Diana Cunha
1, Alexandre Nobre Pais
1,2, Carolina Barata
1,3, Nuno Camarneiro
1, António
Candeias
4, Teresa Ferreira
4& Sara Valadas
41
CITAR - Portuguese Catholic University (Porto), Portugal
2Museu Nacional of Azulejo, Lisbon, Portugal
3
GeoBioTec – University of Aveiro, Portugal
4
HERCULES Laboratory, University of Évora, Portugal
ABSTRACT: This paper focuses on a collection of reliquary busts integrated in the reliquary sanctuary of Madre de Deus Convent. It explores the ARCAer project which will address this set through its historical, stylistic and iconological study. It will include laboratory analysis of the materials and technologies associated with the production of the sculptures with the intend of establishing affinities and differences between the several objects, which may bring clarification about their origins, their ordering process and the conservation treatment of the set. It is intended to recover the works and relocate them in their original places, resuming an integrated discourse that was lost. Also, the project aims to reflect upon the human drive to preserve material memories, establishing parallels with our days.
1. INTRODUCTION
The phenomenon of collecting relics of saints that marked the Modern Age can be considered one of the factors in the genesis of collecting memorabilia and curiosities. The power associated with the interces- sory dimension of the catholic saints in the solution of problems or the cure of illness, allows to under- stand the importance of the spaces where the relics were integrated (Ibañéz Fernández & Criado Mainar 2011).
Born from the regal donation of Queen Leonor (1458-1525), the reliquary sanctuary of Madre de Deus Convent (National Tile Museum) is one of the oldest repositories known in Portugal which combines architecture and reliquaries (Curvelo 2009). The organization of architectural spaces integrating reliquaries is one of the less studied subjects in Portugal and, simultaneously, one of the most interesting manifestations of religious cult which assumed clearly distinct aspects during the Baroque in Portugal (Capelão 2011).
This collection of relics still remains in place, in the choir loft or "Treasure Room", a reliquary sanctuary which is one of the first in living memory and among the rare ones that remain almost intact in Lisbon. The relics, such as bones, teeth and textiles, are inserted in busts dating from the late 16th century and the first half of the 17th century, composing an iconological discourse that was lost and is intended to be restored. The design of an architecture to integrate this type of pieces is unusual today, since many were destroyed after the extinction of Religious Orders (Ibañez
2011). In Lisbon, this is probably one of the oldest and best ensembles for its exceptional quality and for being apparently fully preserved.
This study is part of a PhD project that focuses on the ensemble of relics of the sanctuary from the Madre de Deus Convent and discusses its history, technology, conservation and valorisation. The project includes an ongoing laboratorial study of the materials that compose the polychrome surfaces of the sculptures, which results will contribute for a better understanding on whether the treatises of the time (Pacheco 2001; Nunes 1615) were followed in this typology of sculpture, the reliquary busts, or not. The focus of this paper is to present the main goals of ARCAer project, by providing a little knowledge of the historical and artistic context of where the ensemble of reliquaries is integrated, presenting the analytical results that were obtained up to this stage, talking about its conservation and valorisation plans and addressing the human drive to conserve material memories of moments or people.
2. HISTORICAL, ARTISTIC AND ICONOGRAPHIC STUDY
Among the most important treasures of the Monastery of Madre de Deus there is an ensemble of reliquaries almost unknown which, for those who are experts in this field, is considered the second most important of Lisbon, only surpassed by those kept in the São Roque Church. São Roque´s collection is older, larger in number, and the relics’ receptacles are made of
83
precious metals. In the monastery of Madre de Deus there was an important tradition of devotion to relics. This can be attested by one of the best-known paintings of the beginning of the 16th century in Portugal which represents the arrival of the relics of Saint Auta at the monastery of Madre de Deus (Fig. 1). Queen Leonor is represented in this painting and her presence in this event is an important statement of the esteem that this worship had at that time (Campos et al. 2002).
Figure 1. Paint of "The arrival of the relics of Saint Auta at the monastery of Madre de Deus”.
