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03-DM-2005_Turin, Galleria Sabauda, Christ of Mercy, inv. 208
Turin, Galleria Sabauda, Christ of Mercy, inv. 208 - before restoration
Turin, Galleria Sabauda, Christ of Mercy, inv. 208, verso - before restoration
Turin, Galleria Sabauda, Christ of Mercy, inv. 208 - during restoration, cleaning
Turin, Galleria Sabauda, Christ of Mercy, inv. 208 - during restoration, cleaning
Turin, Galleria Sabauda, Christ of Mercy, inv. 208 - Infrared in false color (950 nm)
Turin, Galleria Sabauda, Christ of Mercy, inv. 208 - infrared IR (950 nm)
Turin, Galleria Sabauda, Christ of Mercy, inv. 208 - UV analysis
Turin, Galleria Sabauda, Christ of Mercy, inv. 208 - after restoration
03-DM-2005_imago_pietatis
Restoration sheet
Technical graphic mapping of execution
Graphic mapping state of conservation
Graphic mapping of restoration work
Graphic mapping state of conservation
P. Astrua, Data sheet, in

03-DM-2005_Turin, Galleria Sabauda, Christ of Mercy, inv. 208



Facilitated description: 

 

Christ in Mercy is a wall painting detached from the wall and inserted into a wooden box.
The painting was made in the early 1400s and represents the bust of Jesus in the tomb.
The painting is kept at the Galleria Sabauda in Turin.
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2005.
Scientists at the Center did scientific analysis to understand how the painting was made.
The restorers cleaned the painting of the dust, the plaster layer and the yellowed protective substance.
They filled the material gaps between the wooden frame and the painting with stucco (plaster and glue layer).
In the end they filled the color gaps with watercolors.

 

 

 

 

Abstract of the intervention:

 

The restoration was carried out on the occasion of the exhibition 8 restorations from "La Venaria Reale". The Conservation and Restoration Centre: a new reality for cultural heritage (Palazzo Bricherasio, 26 January - 4 February 2007). 

Restoration

The intervention began with cleaning tests and the partial removal of the plaster inserted between the metal case and the work after detachment. Subsequently, the protein film was removed by chemical cleaning and, in agreement with the construction management, grouting was carried out in the area between the wooden case and the painting to cover the edges of the metal case. Limited watercolor retouching and the silhouette of the body of Christ were then performed with the technique of dusting. Finally, thanks to the infrared analysis it was possible to detect the technique of execution and application of color. 

 

Bibliography

- P. Astrua, Data sheet, in 8 restorations from "La Venaria Reale". The Conservation and Restoration Centre: a new reality for cultural heritage (catalogue), Turin, Grafiche Ferrero, 2007, pp. 16-20.