known stylistic and formal aspects. We were dealing with one of the most important Baroque altarpieces in Catalonia, a true architecture of polychrome and gilded wood, one of the most imposing in Catalan art, and we did not want to miss this new opportunity to make an indepth study of the materials and the techniques used.
The conservation proposal therefore revolved around these two main axes. Firstly, a restorative conservation of the obverse and reverse of the altarpiece was performed, aimed at improving and stabilising the work’s compositional layers (basically by the fixing of the preparation and painting layers, and a surface and chemical cleaning to remove dust and dirt deposited on the surface). Secondly, the materials and techniques used in the work were studied.
Pep Paret , coordinator of the CRBMC’s wood painting and sculpture specialty
On 7 October 2021, at the Palau Marc in Barcelona, the Association of Conservators and Restorers of Catalonia (CRAC in its Catalan initials) presented Estudi sobre l’estat actual del sector de la conservació-restauració a Catalunya [Study on the current state of the conservation and restoration sector in Catalonia], a document on the current state of the conservation and restoration sector in our country: Originally scheduled for 2020, the event had to be postponed due to the COVID-19 pandemic. https://www.cracpatrimoni.com/images/PDF/2021_10_ Presentacio.estudi.sector.pdf
The event, which was part of the European Week of Conservation-Restoration and came right before European Heritage Days, was led by Elsa Ibar, thenDirector General of Cultural Heritage at the Department of Culture; Àngels Solé, Director of the CRBMC (Centre for the Restoration of Artefacts of Catalonia) at the time; Marta Gabernet, then-President of CRAC, and Margarida Loran, museologist and consultant, who presented the results of this study.
Representatives of some of the institutions and professional associations that had worked on the project were also able to attend while respecting health measures. Members of CRAC, colleagues and interested members of the public from the sector were able to follow a live broadcast of the event online.
Although conservation and restoration professionals are well defined by international bodies such as the ICOM (International Council of Museums) and the ECCO (European Confederation of Conservator-Restorers’ Organisations), and have specific training, they still do not have a presence in legislation. Nor are they sufficiently represented in our country’s advisory bodies.
It is becoming increasingly clear that there is a need for regulation concerning heritage conservation and restoration work and that conservator-restorers must have the recognition they deserve. This is, therefore, one of the association’s main goals.
The necessary improvements must be made together with the Catalan public administration and other agents in
the sector, not only for these professionals’ sake, but also in the common interest and to preserve our country’s cultural heritage. This is why it was necessary to gain a full understanding of the current situation based on thorough qualitative and quantitative analysis, and the good partnership with the Catalan public administration was conducive for doing so.
The project, carried out by consultant and museologist Margarida Loran with the support of the Board of Directors, was aimed at producing a reference document, and took place in three phases:
• A preliminary study, funded by the Barcelona Provincial Council: La problemàtica del sector de la conservaciórestauració a Catalunya [Issues in the Catalan conservation and restoration sector] (2018): : https:// www.cracpatrimoni.com/images/PDF/2018_Estudi_ problematica_sector_red.pdf
• Second research phase (2019)
• Final strategic reflection (2020), which, together with the research phase, was summarised in the Study on the current state of the conservation and restoration sector in Catalonia 2019, funded by the Government of Catalonia and with the support of the Centre for the Restoration of Artefacts of Catalonia (CRBMC): https://www. cracpatrimoni.com/images/PDF/2020_03_MEMRIA_ ESTUDI_SECTOR_C-R.pdf
Finally, it should be noted that CRAC was able to carry out this strategic project thanks to a high degree of participation from the onset, with over 130 heritage centres and institutions and over 400 professionals and experts involved. We encourage you to read and share the study so it can reach everyone.
All the project documents can be found on the CRAC website, in the following section: Publication of the Study on the current state of the conservation and restoration sector in Catalonia 2019: https://www.cracpatrimoni.com/ index.php/ca/2016-01-14-18-23-27/noticies/515presentacio-estudi
During the presentation of the study at the Palau Marc. Photo: CRAC
There are 115 registered museums in highly diverse fields located all around Catalonia. Altogether, Catalan museums house more than six million exhibits. It is estimated that approximately 90% of these pieces are to be found in reserve collections.