Figure 2. Reliquary bust of Saint Clara.
Although the choir, where the collection of relics is kept, was built by the end of the 16th century, the display that can be seen today was made in the first half of the 18th century (Telles 1899). Today the reliquaries are in display inside twenty-two cabinets, but they were probably not meant to be placed inside any furniture (Curvelo 2009). This can be attested by the remains of wax from candles and by some burnt areas on the polychrome surfaces.
The ensemble is composed of thirty-eight reliquary busts, made between the end of the 16th century and 1638, and they are associated in several groups: the group of “the first family” (the earliest pieces), the virgins, the holy popes, the holy innocents, the Franciscan saints (Fig. 2), the martyrs of Morocco and four reliquaries without any specific connection between them nor the remaining groups.
3. TECHNICAL AND MATERIAL CHARACTERIZATION
The technical and material characterization of the sculptures will allow the understanding of the differences and affinities between the different objects.
The analytical study will include the use of laboratorial techniques on Micro samples already collected from the polychrome surfaces such as µ- Raman for pigment identification; scanning electron microscopy with energy dispersive X-ray spectrometry (SEM-EDS) for elemental analysis of pigments and fillers; X-ray techniques, such as X-ray diffraction, to clarify any doubts that might not have been cleared from previous techniques, and also chromatographic techniques, such as gas chromatography coupled with mass spectrometry (GC-MS) or high performance liquid chromatography (HPLC) for the characterization of binders. Also, radiography will allow the study of the construction methods of the wooden supports.
Concerning the wooden support, micro samples will be collected for species/families identification through optical microscopy (OM) and, in some cases, through scanning electron microscopy (SEM). From a core group, composed of the works that are believed to be the earliest and the most recent ones, a 0,5 cm sample will be collected for dating through radiocarbon coupled with mass spectrometry which results will allow to estimate the logging dates.
Through the study of the different decorative areas such as flesh tones, hair and estofado, some subgroups might be formed, and this may bring clarification on the origins of the works and the ordering process itself, together with the documentary and comparative research developed during the historical and artistic study.
Some analyses using SEM-EDS and Fourier- transform infrared spectroscopy ( FTIR) were already carried out on a group of four sculptures (Cunha et al. 2018). Samples collected from all the works under study were observed as cross sections through OM for stratigraphic characterization. So far, the results suggest that the polychrome techniques, the pigments, fillers and binders used correspond to what would be expected in sculptures of this period (Barata 2008; Barata 2015). The usual sequence of layers in the estofado areas was identified: the use of
84
calcium sulphate for the ground layers, aluminium silicates (clay minerals) for the bole, high quality gold alloys and a single paint layer applied over the gold and composed of lead, mercury, iron and copper- -based pigments (Fig. 3). In the flesh tone areas, the usual sequence of layers was also identified: a first calcium sulphate ground layer, followed by a lead white prime layer and, finally, the superficial flesh tone paint layer.
At some stage, probably not very long after the most recent sculptures were executed, most of them have been refurbished, at least in what concerns the
estofado areas (Fig. 3).
Figure 3. Cross section collected from garment area.
Regarding the flesh areas some faces were not refurbished, something that is more frequent on the hands. Faces would probably be in better condition compared to hands, due to the usual use of these pieces by worshipers, in this case the nuns of the Madre de Deus convent. The pedestals don’t show the same procedure, probably because they were added later or didn’t need to be refurbished since they were simply gilded. This refurbishment is probably related to a change of taste and the intention of giving a coherent appearance to all sculptures (still in the 17th century).
The characterization of the composition of the remains contained in the reliquaries such as bone, teeth, and textiles and eventually its dating, shall be carried out with forensic analysis.
