Challenges in the conservation and restoration of processional banners – a case study
DOI:
https://doi.org/10.14568/cp2020034Keywords:
Processional banner, Composite object, Worship function, Religious representations, Challenges in conservationAbstract
Processional banners are one of the most recurrent symbols used in processions and religious festivities, incorporating them since the Middle Age. As these pieces are composed of different materials and subjected to constant handling, they often exhibit severe degradation, posing as a challenge for its conservation and restoration. This case study is focused on a processional banner, presumably from the 18th century, depicting, on one side, Saint Michael Archangel and, on the other, Our Lady of the Rosary. The intervention was supported by several analytical techniques such as textile fibres analysis, optical microscopy (OM), scanning electron microscopy with energy dispersive spectroscopy (SEM-EDS), X-ray fluorescence spectroscopy (XRF), and Fourier transform infrared spectroscopy (FTIR). The results provided a better insight on the technological features of the object.
Downloads
References
[1] Rocca, S.; Guedes, N.; Roque, M.; Guerreiro, D., Thesaurus: Vocabulário de objetos do culto católico, Fundação da Casa de Bragança; Universidade Católica Portuguesa, Lisboa (2004).
[2] Santa Casa da Misericórdia de Lagos, (s d), in 'Arquivo histórico e património artístico da Misericórdia de Lagos', http://www.scmlagos.com/ (acesso em 2019-06-15).
[3] Desterro, T.; Santos, G., A Santa Casa da Misericórdia de Thomar. 500 anos de história (1510-2010), Santa Casa da Misericórdia de Tomar, Tomar (2010).
[4] Pereira, P., Arte Portuguesa. História essencial, Círculo de Leitores, Lisboa (2011).
[5] Pinto, A. L.; Meireles, F.; Cambotas, M., História da Arte, Porto Editora, Porto (2006).
[6] Attwater, D., Dicionário de Santos, Publicações Europa-América, Sintra (1985).
[7] Réau, L., Iconografia del arte cristiano. Iconografia de la Biblia: Antiguo testamento, Ediciones del Serbal, Barcelona (1996).
[8] Réau, L., Iconografia del arte cristiano. Iconografia de la Biblia: Nuevo testamento, Ediciones del Serbal, Barcelona (1996).
[9] Mayer, D., 'Identification of textile fibres found in common painting supports', in Conservation of easel paintings, ed. J. Stoner, R. Rushfield, Routledge, London (2012) 318-325.
[10] Villarquide, A., La pintura sobre tela I, Editorial Nerea, Sán Sebastián (2004).
[11] Ilvessalo-Pfaffli, M.-S., Fiber atlas identification of papermaking fibres, Springer, Berlin (1995).
[12] Fitzhugh, E., 'Red lead and minium', in Artists’ pigments: A handbook of their history and characteristics, vol. 1, ed. R. Feller, Cambridge University Press - National Gallery of Art, Cambridge - Washington (1986) 109-140.
[13] Laver, M., 'Titanium dioxide whites', in Artists’ pigments: A handbook of their history and characteristics, vol. 3, ed. E. Fitzhugh, National Gallery of Art - Archetype Publications, Washington - London (1997) 295-356.
[14] Douma, M., Pigments through the Ages (2008), http://www.webexhibits.org/pigments (acesso em 2019-08-29).
[15] Derrick, M. R; Stulik, D.; Landry, J. M., Infrared spectroscopy in conservation science, Scientific tools for conservation, The Getty Conservation Institute, Los Angeles (1999).
[16] Hradil, D.; Grygar, T.; Hradilová, J.; Bezdička, P., 'Clay and iron oxide pigments in the history of painting', Applied Clay Science 22(5) (2003) 223-236, https://doi.org/10.1016/S0169-1317(03)00076-0.
[17] Calvo, A., Conservación y restauración. Materiales, técnicas y procedimientos: de la A a la Z, Ediciones del Serbal, Barcelona (2003).
[18] Lourenço, A. B., 'Composição e tecnologia da folha de ouro: os retábulos barrocos dos sécs. XVII e XVIII do noroeste de Portugal', dissertação de doutoramento, Departamento de Geociências, Universidade de Aveiro, Aveiro (2018).
[19] Almela, C.; Fernández, M., Proyecto COREMANS. Criterios de intervención en pintura de caballete, Ministerio de Cultura y Deporte, Madrid (2018), https://sede.educacion.gob.es/publiventa/d/21495C/19/0.
[20] Calvo, A., Conservación y restauración de pintura sobre lienzo, Ediciones del Serbal, Barcelona (2002).
[21] Ackroyd, P., 'The structural conservation of paintings on wooden panel supports', in Conservation of easel paintings, ed. J. H. Stoner, R. Rushfield, Routledge, Milton Park (2012) 453-478.
[22] Ortiz, A., Restauración de obras de arte: pintura de caballete, Ediciones Akal, Madrid (2012).
[23] Villarquide, A., La pintura sobre tela II, Editorial Nerea, Sán Sebastián (2005).
[24] Viñas, S., Teoría contemporánea de la restauración, Editorial Síntesis, Madrid (2010).
[25] Brandi, C., Teoria do restauro, Edições Orion, Amadora (2006).
[26] Nicolaus, K., Manual de restauración de cuadros, Konemann, Eslovenia (1999).
[27] Hackney, S., 'Paintings on canvas: lining and alternatives', Tate Papers, Tate’s Online Research Journal (2004) 1-12, https://www.tate.org.uk/research/publications/tate-papers/02/paintings-on-canvas-lining-and-alternatives (acesso em (2019-08-29).
[28] Appelbaum, B., Conservation treatment methodology, Butterworth-Heinemman/Elsevier, Oxford (2007).
Downloads
Published
How to Cite
Issue
Section
License
This work is distributed under a Creative Commons Attribution License (CC BY-NC-ND 4.0) which permits use, distribution, and reproduction in any medium following no commercial or derivatives, provided the original author and source are credited.
Copyright remains with the authors.