Restoration of the painting The Apparition of the Virgin from the Convent of the Discalced Mercedarians
Oil painting from the first half of the 18th century
The church of the Convent of the Discalced Mercedarians of the Immaculate Conception of Madrid, popularly known as Las Góngoras, houses a collection of paintings of great value, among which are Apparition of the Virgin and Child to Saint Mary of Cervelló. Both women are depicted in the center of the composition, surrounded by a choir of angels. Saint Mary of Cervelló, considered the patron saint of sailors, belonged to a noble family from Barcelona and joined the Mercedarian Order in the second half of the 13th century.
The painting is executed on a linen canvas made up of six panels of different weaves and sizes, joined by stitching. The central panel serves as the support for the scene. Its pictorial quality is greater than that of the other panels, which were added later, likely to enlarge the image and adapt it to the niche where it is currently displayed.
Images of the painting before and after its intervention
Previous state of conservation
The work was in a very poor state of preservation, with surface dirt and widespread oxidation of the varnish. Its central support was very fragile and stretched, with deformations, cracks, and loss of the paint film hidden behind patches and repaints.
The central cloth showed a noticeably darker color than the rest, being covered by an irregular whitish layer, with accumulation of dust and some stains.
It had undergone previous interventions and repainting to expand the surface of the painting and modify its iconography. The frame was in a good state of preservation despite surface dirt, traces of wax, repainting, and minor losses of polychrome and gilding through which the wooden support was visible.
On the back, a large accumulation of dirt and traces of a white paste were visible. A piece of fabric, used as reinforcement, was torn where the uprights were joined.
Restoration of the work
The painting was located in a niche, with a cornice protruding from it, which has made it difficult to remove the work for restoration.
- Process of cleaning and removing repaint. When the varnish was removed to clean the oxidized and darkened surface layers, widespread overpainting was discovered, obscuring and altering the original image. Originally, the Virgin offered a bouquet of flowers to Saint Mary, and the main angel held a rose in his hand. The overpainting had covered the flowers, replacing them with the Virgin's hand holding the Child's foot. A selective removal of overpainting was decided to avoid excessive intervention, which could also involve removing the original paint.
- Canvas protection and patch removal. To protect the painted film during the interventions on the support and the consolidation of the polychrome, the surface of the canvas was temporarily covered with paper. The patches reinforcing the canvas on the back and front were removed. Some required prior moistening to facilitate the operation. During this process, a print of Saint Peter Nolasco was discovered. After removing the patches, the back was cleaned again with a damp cloth. The minor deformations caused by the patches were corrected with the application of moisture, pressure, and controlled heat.
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Placing the rigid support. The canvas was structurally reinforced by applying a rigid support made of fiberglass and aluminum cells. This support ensures excellent rigidity with minimal weight, making it the most suitable for supporting the canvas's weakened structure and minimizing stress.
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Sitting, consolidating and cleaning the pictorial film.
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Reintegration of the preparation layer with a white synthetic stucco.
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Reintegration of the pictorial filmFor large losses or gaps caused by tears in the canvas, a watercolor base was first applied, followed by a finish using varnish pigments.
- Dismantling was carried out and frame restorationThe most superficial dirt was removed from both the front and back of the frame. The remains of the adhesive paste and the linen fabric, which served as reinforcement, were removed. The remains of wax and fly droppings were removed with a scalpel. The gilded parts of the frame were consolidated, and the small paint flaws were reinstated, providing a final layer of protection.
- La intervention on the frame It consisted of a surface cleaning and removal of nail points. Since, as a matter of conservation criteria, it was decided to present the painting on a rigid support, the frame lost its function as the canvas's frame. However, it has been preserved as a historical document by incorporating it as a testimonial on the back of the new support and reinforcing the inscription it bore.
- end protection with several layers of varnish and frame placement. Instead of the original system of nails placed on the bias, another system consisting of metal plates and screws was used.
Technical sheet
- Author
Spanish anonymous
- Dating:
First half of the 18th century, Rococo
- Material and dimensions:
Oil on canvas. Height: 256 cm. Width: 173 cm.
Cloister of the Convent of the Mercedarians of the Immaculate Conception or Las Góngoras
Luis de Góngora Street No. 4, Madrid
The convent and church of the Discalced Mercedarians of the Immaculate Conception (Las Góngoras) were declared a Site of Cultural Interest with the category of Monument by Decree 48/2012, of March 8 (BOCM of March 16, 2012). Apparition of the Virgin and Child to Saint Mary of Cervelló It is also a property protected by the Community of Madrid.
- Work team:
Mercedes del Pino Peño
- Date of the intervention:
2024
- Vega War. (nineteen ninety six) Guide to visiting the Churches and Convents of Old MadridOfficial College of Architects of Madrid, Madrid City Council, Ministry of Culture.
- Pellico, María Dolores (2001, ed. 2004). "Nuns of the Order of Mercy" in Analecta Mercedaria, 20 1-41.
- Tejela Judge, Juan (2009). «The Church of the Convent of the Immaculate Conception of the Discalced Mercedarians, «Las Góngoras» (Madrid)». In Proceedings of the Sixth Congress on the History of Construction. Madrid. Juan de Herrera Institute, vol. II, 1407–1418.
