The Sacristy of the Mosteiro de São Martinho of Tibães ... Interim Rom… · Mosteiro S. Martinho de Tibães, Portugal Abstract The sacristy of the monastery of Tibães gives evidence

Le Gac et al. The Sacristy of the Mosteiro de Sãn Martinho of Tibães

Multidisciplinary Conservation: a Holistic View for Historic Interiors

Joint Interim-Meeting of five ICOM-CC Working Groups, Rome 2010

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The Sacristy of the Mosteiro de São Martinho of Tibães

(Portugal): To Exemplify the Preservation of a Unique Historic

Ensemble

Agnès Le Gac (Assistant Professor) Universidade Nova de Lisboa, Portugal

Maria João Dias Costa (Coordinator – Landscape Architect)

Isabel Dias Costa (Technical Supervisor – Conservation-Restoration)

Mosteiro S. Martinho de Tibães, Portugal

Abstract

The sacristy of the monastery of Tibães gives evidence of two decorative programmes, undertaken

in this interior in 1680-1683 (Baroque) and 1754-1764 (Rococo). Different cultural properties

were thus combined to create a perfect symbolic and aesthetic unity: full-sized terracotta statues

(painted twice over), polychrome altarpiece and busts reliquaries, gilded and carved wooden

frames, paintings on canvas, looking glasses, chests and chairs. Extreme humidity conditions were

verified in the sacristy lasting decades, due to chronic infiltrations, ascendant damp and a lack of

care of surrounding areas. The consequences were disastrous for some artworks, in particular for

one terracotta statue and one painting not disregarding the furniture, putting at risk the harmony

of each matching ensemble. Options for consolidating supports and paint layers promoted

synthetic adhesives. In the sacristy still in use, restoration was considered an essential issue for

furniture by replacing very infected parts, ironworks and locks, to ensure its function.

Keywords adhesive, Baroque, conservation, furniture, painting, sculpture, salt efflorescence, terracotta

Introduction As the parent complex of the Benedictine community in Portugal, the Mosteiro de São Martinho

of Tibães – church, sacristy, outbuildings and precinct included – reflects today the developments

in architecture and changes in taste as they were introduced by the monks between 1614 (when it

was rebuilt) and 1803, which has been disseminated to more than fifty other monasteries. The

Monastery still exemplifies the religious and political importance it assumed after its

reconstruction, as well as the artistic ambition contained in the two grand decorative programmes

undertaken at the end of the 17th century and in the middle of the 18

th century. It is a legacy of the

utmost historical importance, of high cultural interest, very much branded by the Baroque and

Rococo style [Smith, 1972; 1973]. It has existed as a listed monument since 1944. It was

purchased by the Portuguese state in 1986, and a model conservation and rehabilitation project has

been underway since 1987 (Table 1).

JOINT INTERIM MEETING OF FIVE ICOM-CC WORKING GROUPS:

Leather and Related Materials

Murals, Stone and Rock Art

Sculpture, Polychromy, and Architectural Decoration

Textile

Wood, Furniture, and Lacquer




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Dates Events

1070-1077 Foundation of the monastery (the first written document dated 1077 states: "where now monasterium Tibianes has been founded”)

1535-1545 Expansion of the medieval monastery

1567 The monastery is established: “Parent company of the Benedictine Congregation of Portugal and Brazil”

From 1613 Rebuilding and expansion, beginning with the cloister refectory

1628-1661 Construction of the present church

1680-1683 Construction of the sacristy

1725-1727 Rebuilding of the cloister cemetery

1755-1764 Remodelling and decoration of the church and sacristy

1834 Abolishment of Religious Congregations - Inventory of properties belonging to the cult

After 1834 Incorporation of the Church, sacristy and cloister cemetery in the parish

1848 Sale of the convent precinct - private use

1864 Sale of the convent building - private use

1881 Public auction of the work of repairing roofs of the sacristy and church, and public sale of objects

1944 Classification of the monastery and precinct as “Monument Public Interest” by the Decree No. 33 587, of March 27th

1970-1973 Works on the roofs of the church and the sacristy - Works of conservation and restoration of some indoor artworks / integrated cultural heritage

1986 Acquisition of the monastery (church, sacristy, outbuildings and precinct included) by the Portuguese State

1990 Creation of the Museum of the Monastery Saint -Martin of Tibães

1995-2009 Rehabilitation of the monastery

Table 1: Key events in the life of the monastery of Tibães

The sacristy of the monastery of Tibães is in itself an embodiment of these values and represents a

unique historic ensemble. Its conservation was carried out following the conception of a global

project on the monumental scale, relying on a multidisciplinary approach and various strategies

ensuring continuity, as well as a long-term management plan. This paper surveys:

The importance of historical records in understanding how the sacristy has been used over

three centuries (1681-1987).

The relationships between environmental conditions, building features and damages assessed.

The characterization of the artworks and analyses of their intrinsic agents of deterioration.

The methodology and criteria adopted in the conservation of the sacristy to respect as much as

possible its history, function and authenticity.

Historical data - two decorative programmes The artworks commissioned for the sacristy sought to obtain a functional and ornamental

organization of the indoor space, and responded at all times to a call for absolute symmetry. They

refer to matching ensembles, the number of pieces being mostly even, to underline the symmetrical

mirror-like position of the objects, denoting great beauty and balance (Figure 1) (Table 2).




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Decorative Programmes / Occasional interventions

Dates Cultural properties Authors

First decorative Programme: 1680-1683 – Baroque

ca. 1680

Paving supposed to be made of granite slabs Mason from the monastery?

