Chevalier Vincenzo Borg Brared was one of the main benefactors of St Helen’s basilica, Birkirkara, and it was his life’s wish to donate a processional statue of the patron saint to his home town church. His dream materialised when he signed a contract with sculptor Salvatore Psaila on August 26, 1833.

Psaila took four years to carve, gild and polychrome the sculpture. The statue was solemnly transferred to the basilica on July 18, 1837. Eighty-two years later, the statue was completely re-gilded by Francesco Coleiro in Valletta. A number of restoration interventions were carried throughout the statue’s history. The only documented intervention was the one by Michael Camilleri Cauchi in 1989.

Atelier del Restauro undertook the conservation and restoration of the titular statue of St Helen pursuing an approach based on an understanding of the materials, technology and causes of deterioration, using treatments that favour a prolonged conservation of the statue.

The scientific analysis on the wooden support revealed that the statue’s main wooden core was carved out of Larch wood. The wooden support was found to be in a good state of conservation.

There were minor cracks caused by internal physical stresses in the wood due to a combination of numerous factors, namely the shrinkage and swelling of the wooden support because of ambient changes in temperature and humidity. Cracks were also most probably instigated by the mechanical shock caused by the vibrations the statue goes through during the procession.

Different areas of the polychromy and gilded surfaces were not found to be in a good state. Due to the absorption of moisture and the natural movement of the wooden support, detachments of gold and paint together with the gesso layers occurred as the wooden support shrank and expanded. The absorption of moisture also contributed to the different detachments encountered as adhesion bonds are disrupted, and subsequent desiccation separates the materials physically. Different abrasions over the gilded decorations were most probably caused by the large amounts of paper confetti thrown from the balconies over the statue as part of the festivity during the procession. Abrasions of paint and gilding were found in areas where jewellery is placed on the statue during the feast.

Accumulated dust was present all over the statue, especially inside the folds of drapery. Dust is of a hygroscopic nature, meaning it attracts water and holds it against the surface of the object, contributing to staining, corrosion and biological growth over time.

Several accumulations of micro black particles were observed, particularly deposited over the red mantle and around the bas-relief gilded decorations. These accumulations are caused by pyrotechnics known as musketterija being let off during the procession.

It is imperative that the use of pyrotechnics is prohibited when the statue is outside during the procession

Pyrotechnic dust and residue is composed of a variety of compounds which when in contact with the air form acidic compounds that in turn damage the polychrome and gilded layers. It is therefore imperative that the use of pyrotechnics is prohibited when the statue is outside during the procession. This will ensure a longer preservation of the gilded and polychromed layer.

When the statue was examined under ultravio-let light, an opaque white fluorescence revealed the presence of a thick layer of varnish which was applied in a past intervention all over the statue to saturate the colours and gilding.

Other areas on the vestments and veil especially, yielded a bright orange fluorescence, indicating the presence of a similar natural varnish which was applied in a past restoration to mask and age newly oil-gilded areas.

Atelier Del Restauro started the challenging conservation-restoration interventions in February. The team immediately felt the need to carry out various mappings to identify the types of damages and areas of past restoration interventions.

A systematic methodology involved the use of photography in visible light and ultraviolet light, together with the support of a scientific analysis carried out from micro samples taken from the polychromy of the skin tone and vestments. A sample from the wooden support was also analysed. Through these analyses it was possible to have a complete picture of the composition of the preparatory layers, the binder utilised and the composition of the main pigments used.

The methodologies and the products used to carry out restoration treatments were oriented to the use of interventions according to modern conservation ethics and principles, which include recognisibility, reversibility, compatibility, minimal intervention and patina.

As a first step it was decided to adhere and consolidate detaching areas of the preparatory layers and polychromy. In this circumstance various options for treatment were evaluated and several tests carried out in order to achieve the best possible results to allow the proper softening of the thick scales of detaching paint in danger of breaking down.

The treatment proceeded with the use of a microemulsion in an aqueous medium localised injected through insulin syringes underneath the detaching paint. This allowed the preparation to soften and get the right adhesion without the risk of breakage. The lowering and adhesion of the detachments was carried out through the use of a small heated spatula.

Cracks in the wooden support were consolidated through injections of a two-component epoxy-resin, specially formulated for grouting and bonding of wooden artefacts subject to movement generated by thermo-hygrometric variations.