In 2018, aware of the need to improve the conditions of these areas and in order to provide a solution, the ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) and the Department of Culture of the Government of Catalonia signed an agreement with the CRBMC (Centre for the Restoration of Artefacts of Catalonia) to implement the Re-Org method in Catalan museums.
The first step involved the Museum Service and the CRBMC organising the first Re-Org training courseinitiative in Catalonia in 2019. This course was also partnered by the Barcelona Provincial Council.
Aimed at the museum staff linked to the reserved areas, a total of 25 professionals from different Catalan museums and museum network coordinators took part. It was conducted by Gaël de Guichen from the ICCROM, while the mentors/professors included Benoît de Tâpol from the MNAC (National Art Museum of Catalonia) and M. José Gracia from the CRBMC. The aim was to train these professionals so that they could eventually implement the methodology at their own museums and collaborate in the deployment of the Re-Org method throughout Catalonia.
The Víctor Balaguer Library Museum in Vilanova i la
Geltrú was chosen as the host museum. The museum’s reserves have more than eight thousand pieces of all kinds, divided into eight different areas.
During the first part of the Re-Org course, which took place between 10 and 13 December 2019, theoretical work was done on the concepts and methodology so that, once they’d been learnt, they could be applied to the drawing up of the reorganisation plan for the different reserved areas.
The onset of the pandemic made it impossible to hold the second part of the course in 2020 as planned, but it was finally held in December 2021.
Over five days the participants executed the project that had been planned during the first part, a task which proved to be very intensive in terms of work and the time spent together, but a great deal was learnt and shared, with a highly satisfactory experience and excellent results for everyone involved.
In 2021 and 2022 the project has continued with the reorganisation of four reserves, one for each territorial demarcation: The Fishing Museum in Palamós, the Diocesan Museum in Solsona, the Cardedeu Tomás Balvey Museum Archive and Reus Museum. The projects do not end here. The aim is to help between four and six museums a year with the process of reorganising their reserve collection stores and implementing this methodology and its concepts in museums around the territory.
Detail of the reserve collection stores at the Víctor Balaguer Library Museum after the application of the Re-Org method.
Reserve collection stores at the MATBC (Cardedeu Tomás Balvey Museum Archive) before the application of the Re-Org method.
M. José Gracia , Preventive conservation technique at the CRBMC.
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Photo: CRBMC
Daniela Pinna
Apple Academic Press Inc.: Waretown (EUA) i Oakville (Canadà), 2017, 359 p.
The book is split into seven independent chapters. In the first chapter, “Basic principles of biology”, there is an introduction to the world of biochemistry linked to cultural objects. It is an introduction with generalist scientific content, to get into the subject.
The “Ecology” chapter is probably more interesting for the conservator-restorer, as it provides data and references on the development of biodeterioration in stone materials, conditions of humidity and temperature, and also on the relationships established between the different types of microorganisms.
In “Outline of biodeterioration of stone objects”, the author delves into the various types of organisms that cause the biodeterioration of stone and its alteration effects. A basic guide to recognizing them.
The chapter on “Control methods of biodeterioration” contains a careful analysis of different biocidal treatments, from the best known and most common to those that are already obsolete due to their toxicity, and also provides interesting new solutions to consider.
“Prevention of biodeterioration” is a classic chapter on preventive conservation, required to close the study consistently.
Unfortunately, the “Bioremediation” chapter is very weak and brief. It tries to reveal that micro-organisms can also be used to preserve heritage, for biocleaning and bioconsolidation.
Finally, the “Scientific examinations” chapter suggests techniques for the analysis of biodeterioration, essential for those who need to carry out an in-depth study.
And last but by no means least, the appendix, which lists the chemical characteristics and suppliers of the many biocides that have been used in the world of heritage in recent years.
In general, this book is recommended for stone material restorers. We often have to deal with biodeterioration, and it can certainly offer the reader new knowledge.
Aleix Barberà-Giné, Conservator of cultural objectsThe masterpieces of Catalan art Artur Ramon Rosa dels Vents. Penguin Random House Grupo Editorial, SAU: Barcelona, 2018, 264 p.
