IDIOMAS
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the first image of the Virgin of Grace, of small size, had been brought by the conquerors. Throughout the sixteenth and seventeenth century, the Virgin was treated on different occasions in La Laguna procession, as it was very beneficial in a few cases to cause rains or avoid floods when it rained in excess. The current image of the Virgen de Gracia arrived at the hermitage that carries her advocacy, in 1541 from Flanders. At first the image carried in his arms the Child or Jesus, but this disappeared in the eighteenth century. Despite being a full size, original size and polychrome, she began to dress both her and Ni or from the first years. The antiquity of the size, is verified in the fact that its carved dress is similar to that of the flamenco suits of the late fifteenth and early sixteenth centuries. It also has on its back what appears to be a small or reliquary, which sharply cuts the hair (also carved) that is continued pictorially. The dress is blue and appears adorned with golden flowers and inscriptions related to the Mother of God and her Son. The size has undergone numerous interventions since its arrival on the Island, highlighting those made in the eighteenth century that practically gave it the current appearance. As already said, in this century the size of Ni or Jes disappears and the Virgin begins to be represented with a rose and a book in her hands. The latter, with silver caps, dates from the end of the 18th century and its leaves refer to the virginity of Mary and her redeeming Son. The dress that the Virgin usually wears on the altarpiece is white with a blue mantle, it is crowned in silver and with a fake rhinestones face; at his feet a crescent with cherubs. |
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Heritage Notebooks: The Restoration of Personal Property in La Laguna. Cabildo de Tenerife - City Hall of San Crist Bal de La Laguna, Delegation of Culture and Historical Heritage Art. 1995 |
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REPORT OF THE STATE OF CONSERVATION OF THE SCULPTURE OF OUR PRAYER OF GRACE BEFORE THE RESTORATION OF 1995. T CNIC DATA: Encouragement of the 16th century. Polychrome candleholder sculpture located in the Hermitage of Our Lady of Grace of La Laguna. Restoration: In charge of the Faculty of Fine Arts of the University of La Laguna STATE OF CONSERVATION SUPPORT : The wood was with various alterations such as attacks by insects xil phages, fractures, decoupling of pieces, cracks, rusty nails, loss of wood in chest, leg, etc. and burned PREPARATION : The preparation of the first polychrome to appear powdery with total losses by zones; The second polychrome also presented losses in addition to cracking and lifting. PICT RICH LAYER : The first layer also appeared powdery due to lack of binder, observing visible losses suspecting the general poor condition. The second presented numerous gaps as well as lack of adhesion, cracking and wear. The face was repainted. SURFACE STRATEGY : appeared with a semibrillo without major oxidation but with spots, marks, stunned and environmental dirt. The main causes of degradation were the humidities that existed in different few in the hermitage. Natural aging of the binders for human causes was also observed, in the manipulation of the image to dress it, since t ... |
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Height: 117 cm Figure: 110x46x38 cm Base: 47x35 cm |
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TREATMENT APPLIED IN THE RESTORATION OF 1995 Restauradores: 'Faculty of Fine Arts of the University of La Laguna '.D a. Dacil of the Rosa Vilar. Firstly, the sculpture was subjected to a superficial cleaning to then apply a treatment for fixing the preparation and polychrome with the purpose of returning the adhesiveness and lost cohesion: it was carried out by impregnation with Italian coletta. The next step was to apply a disinfection treatment, as it showed signs of attack by insects xil phages, located in the pieces of wood that shape the back and close the recess of the writing. These are pieces of pine wood (the rest is oak), more sensitive to this type of attack and corresponding to a subsequent intervention. The disinfection was done by injecting an insecticide. To facilitate the operation and check the real state of the wood, the back piece was detached, revealing the inside of the figure. Then the pieces that make up the arms were also detached, removing the rusty nails that keep them and then proceeding to a new glue using a poly adhesive, reinforced with the inclusion of screws. The losses, holes and cracks in the wood were filled with wood and with a epoxy resin. The next phase was the cleaning and removal of repaints. In the first place, some recent repaints that covered locally damaged areas were raised using a weak solvent ... |
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