1681-1682

12 full-sized terracotta statues, each set in a niche in stone (granite)

Sculptor: Benedictine lay brother Frei Cipriano da Cruz

1682

2 Chests for chasubles e 2 cabinets for amices – Structure constructed of chestnut, and surface elements and drawers of ebony

Anonymous cabinetmakers / carpenters

Wrought ironworks and – Gilded bronze Anonymous worker in wrought iron / locksmith

2 Doors (for both accesses to an other storage space, opened in the southern wall of the sacristy), with ironworks already fitted

Anonymous carpenter

1683

Double door for the main entrance to the sacristy (+ 1 door for the ante-sacristy and 1 access door to the church)

Anonymous carpenters Masters

Wrought ironworks for the double door – Gilded bronze Anonymous worker in wrought iron / locksmith

Stained glass windows for the three slits opened in the eastern wall

Glazier named “Costa”

Tiles (7 500 pieces) to cover the four interior walls of the sacristy

Production by a Workshop established in Lisbon

Tiles application Anonymous tilers

Monumental altarpiece – Carved Chestnut wood Designer: Master António de Andrade? Anonymous carvers

High-relief for the altarpiece, representing the Visitation - Chestnut wood

Sculptor: Benedictine lay brother Frei Cipriano da Cruz

2 Busts reliquaries representing St. Placidus and St. Braz, carved in the round – Chestnut wood

Anonymous sculptor

Mural painting of the coffered ceiling of the vault and ornamental cornices. Gilded Foliated scrolls with black outlines - Oil techniques

Painter called “Manco” ("Hunchback")

Oil decorative paint on doors and windows granite jambs, and granite corbels - Gilded and black strips first applied on filler.

Oil gilding and polychromy of the twelve full-sized terracotta statues

Anonymous painter(s)-gilder(s) Benedictine lay brother(s) or independent master(s) ?

Water gilding and polychromy of the altarpiece and high-relief

Anonymous painters-gilders

Water gilding and polychromy of both busts reliquaries Anonymous painter(s)-gilder(s)

4 Moscovia Chairs (called “Moscow”, whose backrest and seat are made of leather)

Anonymous joiner

Velvet chairs Anonymous joiner

Occasional interventions: 1724-1733

1724 Double door of the main entry: Change of lock ?

1727 Groundsheets (“Esteirões”): Repairs ?

1732 New paving made with 900 bricks Tiler or mason (?) António Lopes

1733 Windows: application of wire meshes with 32 feet each Glazier named Felix, also called “da Graça” (location)

Second decorative programme: 1754-1764 – Rococo

1754

Exterior walls: new mortar (?) and liming, with lime bought in Viana

Plasterer from the monastery?

Windows: application of 114 feet of yellow wire mesh Anonymous glazier

Curtains for the three windows, with 175 ells of silk gallon, threads and narrow ribbon (“nastro”), 45 rings and 3 pounds of rope

Anonymous tailors

4 Large looking glasses with respective frames (carved pine wood)

English workshop

ca. 1755

Wooden platforms (“taburnos”) covered with red oil paint for chests

Anonymous carpenter and painter

Chests and cabinets for amices: Repairs and varnishing ?

1755-1758

Interior walls: new coating with lime and sand mixture [after removing all the tiles and filling the niches behind the statues]

?

1756-1758

6 Wooden carved valances for doors and windows - Chestnut 4 Wooden frames for the monumental paintings of the Evangelists

Designer: Arquitecto André Soares / Carvers José Álvares de Araújo and José António Ferreira Vilaça (Cf. Smith, 1972 & 1973) (Cf. Oliveira, 2000)

New altarpiece, com its sculpture of St. John Evangelist – Carved chestnut wood




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1758-1761

1 Credence and 1 Crucifix for the altarpiece, and 1 sculpture of St. Sebastian (1,5 feet high), all carved in chestnut wood

Designer/Carver: at the time, the Benedictine lay brother Frei José de santo António Vilaça

1763

4 Monumental oil paintings on canvas (nailed on auxiliary wooden panels), representing the Four Evangelists – One is signed / dated.

Italian painter Pascoal Parente (in Portugal, between 1756-1796, where he died)

Water gilding and polychromy of the frames, carved valances of doors and windows, and sculptures

? – Lay brother from the monastery or independent Master Painter-gilder?

Overpaint of the 12 terracotta statues - oil gilding and polychromy

? – Lay brother from the monastery?

1764 4 Mandorlas for the four terracotta statues representing canonized kings – Gilded tin plates

Anonymous tinsmith

Occasional interventions : 1773-1798

1773

Chests from the sacristy: Replacement of wooden parts Master João Martins / Carpenters António Alves e João Lourenço / carpenter’s apprentice João Chests: Repairs / Restoration

Chests: Protective layers with pitch and linseed oil ?

Chests: application of charcoal between the paving stones and the bottom of chests, as moisture barrier

?

Platforms: Overpaint with minium (“zarcão”), white-lead (“alvaiade”), tin oxides (“fezes de oiro”) and linseed oil

? – Lay brother from the monastery, or independent painter?

1775

Chests: Restoration with new drawers, 18 “goldras” (?) and new wooden elements (“cosueiras” ?) made of ebony

Anonymous Joiner/Carpenter

New wardrobes with the whole set of locks, ironworks, etc. 7 Anonymous carpenters

1792

New credence to substitute the old one – Carved chestnut wood

Master carver Francisco Xavier da Silva (from Braga)

Water gilding & oil paint imitating marbled effects on the credence

Painter-gilder Master António José and co-workers

ca. 1798

Substitution of the paving by the one once applied in the Upper Choir – Polychrome paving with white, pink and black marble slabs

?

Table 2: Chronology of the two major decorative programmes: cultural properties, authors, and

subsequent interventions.




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Figure 1: Overview of the south side of the sacristy (2010). © Arquivo Fotográfico Tibães

From the records in the Estados de Tibaes and the Chronicles [Ascenção, 1745], it became clear

there was a strong will to embark on a global and grandiose project during the Baroque period.

