Arte Facta

Mystic Marriage of

Saint Catherine

Year 1539

Dim. 184x273 cm

Estimated Cost of Restoration : € 1.900

The Risen Christ

XVII cent.

Dim. 3,30 x 1,90 x 1,65 m

Estimated Cost of Restoration : € 23.000

Saint Julian Hospitaller

and Saint Lucia

Year 1775

Dim. 167x224 cm

Estimated Cost of Restoration : € 1.500

The Painter

The work is by Pompeo Morganti for the church of San Silvestro in ​Orciano di Pesaro. Pompeo, son of Bartolomeo, was born in the first ​decade of the 16th century. After his beginnings in collaboration with his ​father, as early as 1535 he was commissioned by the City Council of Jesi to ​execute a painting for the Palazzo dei Priori. Documents attest to ​Pompeo's presence in 1555 among the members of the Holy Union of Fano.

The Painting

The painting depicts the moment when the Child Jesus, supported by the ​Virgin Mary seated on a throne, reaches out to slip the ring on the finger ​of St. Catherine of Alexandria. This gesture symbolizes a mystical ​marriage, a metaphor for her commitment to a Christian life of chastity.

St. Catherine of Alexandria is recognizable by the iconographic attribute ​of the cogwheel, foreshadowing her martyrdom, on which she is kneeling.

Around the Virgin, other female figures are arranged, all with haloes and ​in Renaissance clothing, contributing to an atmosphere of reverence. ​Among them, Saint Lucia can be recognized from the detail of the tray ​with the saint's eyes placed at her feet.

The little angels flying above the main scene add a touch of lightness and ​spirituality, while the dove in the center symbolizes the Holy Spirit. The ​presence of classical architectural elements, such as columns and arches, ​frames the scene and guides the eye toward the center of the painting, ​allowing glimpses of an idealized landscape in the background.

State of Conservation

The painting is in mediocre condition. The painted ​surface is obscured by substantial deposits, both ​coherent and incoherent (such as atmospheric ​particulates and other accumulated substances). The ​overlying finishing layer (varnish or another ​substance) appears oxidized, altering the chromatic ​qualities of the painted areas. The surface shows ​numerous and evident touch-ups, and some areas seem ​to have been repainted in previous restorations.

Restoration Interventions

1 - Documentation and exploratory studies

• Digital and graphic photographic documentation of ​the state of conservation and of the various ​restoration operations.
  
• Surveying and documentation sheet.

2 - Diagnostic investigations

• High-resolution near-infrared reflectography to ​inspect any preparatory drawings and slight ​modifications or pentimenti.
  
• UV-induced fluorescence to detect repainting ​interventions and the presence of certain types of ​pigments and binders.
• X-ray fluorescence analysis to investigate the ​painter's palette.
• Characterisation of preparatory layers and ​stratigraphic successions with micro-samples and ​microscopic examinations.
• Characterisation of the support fabric
  

3 - Consolidation of the substrate, preparatory and ​pictorial layers

• Consolidation and restoration of the adhesion of ​constituent materials and restoration of ​deformations of the textile support with moisture ​and vacuum pressure.
  

4 - Cleaning

• Removal of surface deposits and superficial ​substances (such as non-original varnishes or ​brighteners) with surfactants, gelled aqueous ​solutions and neutral organic solvents in gels.
  

5 - Lining the textile support

• Mounting of the canvas on the wooden frame using ​a spring tensioning system, with reinforcement of ​the original frame.
  

6 - Filling of gaps and aesthetic presentation

7 - Pictorial reintegration

• Pictorial reintegration of veiling abrasions and ​small gaps using a recognisable technique ​(hatching) to reconstitute the colour fabric and ​reduce visual interference.
  

8 - Surface protection

• Varnishing of the paint film with synthetic resins ​to protect and restore the refractive index and to ​limit UV damage.
  

The Statue

The Risen Christ from the church of Santa Maria Novella ​in Orciano is an important work of the Roman School. ​The wooden sculpture depicts Christ rising triumphant ​from the tomb, his torso slightly foreshortened and arms ​spread wide, suspended on golden clouds and ​surrounded by rays of shining light.

In keeping with tradition, with his right hand the ​Redeemer holds the Salvific Banner of the True Cross (St. ​George's Cross, also called the Cross of Victory), a red ​cross on a white background, symbolizing his triumph ​over death.

Below, beside the now empty tomb, a Roman soldier is ​dazzled by the unexpected event of the Resurrection ​miracle. Blinded by this burst of light, he covers his face ​with his arm, seeking shelter.

The soldier's cloak, along with the drapery that partially ​covers Christ's body and the flag drape, create a swirl ​that envelops the entire scene with dynamism.

