17th century "Ecce Homo" Polychrome Sculpture

The Ecce Homo polychrome sculpture before and after conservation-restoration treatments.

The conservation and restoration of the Ecce Homo polychrome sculpture was quite a challenging project, however, it was very rewarding and satisfactory once its original aesthetic quality could be enjoyed. Read a summary of this conservation project below:

Manufacturing Technique: This polychrome sculpture is a composite object, since each part was manufactured by using different materials. The figure of Jesus Christ was cast solidly in gesso, while the mantle and cloth around His waist were made using the technique of papier mâché. Imitations of the ripped skin around the elbows and on the torso were molded separately, probably with gesso.

The medium of the paint layer is probably oil.  

The crown was manufactured from real stems of trees, which were tied together with pieces of string. 

Past Restorations: The sculpture was damaged at some point in the past since it could be observed that cracks on the head and torso were fixed together again with a type of thick glue. This glue is still functioning, and these areas seem to have been stabilized.

The head of Jesus Christ; showing an area where the sculpture was damaged in the past and fixed with a thick glue.

The varnish present was probably also applied during a past restoration intervention.

State of Conservation: The structure of the polychrome sculpture is in an overall stable condition. It had some hairline cracks on various areas, while the thumb of one of the hands and other parts were completely detached from the rest of the sculpture. Some losses of the paint layer were observed on the lower part of the red mantle, exposing the underlying textile support. A puncture in the gesso was also observed on the forehead of Jesus Christ. 

A detailed photograph of cracks shown on the arms (photograph taken during cleaning).

However, the most significant problem which this sculpture presented was the oxidation of the varnish into a very dark brown layer which was obscuring the paint layer heavily. Further non-invasive investigation in using ultra-violet light confirmed the presence of varnish, due to the resulting yellowish-green fluorescence. 

Detailed photograph of the face of Jesus Christ under ultra-violet fluorescence. The sculpture fluoresced yellowish-green thus, confirming the presence of a varnish layer.

Conservation-Restoration Treatments:

Cleaning and Consolidation
An appropriate cleaning procedure was tailored in using organic solvents that were the most effective in terms of their solubility parameters to remove the thick, brown varnish layer present.

During the cleaning procedure of the polychrome sculpture (front).

During the cleaning procedure of the polychrome sculpture (verso).

During cleaning, it was observed that black residues had settled inside crevices, while wax droppings were present onto the hands. These residues were both present underneath the varnish layer. In order to remove them, a solvent gel was prepared and it was used to soften the residues and droppings. This enabled easier removal mechanically using a scalpel blade. 

Photographs taken during cleaning; black residues which settled inside crevices, and wax residues on one of the hands were discovered underneath the varnish layers.

During the cleaning procedure, the sculpture was frequently checked under ultra-violet light in order to ensure that the varnish layer was being successfully removed and no residues were left on the surface.

Consolidation of detached areas was done simultaneously with the cleaning procedure. An organic adhesive which is compatible with the original, was used for this purpose. 

During the process of consolidation.

Reintegration of Lacunae
Lacunae and cracks were infilled using a compatible mixture with the original constituent materials. 

Lacunae on the face of Jesus Christ and the red mantle, after application of infills. 

Reintegration of lacunae was carried out in using compatible colours with  the original paint layer, and which are also reversible.

During the procedure of reintegration of lacunae.

A final varnish layer was then given. The varnish applied has the appropriate reflective properties and it is also reversible.

Images and text are copyright Sarah Yeomans Gafa` 2013.

Introduction

Cleaning of the vault wall paintings at Basilica Santa Anastasia, in Verona, Italy.

About:

Sarah Yeomans Gafà graduated in 2010 from the University of Malta with a Bachelor’s degree in Conservation and Restoration Studies of Paintings and Polychrome Sculptures. She trained and studied within Heritage Malta's conservation laboratories. The subject of her dissertation treated the investigation of the original technique and condition of the wall paintings at the Entrance Hall of Verdala Palace, Buskett, which are attributed to the Florentine artist Filippo Paladini (1544-1614).

Sarah has been working as a conservator- restorer for the past six years and had the opportunity to work on a variety of polychromed works of art (as indicated below). In 2008, she was also involved in the conservation of the 15th century ceiling frescoes at Basilica di Santa Anastasia in Verona, Italy.

She has also studied Gilding techniques (oil, mordent and water gilding) at the Malta Society of Arts, Manufacture and Commerce, and at the Malta School of Art.

Based in Malta, Sarah is currently working as a freelance conservator- restorer. She had the opportunity to work on numerous works of art by prominent local and foreign artists, such as Mattia Preti (1613-1699), Enrico Regnaud (1692-1764), and Giuseppe Cali (1846-1930), among others.

She is also a member of MAPCo-Re - The Malta Association of Professional Conservator- Restorers, and of Din l-Art Helwa Youth Committee. 

Services:

The following services are offered:

• Condition assessment of works of art;
• Historical/ Art Historical Research;
• Scientific investigations using non-invasive analytical techniques such as raking light and ultra-violet fluorescence;
• Further scientific analysis of both a non-invasive and invasive nature are also an option, if required. These will occur in collaboration with an external science laboratory;
• Documentation of works of art photographically and graphically using AutoCAD;
• Conservation and restoration of antique to contemporary works of art including:

Wall paintings (frescoes, oil on stone, marouflage, etc.);

Canvas paintings (tempera/ oil/ acrylic);

Panel paintings (tempera/ oil/ acrylic);

Paintings on a metal support (copper, tin, brass, etc.);

Polychrome sculptures (wood, gesso, papier mâché, stone, terracotta, etc.)

• Conservation and Restoration of gilded artefacts, such as decorative surfaces and religious objects. Gilding in the missing parts is carried out using 23.5 carat gold leaf or genuine silver leaf, as required. This is carried out in the traditional techniques such as water (bole) gilding, oil or mordent gilding, as necessary. Rendering of silver using Shellac is also offered;
• Advice on preventive conservation measures, collections management and care. 

 
A gilded crucifix before and after the conservation- restoration treatments and re-gilding in parts.

Contact:

Mobile number: 00356 79291166

E-mail address: sarah.gafa@gmail.com