The cleaning intervention aimed at the use of different methodologies, depending on the situation encountered. Different cleaning tests were carried out. The thick layer of altered coating was removed through the application of solvent gels, whereas areas of thick deposits of pyrotechnic residue were removed mechanically by means of small scalpel blades.

The painstaking cleaning intervention brought to light a priceless polychromy, especially a brilliant light red colour of the mantle together with precious gilded and sgraffito motifs. A greyish oxidised coating hindered the colour of the inner sleeves and its removal exposed a splendid pale blue colour with a gilded sgraffito pattern.

What most hindered the visual integrity of the statue was the veil. In a past restoration intervention the original colour of the veil was completely overpainted with a thick greyish commercial oil-based paint. A small cleaning test revealed an underlying creamy polychromy.

After studying the chronology of the statue through photos after the renovation of 1919 and researching various examples of veils represented in paintings and sculptures throughout history, it was decided to uncover the original colour through the use of both chemical and mechanical action. The removal of the thick over-paint brought to light a delicate cream colour, which allowed the veil to regain the right volume and lightness of its carvings.

With regard to the ermine coat, for an aesthetic coherence with the cream veil, it was decided after several discussions to remove the dark grey shading carried out in a past intervention and bring back to light the coat’s original creamy colour.

Notwithstanding the difficult cleaning interventions carried out, the statue’s aesthetic integrity was brought back to the original polychromy of 1919, except for the skin tone, which was kept intact. For the latter, a light cleaning through the use of aqueous gels for the removal of dust, grime and the thin varnish layer present was carried out.

It is interesting to note that from a micro sample taken from the left foot of the statue, scientific analysis revealed that several layers of flesh tones are present underneath. These observations indicated that the statue’s flesh tone was repainted more than once. Further studies need to be carried out to understand the extent of a possible underlying original flesh tone.

It was decided to uncover the original colour through the use of both chemical and mechanical action

Prior to the gilding and pictorial integration, capillary cracks were filled with a wax putty while lacunae were filled with gesso di bologna and levelled down to the original surface.

In 1919, Coleiro carried out the gilding of the vestments using the water gilding technique through the use of bole and a 23.75kt double gold leaf. In fact, the technique was confirmed through the analysis of a small stratigraphic sample.

The original technique consisted in the application of a thin coat of yellow bole and then another more compact layer of red bole. The leaf was then applied by means of an aqueous mixture. The gilded decorations in bas-relief, which represented motifs in shadow, were done using the technique of semi-matte gold, and therefore only the bolo was burnished before applying the gold leaf. Meanwhile, the higher reliefs were burnished with agate stone subsequent to the application of the gold leaf, in order to obtain a shiny and compact surface finish.

Wherever there were losses of gold, the team used the same manufacturing technique, thus carrying out a water-gilding integration. Double gold leaf 23.75kt and Armenian yellow and red bole were used. A light patina was applied over the new gilded areas to age and integrate the intervention with the original gilding.

Pictorial reintegration was carried out only on abrasions and lacunae to bring back the chromatic integrity of the polychromy by means of watercolours through the use of the mimetic technique.

Finally, the statue was varnished using a synthetic resin characterised by high resistance to ageing and warm temperatures and good optical properties close to those of natural resins. A satin surface finish was given to protect the gilded and painted film from weathering and functional in the aesthetic presentation of the painted surface.

All the materials used in the conservation and restoration of the statue of St Helen have the common characteristic of reversibility, and every phase of the project has been documented through photography. The project was performed in accordance with the ethical principles for the protection and preservation of a work of art following the European Confederation of Conservator-Restorers’ Organisations’ code of ethics.

The project required many hours of detailed work, done entirely to address the work of art not only from the aesthetic but also from a materials point of view.

Throughout the various stages of the project’s development, the team experienced moments of emotion and enthusiasm due to the remarkable results obtained and, most of all, to the honour of being entrusted with the restoration of one of the most important titular statues locally.

Acknowledgements

This project was made possible thanks to the Collegiate Chapter of St Helen, procurator Emmanuel Sammut, Għaqda Armar Sant’ Elena, the church helpers and the Birkirkara parish community. Thanks goes also to wood conservator Michael Formosa for the environmental monitoring of the niche and scientific analysis carried out on the wood and paint samples.