State of Conservation of the Statue

The sculptural group is in a precarious state of ​preservation.

The Risen Christ shows significant dust deposits and ​residues of candle smoke, with attacks by xylophagous ​insects that are no longer active and gaps in the pictorial ​layers, especially on the protruding parts. The painted ​surface shows a cracked appearance and some lifting of ​the pictorial decoration. The protective layer is aged and ​yellowed, altering the original tones of the sculpture.

The Roman Soldier suffers from severe structural and ​aesthetic problems, with cracks in the wood and ​decohesion of the paint film. The polychromy is deficient ​and covered by repainting, while a brown protective film, ​applied unevenly, further alters the original appearance of ​the sculpture.

Restoration Interventions

1 - Documentation :

• Scientific and photographic analyses to understand ​materials and degradation processes.
  

2 - Fixing :

• Re-attachment of the raised parts of the paint film ​by injections of adhesives.
  

3 - Cleaning :

• Mechanical removal of surface deposits with ​brushes and microaspirators.
  
• Chemical cleaning to remove non-original residues ​and improve the legibility of the work.
  

4 - Disinfestation :

• Treatment against xylophagous insects by ​application of permethrin in apolar solvents.
  

5 - Consolidation :

• Structural consolidation of the wood with ​injections of acrylic resins.
  

6 - Filling :

• Filling gaps in the pictorial layers.
  
• Closure of holes caused by woodworm.
  

7 - Pictorial reintegration :

• Reintegration of pictorial gaps.
  
• Mimetic reintegration of the gold and silver ​parts with micaceous colours.

8 - Surface protection :

• Application of final varnish with synthetic ​resins to protect and restore the correct ​refractive index of the surface.
  

The Painter

Carlo Magini, an artist born in Fano in ​1720 and died in 1806, trained in the ​Umbria-Marches area under his uncle ​Sebastiano Ceccarini, also a well-known ​painter from Fano.

Together they collaborated in several ​artistic centers, including Perugia, ​Urbino, Bologna, Venice and Florence.

His artistic corpus is mainly ​characterized by portraits, historical ​scenes and still lifes.

The Painting

The painting is notable for its balanced ​composition and skillful use of color and ​light. The depiction of the saints, with ​their iconographic symbols and gazing ​toward the viewer, allow one to immerse ​oneself in a calm atmosphere of reflection ​and meditation.

Saint Julian wears an elegant suit of armor that ​reflects light with delicate metallic hues. His ​figure is further accentuated by the red cloak ​draped over his shoulders, which adds a touch ​of majesty and movement to the composition. In ​his left hand, St. Julian holds a sword and holds ​a spear, symbolizing his role as a knight and ​defender of the faith. His proud gaze directed ​toward the viewer instills a sense of protection ​and security.

Next to him, in a softer, more contemplative ​pose, we find Saint Lucy. The saint wears a dress ​in soft, light tones, contrasting with Saint ​Julian's dark armor.

The presence of the putto above, holding a palm ​tree - a symbol of St. Lucy's martyrdom - adds ​an additional element of sacredness and ​celebration of faith.

In the background, a serene landscape with a ​small town, probably Orciano, provides a ​peaceful setting for the sacred scene.

State of Conservation

The painting is in a very poor state of ​preservation. The painted surface is ​clouded by deposits of atmospheric ​particles and other substances. The ​varnish layer has oxidised, altering the ​original colours. There are cracks, lifts, ​holes, tears and deformations of the ​textile support, with insufficient ​stretching of the canvas.

Restoration Interventions

1 - Documentation and Diagnostic Surveys :

• Graphic documentation and investigation sheet.
  
• High-resolution reflectographic imaging.
  
• UV-induced fluorescence.
  
• X-ray fluorescence analysis.
  
• Characterisation of preparatory layers and ​substrate yarn.
  

2 - Consolidation

• Application of synthetic consolidating agent on the ​back of the canvas (Plextol B500).
  
• Adhesion of the constituent materials of the ​preparatory and pictorial layers with products ​such as Aquazol, BEVA O.F., Plexisol P550.
  
• Deformation restoration with moisture and ​vacuum pressure.
  

3 - Cleaning :

• Removal of surface deposits and overlying ​substances with neutral organic solvents and ​mechanical means.
  

4 - Lining :

• Partial lining of the edges with synthetic ​adhesives.
  
• Mounting of the canvas on a wooden frame with ​spring tensioning.
  

5 - Filling and Aesthetic Presentation :

• Filling of gaps with Bologna plaster and ​adhesive.
  
• Pictorial reintegration with watercolours and ​diluted varnishes.
  
• Surface protection with synthetic resins.
  

6 - Renovation of the Original Frame