During his three-yearly mandate (1680-1683), Abade Geral João Osório commissioned:

A gilded altarpiece of great dimension, housing a polychrome wooden panel depicting the

Visitation, carved by Frei Cipriano da Cruz (Smith, 1968), and two polychrome busts

reliquaries.

Twelve full-sized statues in polychrome terracotta, modelled by Frei Cipriano da Cruz between

1681 and 1682, and arranged harmoniously along the four walls, in their own masonry carved

niches. They represent the Four Benedictine Kings, paired and displayed in the North and

South walls, on each side of the main entrance door to the Sacristy and of the central altarpiece,

respectively; eight feminine figures, one representing the allegoric figure of the Church and the

other seven representing the four Cardinal Virtues and the three Theological Virtues, placed

face to face, four figures on each wall East and West.

Two very large chests for chasubles (facing each other on the East and Western Walls).

Two armoires for the storing of amices placed on each side of the door to the sacristy, under

the statues of the Kings.

Four Moscovia chairs (which would have been placed to the sides of the chests, arranged in

pairs) and some velvet chairs.

To achieve the indoor space, a mural painting on the coffered ceiling of the vault was to be carried

out with oil gilded foliated scrolls, and the four walls of the sacristy were to be decorated with 7500

tiles, brought from Lisbon and lined in 1683. One can deduce from this last commission that the

wall surfaces must have had the characteristics of so-called “azulejos de padrão”, with blue, white

and yellow geometrical motifs, appropriate for the composition of a continuous panel. It would

shimmer in the daylight and contrast with the grey and matte granite of the niches.

Several important modifications are mentioned in the Estados de Tibães, taking place between

1754 and 1764. The purchase of four looking glasses of English origin is one of them [Smith,

1966]. They had to be hung two on each wall, East and West, and to be placed at the base of the

central feminine figures. Undoubtedly, it was only with Abade Geral Frei Antonio de Santa Clara




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(triennial 1755 -1758) that a full fledged change of program becomes evident, with the commission

of a new polychrome altarpiece, larger than the old one, a Crucified Christ for the altar and a

credence, and imposing gilded wooden valances to decorate window slits and doors jambs. The

abbots that followed ensured the unquestionable continuity of this new interior decoration

programme. Besides keeping most of the artwork from the first programme, the abbots ordered also

paintings on canvas of four monumental figures of the Evangelists. St John the Evangelist, dated

1763, was hung over the sacristy door. The remaining three were displayed on the East wall, in

between the terracotta statues, in front of the windows. The more significant decisions the

Benedictines made at the time were, on one hand, to remove all the tiles, to fill the niches behind

the statues and to plaster the wall surface surrounding the figures so these stand out as high relief

on a white background; on the other hand, to overpaint the remaining visible parts of the terracotta

statues with a new polychromy, where oil gilding and colours applied to the garments tried to

emulate Bizarres textiles. Such modifications brought the sacristy ensemble in line with the

contemporary fashion, according to the Rococo style.

There is some reference to repairs carried out after the second decorative programme was over. The

two large chests received the most attention. These were given new drawers and escutcheon locks,

broken or missing parts were replaced, and their reverse coated with pitch and linseed oil. Charcoal

was used between the furniture and the floor, as moisture barrier. Special attention has to be paid to

the replacement of the paving at the end of the 18th century by the polychrome marble slabs once

displayed in the Upper Choir. This paving continues to fully participate to the interior ensemble of

the sacristy as observed in the present time.

Artistic Premise in 1680-1683 Much of what has been said is an interpretation of the archives, arrived not only in light of the

remaining elements on site but also through detailed examination and analysis of stratigraphy

(paint layers on sculptures and architectural decoration). It was possible to trace back to some of

the artistic premise thanks to different means:

1) Photographs taken of the South wall from an elevated position revealed, behind the actual

altarpiece, the top of the original central niche of the sacristy, whose granite stones present

imposing spiralling motifs.

2) The temporary removal of the carved valances (before their conservation), that crown windows

and doors jambs, let appreciate the original decorative framework of these openings and of some

corbels: fine lines gilded with oils alternating with black fillets that obey the same baroque colour

scheme of the vault’s ceiling.

3) The sampling of three terracotta statues and analysis of painting cross-sections corroborated the

overlapping of two general polychromies, not disregarding the existence of an intermediary

intervention, whose purpose was certainly to repair some losses. The original colour scheme

consisted of oil gilding and painting partially applied over it, to produce textile-like effects as the

sgraffito technique did at the time [Le Gac, 2000].

4) In the absence of techniques of Ground Penetrating Radar (GPR), borings were made on the

right side of the statues of Church and Hope, to understand how much these figures are set into the

wall and the quality of the material they are in contact with. Semi circular niches were discovered,

in granite stone, where the statues would have been displayed originally. Although the display was

kept, the niches were filled with very porous and heterogeneous materials: bricks, rubbish and

plaster.

Environmental conditions in the sacristy Over many decades, the sacristy experienced extreme environmental conditions. Archives from the

Parish [Junta de Freguesia, 1881] or from the Direcção Geral dos Edifícios e Monumentos

Nacionais [DGEMN, 1947-1987] point out several works and cleansing campaigns to ensure the

water-tightness of the building and roofing; especially in the end of the 1960s, when repetitive

storms broke in the Northern region, and seriously damaged the roof. At the end of the nineties,

relative humidity oscillated between 78% and 82% in summertime and between 86% and 94% in

winter, with peaks up to 98%. Temperatures oscillated between 22 ºC and 26 ºC in summertime




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and between 8 ºC and 12 ºC in winter. On the other hand, variations were slight between daytime

and nocturnal readings.

Several factors contributed to the high levels of relative humidity:

Chronic infiltrations in the roofing. This situation could be verified by the presence of

large damp stains in the northeast corner of the sacristy, its greenish colour betraying an

expansion of micro lichens.

