The statue’s state of conservation

In 2015, Cospicua parish church chose to commission a professional investigation of the statue and asked restoration company Atelier del Restauro to carry out a thorough condition assessment. Led by Maria Grazia Zenzani and Valentina Lupo, the investigation highlighted how ambient conditions and accidental damage have marred the statue, in particular the conservation state of its wooden support, and the consecutive preparatory, polychrome and gilded layers.

However, this was just the start of the damage. After a detailed investigation, the team uncovered the fact that the wooden support had an active wood-boring insect infestation, which had led to biological degradation. This was clear because of the number of insect flight holes present (ranging between 2 and 3mm in diameter). As a result, the team treat­ed the statue using Anoxia, which stopped the infestation and further degradation of the wooden support.

Next, mould growth was discovered – visible because of the thick, dark circular stains on the back of the sculpture. This had been caused by years of condensation, as well as the build-up of dust and organic remains on the polychrome surface.

The team thus carried out an environmental, scientific investigation in the statue’s niche, and data loggers were installed last year to check if any haphazard fluctuations in temperature and relative humidity were occurring, and to determine whether the climate in the niche was appropriate for the statue.

If left untreated, the mould could damage the paint and gilded surface when organic acids are released. So, when completed, the conservation of this part of the project will include a professional treatment and the eradication of the mould found.

Upon examination, it also became clear that the statue is detaching from its base – probably as a result of the mechanical shocks it experiences during the Easter runs, when it quickly winds its way through Cospicua’s streets for a number of hours.

To find out more, the Atelier del Restauro team carried out an X-ray inspection to learn whether any important fractures were present in the wood and to better understand how the statue had been constructed. The X-ray was carried out by Heritage Malta’s Diagnostic Science Laboratories, and the results revealed that the wooden structures at the bottom of the statue were held together using hand-forged nails, which are typical of the 18th century when the statue is believed to have been constructed.

The team was also fascinated to view a metal structure inside the end of the robe held at the base – this metal counterweight was introduced by the sculptor to balance the weight of the statue, making it more stable.

Beyond that, the X-rays revealed that several restoration interventions had been made at the bottom of the robe as means of reinforcement, except these were achieved with machine-made nails, which indicated that they had been used after the Industrial Revolution.

However, the damage did not stop there, as a crack was also visible at the back of the sculpture, indicating an important fissure in the wooden support. So, with all of this in mind, Atelier del Restauro carried out an emergency intervention before Easter 2016 to reinforce the base of the sculpture and to, thus, avoid further damage.

Detail of the face of the Risen Christ. Right: Detail of the face taken under ultraviolet fluorescence showing a number of overpaintings and craquelure of the polychrome painted surface. Photos: Atelier Del RestauroDetail of the face of the Risen Christ. Right: Detail of the face taken under ultraviolet fluorescence showing a number of overpaintings and craquelure of the polychrome painted surface. Photos: Atelier Del Restauro

Meanwhile, at around the same time and in collaboration with the Cospicua parish, a meeting was organised with the statue’s bearers and those involved in the traditional run, to explain the conservation process and advise them to reduce the runs with the statue, and especially the more haphazard moments that cause most damage. This proposal was welcomed and accepted.

The statue of the Risen Christ is one of the threads that, together, weave the rich tapestry of our society

Beyond all this, though, there was also more damage to consider and it was clear the statue had undergone a number of accidents in its history, as well as a few interventions. These included cracks, losses of support, broken fingers, an arm that had been fractured, several abrasions, scratches to the gilded area that exposed the red-orange bolo layer underneath, and unprofessional restoration. Some of this damage was likely caused by improper cleaning methods used in the past.

Finally, a number of different parts of the polychromy and the beautiful gilded and painted robe were found to be in a bad state of conservation. This was evident in the diffused cracks in the polychromy and gilded layer, which included detachments of the paint layer – mainly over the skin tones and the gilded layers painted with the blue motifs. On top of that, the floral motifs on the gilded and sgraffito robe had also been extensively overpainted during past restorations, while overpainting was also witnessed on the skin tone and face of Christ under UV light.

The conservation and restoration project

We conserve cultural heritage to preserve a collective memory of the history and roots that connect our society with our past so we can move towards the future of our communities. The general responsibilities of art conservators focus on examination, research, record keeping, conservation interventions and preventative care.

The conservation and restoration of a work of art is always a complex operation that requires great knowledge both from a scientific and technological point of view, as well as historical and artistic information. Thus, it is a process that requires the involvement of professionals from different fields in various phases of the work.

This statue will be professionally conserved and restored by Atelier del Restauro after the Easter celebrations this year. It is a project that will mainly involve the consolidation of the internal wooden support, and the adhesion of the detachments in the polychrome and gilded layer. The team will also undo past interventions, for example, professionally re-adhere the broken fingers that were reattached with glue.

Detail of the robe showing an amount of insect flight holes in the wooden support. Below: Detail of the robe showing an accumulation of dust, grime and the growth of mould on the surface. Photos: Atelier Del RestauroDetail of the robe showing an amount of insect flight holes in the wooden support. Below: Detail of the robe showing an accumulation of dust, grime and the growth of mould on the surface. Photos: Atelier Del Restauro

This will be followed by a number of other important treatments, including a biological analysis of the type of mould present, followed by a tailor-made eradication and treatment of the mould growth, and a meticulous cleaning intervention to remove all the dust and grime accumulations, as well as the oxidised varnish layers.

There will be other results of this painstaking intervention too, including the removal of all the thick overpaintings that have been applied to the sgraffito and painted motifs on the robe used to uncover the original paint layers. Aesthetic interventions will follow towards the end of the project so the losses to the gilded and polychrome layers can be reintegrated.

Further scientific analysis of the wooden support and paint layer will also take place, as well as work on the niche to improve its climate and the installation of a proper conservation-based lighting system, all based on the results of the environmental monitoring that was carried out.

Art historical research will also be conducted to delve into the provenance of the sculpture and history. Finally, after eight months of conservation work, the project will be completed in time for Easter 2019.

The statue of the Risen Christ is one of the threads that, together, weave the rich tapestry of our society. Thus, it is an honour for the team to be able to make this humble contribution to the statue’s conservation, which will enrich this essential aspect of Maltese religious and cultural traditions for many years to come.

Acknowledgements

Atelier del Restauro would like to thank Cospicua parish church for entrusting it with this important project. It also thanks former Archpriest Can. Reuben Micallef for commissioning the study on the state of conservation and present Archpriest Can. Anton Cassar for promptly commissioning the much-needed conservation project.

Valentina Lupo and Maria Grazia Zenzani are co-founders and directors of Atelier del Restauro.

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