The author intends to build his own museum of Catalan masterpieces from his office in Viladrau. To do so, he is inspired by Le Musée Imaginaire, by André Malraux, the French essayist from the 10th century who built his imaginary museum thanks to photography, choosing works from all periods and civilizations. In short, the Catalan author wants to convey the idea of a museum that we can build, discover, admire and know in detail, without limits or financial obstacles.
From here, the author builds his own museum of Catalan masterpieces, through chapters that he calls rooms, 20 rooms in total. Ramon does not want to be restricted by limitations; therefore, the rooms do not follow the same outline, that is, they can explain either an artistic style, as is the case of the Romanesque, or authors who are related, such as Joaquim Mir, from Mallorca, and Miquel Barceló, from Catalonia, who each found a second home in the homeland of the other.
Throughout these pages we can discover that Catalan art has no limits, and that it has many representatives throughout the history of art, from the 6th century to today. Not only does it focus on world-renowned artists, such as Miró, but it also broadcasts lesser-known artists such as Marià Pidelaserra. Consequently, it will show us countless artistic representations created by Catalan artists.
After we have finished the book, we will have the feeling of having travelled over a thousand years and of having become aware of the artistic richness of Catalonia, but also of the invisibility or popular ignorance of some artists. Sometimes we think that “foreign things are better than our own”.
Raquel Castillo, Conservator of cultural objectsIn our small country, there are so many heritage preservation organisations that if we listed them all, the list would be quite impressive. Allow me to introduce you to a little-known organisation officially founded in 2017, just five years ago: the Munzio Clementi Association (AMCB). Its aim is to promote the figure of Muzio Clementi, a prestigious musician, composer, performer and piano builder.
Last March, at the Aula Magna of the University of Barcelona, the association presented the restoration it had sponsored of a magnificent Collard & Collard piano, a late Clementi from 1847. This jewel among Catalonia’s piano treasures will be exhibited at the University of Barcelona (UB) until September. This major and muchneeded restoration was carried out by Jaume Bardona, a pianist from the Gràcia neighbourhood and one of the top
experts in the restoration of historical pianos. Pianist Marina Rodríguez, a member of the Association, put Bardona’s excellent work to good use by playing a vigorous Clementi sonata on the restored piano.
To date, the AMCB has identified and studied 18 Clementi & Collard pianos made before 1850. This date is significant because from 1850 onwards, there was a gradual standardisation of the processes and mechanisms used in making pianos.
Any museums or other cultural institutions interested in advice on documenting or restoring a historic piano can contact the organisation by email or through its website: associacio@muzioclementi.cat https://muzioclementi.cat/
Àngels Solé, former director of the CRBMC
During Marina Rodríguez’ performance of a Clementi sonata.
CRBMC. CENTRE DE RESTAURACIÓ DE BÉNS MOBLES DE CATALUNYA C. Arnau Cadell, 30 08197 Valldoreix Tel. 935 902 970 – Fax 935 902 971 crbmc.cultura@gencat.cat https://centrederestauracio.gencat.cat www.facebook.com/RestauraCat www.instagram.com/restaura.cat
PUBLISHED BY Ministry of Culture of the Government of Catalonia MANAGEMENT Àngels Solé (until March 2022)
EDITORIAL BOARD Esther Gual, Josep Paret, Àngels Planell, Pere Rovira, Mònica Salas, Àngels Solé and Maite Toneu OVERALL COORDINATION Àngels Planell
TEXTS Els seus autors
COPY EDITING Àngels Planell and Incyta Multilanguage
PHOTOGRAPHY Ramon Maroto (CRBMC) and the authors themselves DOCUMENTATION Maria Ferreiro, Àngels Planell and Mònica Salas PHYSICOCHEMICAL ANALYSIS LABORATORY AND ANALYSIS PHOTOGRAPHY Ricardo Suárez X-RAY LABORATORY Esther Gual
ORIGINAL GRAPHIC DESIGN ciklic
TRANSLATION Tick Traslations
FRONT COVER FOTO During the conservation-restoration process of the main altarpiece of the Miracle de Riner sanctuary. Specific painting reintegration. Photo: Kreit-restauro, SL
LEGAL DEPOSIT B-13.856-2012
ISSN ONLINE EDITION 2013-3251
Key Title: Rescat (Barcelona, Internet)
Abridged Title: Rescat (Barc., Internet)