Rising humidity and damp from the ground – in particular from the cloister situated to the

West, due to a lack of drainage of underground waters feeding the fountain and the

washbasin in the ante-sacristy. Damp spread via the sacristy flooring and walls where the

artworks are permanently displayed, leant against, or inlaid.

Climbing creeper on the West façade. The wall is mostly in the shade and conditions were

worse because of the invasive vegetation.

State of Conservation of the Indoor Artworks These humidity levels were propitious to different decays:

The development of pests, as xylophagous insects responsible for the decay of several

elements carved on chestnut wood in sapwood zones, observable with certain frequency

on furniture, sometimes on carved valances and frames, and also on auxiliary panels of the

paintings; and, above all, as cubic rot (cniophora cerebella D.) observable in some parts of

the chests, especially those in contact with the ground or near the walls.

The high level of retention of rainwater and rising humidity in porous substrate, resulting

in high levels of salinity and cycles of crystallization and migration according to the

temperature variations. In the historic ensemble, the situation most critical was the statue

of Faith, much besieged by infiltrations. It showed both the presence of salt efflorescence

and the loosening of the ceramic support at the base of the figure. The adhesion of the

polychromy was poor also (Figures 2 and 3)

Negative Interactions – physical and chemical – between hygroscopic materials, like

canvas and wooden panels joined together, whose behaviours and specific properties (such

as wood anisotropy) caused unpredictable damages. The paintings of the Four Evangelists

suffered high acidity, but just one of the set, St. Matthias Evangelist, displayed in the

western wall, revealed a more extent hydrolysis and loss of fabric cohesion, besides

bending and ripping due to the warping of its auxiliary wooden support.

Human factor is another aspect to consider in the progressive or unexpected alteration of certain

artworks. Furniture is particularly concerned. The chests endured many demands of a physical-

mechanical nature, due to their daily use. Frequent past interventions are evidence of this

vulnerability (Table 2). The disappearance of the chairs, already much damaged in 1967 according

to Robert Smith’s Photographs Legacy [Smith, 1968], attests to the difficulty in keeping the

furniture in use on a long-term basis. Other types of deterioration occurred as well, such as the

breaking and subsequent loss of parts, broken limbs and other protruding attributes of the

terracotta figures, less resistant because of not having been exposed to any significant temperatures

over 400 ºC.




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Figure 2: Sculpture of Faith, polychrome

terracotta (1967). ©Fundação Calouste

Gulbenkian

Figure 3: Detail of the sculpture of "Faith"

before conservation (1999). ©Le Gac

Methodology distinguishing the building and the indoor artworks To have a deep and global, therefore multiple, preview of the pathologies related to the building

and the artworks therein, an attempt was made to reconstruct the history of the place (as seen

previously) and acquire crucial knowledge regarding the construction aspects. Studies were

undertaken to establish previous technical inspection, architectural data including several types of

section maps, information on alterations and damages, etc (Figure 4), and archaeological data. The

purpose was to obtain necessary data on the specific performance of both the materials and the

building structure over time, while relying on the collaboration of multidisciplinary teams

comprised of an architect (coordinating the whole project), archaeologists, geologists, and

historians.

Figure 4: Sacristy of the Mosteiro de São Martinho of Tibães. South Elevation.

©Arquivo Fotográfico Tibães




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The Rehabilitation Programme undertaken from 1996 to 2003 addressed first the building features

of the sacristy. The works focused on foundations, roofing, walls, openings, electrical and security

systems (Table 3).

Building

features

Works

Foundations Drainage of the water from the cloister with a ramification of pipes passing through the ante-sacristy floor

Roofing Revision and conservation of the reinforced concrete beam placed in 1971 Revision and conservation of the wooden structures (beams and joists) Replacement of lathing Replacement of roofing tiles Thermal insulation made with roof mat (extruded polystyrene foam sheets) New lining, in pinewood panels of 4 mm thick

Garret Cleaning of the garret / attic space to prevent damp and allow for adequate ventilation Lighting over the floor boards to ease future access for inspection and maintenance Painting with fireproof and flame retardant materials

Façade Cleaning of the cornices with pesticides / herbicides Removal of climbing invasive plants on the Eastern façade

Exterior Walls New mortar with a mixture of lime and sand to plaster the walls, allowing for gaseous exchange New coat of liming to maintain the walls white and gaseous exchange

Interior Walls Scraping of all acrylic paints applied after 1970, that avoid gaseous exchange New coat of liming to maintain the walls white

Openings Assessment of door and windows in good running Restoration of stain glass window panels, ensuring their perfect lateral fixation to the window jambs and their water-tightness to rainwater, without avoiding circulation of air on the lower and upper sides.

Electrical system Setting up and maintenance of a new electrical system

Security Locks servicing (doors and furniture) Caretaking with rounds

Table 3: Interventions in the building of the sacristy and surrounding areas

Conservation-restoration of the indoor artwork

The procedures for the conservation-restoration of the indoor artwork respect the current

interpretation, resulting from the second decorative programme, as well as all changes introduced

after the programme was over. To ensure homogeneity of results in the intervention policies and to

secure the coherence of the conservation undertaken, a single entity was chosen for the task.

Several companies were invited to bid for the conservation-restoration project, as were many

specialists: mural painting, easel painting, gilded wood, polychrome sculpture, and furniture

(Table 4).

As a preventative conservation measure, the chests were removed from the walls and movable

artworks were taken down (looking glasses, paintings of the Evangelists and respective frames,

valances from doors and windows) before intervening in the sacristy building itself. The artworks

were accommodated in the Library, another room in the monastery, thus benefiting from the same

thermal and hygrometric conditions, less stress and impact on the materials and lower

transportation costs to another location. The calendar for the different procedures was determined

by the need to start with the painted coffered ceiling and work downwards (the large scaffolding

used to that effect protected the artworks underneath – Figure 5). Inspection of the electrical

circuits followed, and finally the removal of all acrylic paint from the walls. Only after completion

of the above, could the conservation of smaller movable artworks begin.




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Artworks

& Dimensions

Interventions Products

(suppliers)

PAVING

Surface: 30 m2

Mechanical cleaning either along the joints between the stones, either in fractured zones

Cleaning of the surface with neutral detergent, and mechanical cleaning of the most rooted dirt in the substrate

Teepol® to 1% in white spirit / Brushes and scalpel

Infill of joints between the stones Mixture of lime and sand

Decreasing of the edges of the gaps Acetone

Infill of the gaps in the paving stones. Manufacture of two pasta – beige and pink – so as to involve them as needed to produce a marbled effect

Calcium carbonate / mineral pigments / Icosit® K-101

Restitution of a new paving stone where it was lacking, with the same rock

Pink marble

Regular cleaning of the paving with a scrubbing and vacuuming machine

Neutral detergent and water

MURAL PAINTING

coffered ceiling Dimensions (cm):

Ground plan: l. 1100 x w. 670 Rise of the arch:

h. 350

Consolidation of the mortar in the disintegrated areas – Brush application

Tegovakon® (Ethyl-ortosilicate)

Consolidation of the mortar that adheres poorly to the granite ceiling – Syringe injection

PLMA® (CTS ESPAÑA)

Mechanical dust removal Soft brushes

Cleaning of the surface Water and (damp) sponge

Infill of joints between the stones and levelling of gaps in the grout

Mixture of lime and sand

Inpainting of colour losses

Watercolour

EASEL PAINTING Four Evangelists Dimensions (cm): h. 256 x w. 142

S. Mathias Evangelist (exception)

Polychrome and gilded wooden

frames h. 320 x w. 230

Three of the four paintings (S. John S. Luke; S. Mark Evangelists) :

Facing

Japanese paper / Paraloid® B-72 to 20-25% in xylene

Mechanical removal of the canvas from the wooden auxiliary panels

Mechanical cleaning of the back of the canvas Brushes with different stiffness

Application of strips lining Linen fabric / Beva® Film

Tension of the canvas on stretchers that substitute the original panels

Stretchers made of pine/ stainless steel staples

Inpainting of complete losses of paint layers. Diffuse losses were not restored.

Pigments / Paraloid® B-72 to 5% in diacetone alcohol

S. Matthias Evangelist:

Facing

Japanese paper / Paraloid® B-72 20-25% in xylene/toluene (50:50)

Consolidation of the powdery paint layers, more specifically blue pigments, by taking advantage of the presence of synthetic resin (facing) and applying heat and pressure

Heated spatula / iron

Union of the edges of the tear and reconstitution of the lower part of the painting with patches whose threads were weaved with the original ones

Linen canvas / Poliamide textile (applied at 40 ºC)

Relining Linen canvas / Beva® Film

Application of a gap filler in the complete losses of paint layers

Modostuc® (white acrylic paste)

Inpainting of these losses. Diffuse losses were not restored (see above)

Frames: Identical consolidation treatments as for the paint layers.

(see above)

Gilding the newly carved elements, choosing the traditional burnished gilding process with gold leaf - White priming layer / bol layer / gold leaf

Calcium carbonate rabbit skin glue / Bol Charbonnel® (LEFRANC & BOURGEOIS) / Gold leaf (23 kt)

12 SCULPTURES

Polychrome Terracotta

Dimensions (cm): Some exemples: S. Sigysmundo

(king) h. 183,5

S. Bamba (king) h. 187,5

Previous consolidation of paint layers, adapting the concentration of the synthetic resin according to the substrate thickness

Paraloid® B-72 to 5% to 12% in acetone

Application in increasing concentrations of an ethyl methacrylate based resin to consolidate the crumbled parts of the ceramic support

Paraloid® B-72 to 1% to 12% in acetone

New assembly of broken elements (harms, hands, fingers, etc.) with a synthetic resin perfectly compatible with porous material and the presence of old bounding made with a mixture of beeswax and resin

Paraloid® B-72 to 50% in acetone




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Faith (virtue) h. 172,5

Hope (virtue) h. 171,2

Charity (virtue) h. 172

Prudence (virtue) h. 180

2 Mandorlas

(sheets of stained iron)

Tongue and groove joint to strengthen some structural parts Staining steel tenon 316 AISI® (ACERINOX)

Protection of the edges of some gaps to isolate them from the direct contact with new gap filler

Paraloid® B-72 to 15% in acetone (2 layers)

Infill of some structural lacks of ceramic support Mixture of limestone powder (SIB) with Icosit® K-101 (epoxy resin)

Infill of some delicate and irregular cracks Mixture of limestone powder with Paraloid® B-72 to 15% in acetone

Consolidation of the powdery paint layers with a methacrylate isobutyl based resin

Paraloid® B-67 to 5% in white spirit

Deep consolidation of the polychromy with heat and pressure Heated spatula / bi-silicone Film

Inpainting of the gap filler made of limestone powder / epoxy resin

Acrylic colours

Mandorlas: Mechanical removal of iron oxides which are flush with the mandorla surface, without damaging the gilding laid on it

Scalpel and fiberglass eraser

Correction of the distortions that affect these metal artefacts Mechanical tools

Welding of separated elements with a soft metal Stain welding

Application of a protective layer on the mandorla Paraloid® B-72 to 3 % in xylene

Inpainting of the losses, imitating a gilded surface but with metal powder

Paraloid® B-72 to 2% in acetone

ALTARPIECE

Dimensions (cm): h. 900 x w. 400

BUSTS

RELIQUARIES Dimensions (cm): h. 51 x w. 36 x d.

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Previous consolidation of paint layers Paraloid® B-72 to 10% in acetone

Cleaning of polychrome and gilded surfaces with neutral detergent

Teepol®to 1% in white spirit

Deep consolidation applying heat and pressure Heated spatula / bi-silicone Film

Application of gap filler in the losses Calcium carbonate and rabbit skin glue (LEFRANC & BOURGEOIS)

Inpainting of the paint layer losses Metal powder with Paraloid® B-72 to 2% in acetone

GILDED

VALANCES (doors and windows)

Dimensions (cm): Larger door:

h. 137 x w. 232 Smaller doors

h. 110 x w. 152 Doors valances h. 130 x w. 230

Windows valances h. 320 x w. 230

Joining and bounding of separated elements after identifying their location

PVAc Pattex® (HENKEL AG & Co)

Disinfestations of wooden parts partially carved in sapwood and damaged by insect attack

Xylophène® S.O.R.2

Application of synthetic resin in increasing concentrations to consolidate theses weakened parts

Paraloid® B-72 to 2% to 15% in xylene

Cleaning of the surface with neutral detergent Teepol® to 1% in white spirit

Deep cleaning of more dirt-resistant areas Alcohol : acetone (1:1)

Consolidation of flaking gilding layers with a synthetic adhesive / heat and pressure

Paraloid® B-72 to 10% in acetone / Heated spatula

Inpainting of diffuses losses on the gilded surface


Gilding the newly carved elements, choosing the traditional burnished gilding process with gold leaf - White priming layer / bol layer / gold leaf

Calcium carbonate rabbit skin glue / Bol Charbonnel® (LEFRANC & BOURGEOIS) / Gold leaf (23 kt)

Application of a rust converter on the iron hooks to transform the oxides in an inert organo-metallic compound

Cinofer® (CIN)

Application of a protective coating on the hooks Paraloid® B-72 to 3% in xylene

New hanging up of the valances using the original hooks and, in case of substitution, anchor clips

Wooden dowel and stainless steel screw

LOOKING GLASSES

(2 remaining objects)

Dimensions (cm): h. 105 x w. 66

Gilded wooden frames

h. 168 x w. 102

Bounding / reassembling of the broken parts, with an adhesive that respects the refractive index of most of the glasses

HXTAL® NYL-1 (epoxy adhesive)

Reconstitution of the missing fragment in the lower left corner (mirror 1)

Similar and old looking glass

Consolidation of the surface of tin (back side) with a synthetic resin

Paraloid® B-72 to 15% in xylene

Inpainting of the gaps of tin (back side) with mineral belonging to the phyllosilicates

Titanium Coated Mica /

Paraloid® B-72 to 4% in xylene

Application of a new plate of glass on the back of each looking glass to strengthen it

Glass plates of 5 mm thick

Bounding of theses glass plates only on the periphery PU-162® (polyurethane adhesive)

Gilded frames: Reconstitution of the missing carved elements thanks to the confrontation of both wooden frames whose forms are identical

Pine




5

Bounding of carved elements (old and new) with a vinyl adhesive

PVAc - Special B3® (WÜRTH)

Cleaning of the surface of all elements with a neutral detergent

Teepol® to 1% in white spirit

Deep cleaning of more dirt-resistant areas Alcohol : acetone (1:1)

Local consolidation of flaking gilding layers with a synthetic adhesive / heat and pressure

Paraloid® B-72 to 10% in acetone / Heated spatula

Inpainting of diffuses losses on the gilded surface


Gilding the newly carved elements, choosing a water gilding process with gold powder according with the ageing aspect and the confusing craquelure pattern that characterize today the original burnished gilding - White priming layer / bol layer / gold powder

Calcium carbonate rabbit skin glue/Bol Charbonnel® (LEFRANC & BOURGEOIS) / Gold powder (tablet) with gum arabic

CHESTS chasubles

Dimensions (cm): l. 832 x w. 126 x h.

112

Abbreviations: l = Length

w = Width h = Height

Disinfestations of the damaged parts, with a biocide whose active substances are: Ceripermitrina (0,07%), IPBC (0,05%), Propiconazol (0,15%), Tebuconazol (0,05%).

Xylophène® S.O.R.2

Removal of the elements affected by cubic rot

Replacement of defective wooden parts by new parts, fully stabilized

Aged and heartwood Chestnut

Bounding of elements (old and new) PVAc (HENKEL AG & Co)

Reconstitution of decorative parts missing from the drawers Aged ebony

Reconstitution of mirrors locks Bronze mirrors locks

Restoration of locks and manufacture of new keys when necessary

Iron alloy

Application of a protective layer on furniture Mixture of beeswax and Carnauba wax (92:8) diluted in white spirit

Replacing the charcoal between the paving stones and the bottom of chests, as moisture barrier

Original charcoal well conserved, put in this place in 1773

MOSCOVIA

CHAIRS

Traces of interventions occurred in the past (such as altering the location of brass nail, due to the rupture of leather or the substitution of padding material / vegetable fibres) were conserved.

Cleaning of dust Soft brushes

Cleaning of the old protective waxy layers on wooden parts and leather

White spirit

Application of a protective layer on both wooden parts and leather

Mixture of beeswax and Carnauba wax (92:8) diluted in white spirit

Table 4: Indoor artworks: Interventions of conservation-restoration according to each typology




6

Figure 5: Restoration of the coffered ceiling of the sacristy. ©Arquivo Fotográfico Tibães / Photo

Luis Ferreira Alves

The choice of conservation materials sought to satisfy the demand for compatibility with the

original materials as well as with materials more likely to be used in the future, given that their

removal is difficult. Nonetheless the chosen materials still required adaptation to the extreme

relative humidity conditions. Preference was given to acrylic resins and vinyl emulsion according

to their adhesive and/or cohesive properties, over water or protein-based glues, frequently used

when the artworks were created. Regarding the twelve terracotta statues, the conservation focused

mostly on the joining of broken or detached elements. A homogenous mixture of acrylic resins and

stone-like materials was used to simulate the original ceramic only in structural gaps, to reinforce

them. No attempt was made to restore or complete missing parts such as fingers, the lack of which

does not generate great visual or aesthetic impact. For the statue of Faith, two resins were chosen,

namely for their perfect compatibility, their chemical composition inducing the use of a specific

solvent and a different evaporation rate and promoting their overlapping without softening and

damaging the undercoat: the crumbled parts of the ceramic support were consolidated with

increasing concentrations of the ethyl methacrylate based resin Paraloid® B-72 (to 1% to 12% in

acetone); the powdery paint layers, with the methacrylate isobutyl based resin Paraloid® B-67 (to

5% in white spirit). Even more, some painting losses were let untouched, to control on a short-

term basis the salt efflorescence, the state of the support and polychromy (Figure 6).




7

Figure 6: Sculpture of Faith after treatment (2010). ©Arquivo Fotográfico Tibães

Regarding the paintings, synthetic resins were used as well. The most difficult decisions concerned

the way to stabilize the canvas and promote simultaneously the tension and adequate mounting on

the wall. The canvases were originally stretched and mounted on wooden panels, which had in the

past promoted mould growth and furthered degradation. These, although seen ethically as an

intrinsic parts of the paintings (as material, technical and historical evidence), were removed and

replaced by stretchers. This new reassembly sought to let the air circulate between the canvas and

the wall, reducing the potential regrowth of mould.

Different restoration procedures were adopted with the foremost intention of maintaining the

present interpretation of the artworks as matching ensembles, given that all are, to the present day,

used in liturgical activity (Figure 7). In fact, the sacristy and church continue integrated in the local

Parish. Efforts were made to chemically differentiate the materials applied from the original ones,

for future reference and removal. These were to be less resistant than the original ones but similar

in colour, to meet the desired optical effect. The restoration assumed several degrees of

replacement of missing parts, according to the artworks considered, their use, as well as the factor

of viewing distance (Figure 8).




8

Figure 7: Marriage register from the sacristy of Tibães (ca. 1950). ©Arquivo Fotográfico Tibães

Figure 8: Partial view of the west side of the sacristy (2010). ©Arquivo Fotográfico Tibães




9

The paving was restored and the only missing marble slab was replaced. The chests in chestnut

and ebony wood and the armoires for amices, which still accommodate the liturgical vestments,

were, without doubt, the ones which suffered the most extensive intervention, including the

securing of wooden elements attacked by micro-organisms and the replacement of sapwood by

healthy, aged chestnut heartwood. To keep the decorative rhythm of the ornate drawers, new

carved frames were made, and lost escutcheon locks were reproduced based on casts of the

remaining ones, perfectly replicated without having to invent anything. Regarding the paintings,

the prevailing reddish colour of the preparation, well perceived through the whole palette,

conduced to let diffuses losses without any intervention. The altarpiece was in good condition and

there was no need to complete small gaps. On the contrary, gilded frames and valances were much

restored, integrating the newly replaced wooden elements, quite numerous in some cases, with

traditional gilding. This decision was made considering that shinny surfaces are difficult to

simulate with painting on objects carved in the round, whose aesthetic and volumetric perception

depends on the variations of light. Lighter losses where the underlying coats were traceable were

subject to a tonal reintegration.

Conclusion Considering the above-mentioned conditions in which the indoor artworks of the sacristy were

maintained during decades, many of the items were found in a surprisingly reasonable condition.

However, when it came to respecting the authenticity of the ensemble, some items suffering

greater deterioration than others would necessarily provide bigger challenges. This explains why

uneven conditions of preservation could exist within the same ensemble. In the case of the sacristy

of the monastery of Tibães, the specific location and orientation of each object in the indoor space

demonstrate that they correspond to neuralgic points in the building that suffered lack of

maintenance. Continuous assessment and maintenance are the key actions for both immovable and

movable heritages to preserve their unique combination.

References

Ascenção, M. de. 1745. Crónica do Antigo real e Palatino Mosteiro de S. Martinho de Tibaens.

Manuscript archive, Arquivo do Mosteiro de Singeverga, Santo Tirso.

Direcção Geral dos Edifícios e Monumentos Nacionais (DGEMN). 1947-1987. Processo:

Mosteiro de S. Martinho de Tibães. DGEMN Record Office.

Estados de Tibães - Livros do Depósito. Nos

536, 538-539, 551, 568-569, 592-595. Manuscript

records, Arquivo Distrital de Braga/Universidade do Minho (ADB-UM).

Estados de Tibães - Livros das Obras. Nos

459-461, 463-468. Manuscript expenditures, Arquivo

Distrital de Braga/Universidade do Minho (ADB-UM).

Instituto dos Arquivos Nacionais/Torre do Tombo (IAN/TT). 1834. Inventário dos Objectos

pertencentes ao culto [Inventário nr. 393, Tibães]. Manuscript inventory, Arquivo Histórico do

Ministério das Finanças, Lei de 30.V.1834.

Le Gac, A. 2000. Conjunto escultórico em terracota policromada da sacristia do Mosteiro São

Martinho de Tibães. Report, Universidade Nova de Lisboa, Portugal (2 volumes).

Oliveira, A. de. 2000. Robert Smith and the poets of granite and chestnut gilt. In Robert C. Smith,

a investigação na História de Arte / Research in History of Art, Lisboa: Fundação Calouste

Gulbenkian, p. 209-233.

Smith, R.C. 1966. Dated looking glasses, some imported from England, in Portuguese sacristies:

all unrecorded. The Connoisseur, London, vol. 163, nº 655, p. 34-39.




10

Smith, R.C. 1968. Frei Cipriano da Cruz, escultor de Tibães. Porto: Livraria Civilização.

Smith, R.C. 1972. Frei José de Santo António Ferreira Vilaça, escultor beneditino do século

XVIII. Lisboa: Fundação Calouste Gulbenkian.

Smith, R.C. 1973. André Soares, arquitecto do Minho. Lisboa: Livros Horizonte.




11

Material list PARALOID B-72 Solid Grade Thermoplastic Acrylic Resin ROHM and HAAS Corporate Headquarters 100 Independence Mall West Philadelphia, Pa 19106 USA Xylophene S.O.R.2® Tintas Dyrup, S.A. Rua Cidade de Goa, 26 2686-951 SACAVÉM Pattex® Henkel AG & Co. KGaA Henkelstrass 67 D-40191 Düsseldorf Tel: 0211 - 797 - 0 Fax: 0211 - 798 - 89 22 Tegovakon® V Ethyl-ortho-silicate, ester of silicon and methylsiloxane BIU Internacional, Lda Tel: +351 219 578 888 - Fax: +351 219 578 890 - http://www.biu.pt HXTAL HXTAL NYL-1 Crystal clear, non-yellowing epoxy adhesive formulated to perfectly match the refractive index of most glass HXTAL Adhesive USA PU-162 ® Polyurethane glue OLIVÉ Química Avda. Bertrán Güell, 78. 08850 GAVA (Barcelona) Tel.: (+34) 936 629 911 - Fax: (+34) 936 629 150 Cola Vinílica Especial B3® Poly vinyl acetate (PVAc) WÜRTH Würth-Portugal, Técnica de Montagem, Lda. Estrada Nacional 249-4, Abrunheira – 2710-089 Sintra Tel.: +35 219157200 Fax: +35 219151331 Charbonnel® LEFRANC & BOUGEOIS supply stores and fine arts gold leaf / sheets of 8x8 23Kt Italian industrial manufacturing supplies stores, fine arts

CINOFER With phosphoric acid CIN Estrada Nacional 13 (Km 6) · Apart. 1008· 4471-909 MAIA PORTUGAL Telef. 22 940 50 00 · Fax: 22 948 56 61 · URL-http://www.cin.pt · [email protected]) Espigões de aço-inox 316 AISI ACERINOX Powder minerals SIB – Sociedade Industrial de Britagem Pedra L.da Icosit K-101 (epoxy resin) Sika Schweiz AG Tüffenwies 16 CH-8048 Zürich (Switzerland) Tel: +444364040 PLM-A An injection mortar based on natural limes free from efflorescing salts, combined with selected inert materials and additives that modify the rheological properties. C.T.S. ESPAÑA Productos y equipos para la Restauración S.L. C/Munturiol, 9 – Pol. Ind. San Marcos E-28906 Getafe Madrid (Spain) Tel. +34916011640 Modostuc® Acrylic component, chalk, kaolin, polyvinyl acetate and an acrylic ester. PLASVEROI INTERNACIONAL S.r.l,, Via Camussone 38 Frazione Giovenzano 27010 Vellezzo Bellini (PV) Mica prateada / Titanium coated mica mineral group phyllosilicates AGAR AGAR refª50 510 - G. C. AGAR AGAR, s.l., Avda . Camelias, 92. Tlf: 986 23 55 41 / Fax: 986 23 46 28 VIGO Teepol® Biodegradable Neutral based anionic detergent

Sara Lee, Household and body care Portugal, Rua Dr. Álvaro de Castro nº 32 1600-059 Lisboa

mailto:[email protected]




12

Biographies Agnès Le Gac (Assistant Professor, author for correspondence) is a French national who lives in

Portugal since 1987. She graduated from the University Paris I and the University of Louvain-La-

Neuve in History of Art, and completed a Master in Conservation-Restoration of painted objects at

University Paris I. She taught Conservation-Restoration of Painting and Polychrome Sculpture

(Bachelor level) at Escola Superior de Conservação-Restauro in Lisbon between 1994 and 1998.

Currently, she is a lecturer at the Conservation-Restoration Department of the Universidade Nova

de Lisboa, where she has recently completed her doctorate degree which focused on research

relating to the main altarpiece of the Old Cathedral of Coimbra. She is part of the Board who

created the Licence for Conservation and Master Level at this University. As founder member and

first President, she set up the Conservators-Restorers’ Organisation of Portugal. She was also a

member of the Board of ENCoRE, from its creation in 1997 until 2003. As researcher, she

collaborated in several European Projects, one of which has been the Project POLICROMIA on

Baroque Polychrome Sculpture, which involved specialists from Portugal, Spain and Belgium.

(Departamento de Conservação e Restauro da Faculdade de Ciências e Tecnologia / Universidade

Nova de Lisboa - Campus da Caparica, Quinta da Torre, 2829-516 Caparica, Portugal,

[email protected])

Maria João Dias Costa (Coordinator – Landscape Architect) (Mosteiro S. Martinho de Tibães,

Direcção Regional da Cultura do Norte, Lugar do Convento, Rua do Mosteiro, 4700-565 Mire de

Tibães, Portugal)

Isabel Dias Costa (Technical Supervisor – Conservation-Restoration) has a degree in History of

Art from the University of Porto. In 1993 she completed a Bachelor in Conservation and

Restoration at the Escola de Conservação-Restauro in Lisbon, specialising in the furniture,

carving, sculpture and painting on wood. Between 1995 to 1998, she aced as the responsible

authority for the Conservation and Restoration of Wooden Artefacts at the Centro de Conservação

e Restauro in Tibães In 1999 she joined the board of the Direcção Regional do Porto do Instituto

Português do Património Arcquitectónio (IPPAR). Isabel currently works in the Direcção de

Serviços dos Bens culturais da Direcção Regional de Cultura do Norte. (Mosteiro de Tibães,

Direcção de Serviços dos Bens Culturais da Direcção Regional da Cultura do Norte, Portugal)

Disclaimer

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