4. CONSERVATION CONDITION AND TREATMENT
After a careful diagnosis concerning the conservation condition, the main problems identified were woodworm infestation; radial cracks in single block sculptures and, in some cases, the separation of the joints in works composed of several wooden pieces; iron nails corrosion (nails used to fix together the different elements of the support); wooden support losses; paint losses and delamination, and leaching of the flesh tone areas probably caused by caustic
solutions used during ancient cleaning attempts. Although less frequent, it was also observed the oxidation of varnish applied in previous restoration processes. This diagnosis allowed to define precise conservation plans for each sculpture in order to stabilize and treat the identified pathologies.
The conservation treatment has already been started on all the works that demonstrate this need, privileging an eminently conservative action that includes disinfestation and consolidation of the wooden support; introduction of low density wood for the stabilization of cracks and joint separation; gluing of the loose elements; fixing delaminated paint layers (Fig. 4); the removal of dirt and oxidized varnish from the surfaces and, finally, the application of a protec- tive varnish film against dirt deposition and also with the objective of balancing optical appearance.
Figure 4. Fixation of delaminated paint layer.
Once all treatments have been completed, the works will be placed in their original space, thus contributing to their enjoyment, dignification and preservation. The set will be organized so that the works can be correctly returned to their original places in the reliquary-cabinet of the choir-loft thus retrieving its value and internal coherence.
5. UNREVEALED
The main focus of this project is to bring clarification to the importance of reliquaries and this specific ensemble. Other collections of reliquary busts, such as the ones from the São Roque Church, in Lisbon, or from the Saint Ignatius of Loyola Church, in Angra do Heroísmo, are known not only by historians but also by the general public. However, the Madre de Deus’s collection remains unknown. Why does a collection as rich as this one, in such good condition as a whole, probably preserved in its totality, and a symbol of the power of its owner (queen Leonor) remain in the dark? For all its characteristics, this set deserves to be made known to the public and to the scientific community. Another aspect that is important to bear in mind is the fact that usually
85
religious collections, as it was the case of reliquary sculptures, were considered valuable items. This concept can be better understood if we relate it with the other denomination by which the choir of the Madre de Deus was known: The Treasure Room.
This room was conceived in terms of its architecture as a treasure box where the richness of the convent, its ensemble of relics, was meant to be kept. These were placed in exquisite sculptures with features that ichnographically portrayed the men and women whose life’s examples were worshiped by the Catholic Church.
At the end of ARCAer project, and for the first time since the 18th century, when it was first placed in the display cabinets that may be observed today, the collection will be replaced in the choir loft of the Madre de Deus church (Fig. 5). A closing exhibition will be inaugurated in parallel with an international conference, together with an electronic application that will allow visitors to access information about the sculptures.
Figure 5. Choir of the Monastery of Madre de Deus (18th century).
The meaning and value of saints’ relics for the Catholic church today will be considered. Although these have a secular character, the principle underlying the creation of memory receptacles is something intrinsic to the human nature. Thereby, it will also be undertaken a reflection upon what could be the contemporary reliquary. Several projects involving artists and the local community will be an opportunity to reflect upon a phenomenon that nowadays can be seen as strange or understood as slightly morbid but, in its core, it encloses the human search for memorabilia associated with the use of objects that are believed to possess an intricate supernatural power. For this purpose, two groups of senior citizens will build their own reliquaries from their life memories and experiences. The aim of the workshops is to reflect upon the mechanisms of memory, associated with the creation of containers for objects related to people or events that are intended to be valued.
The works produced during the workshops will be included/exposed in the closing exhibition. Also, a
web page will be created in order to allow access to the contents produced throughout the project addressed, once again, both to the scientific community and the general public.
6. CONCLUSIONS
To own a collection of reliquaries was a symbol of power and the collection of relics belonging to the Madre de Deus church was an echo of the greatness of Queen Leonor, who has also been an art connoisseur. The fact that the set of reliquary busts is practically intact and in optimal condition, makes this a relevant collection that should be unveiled and made accessible. This is why ARCAer project is so valuable, since it will contribute to a better understanding of art and religious history and, through the conservation treatment, it will allow the following generations to enjoy the beauty and grandiosity of such an outstanding collection. We also believe that this project can open new paths for the study of the importance of religious collections in the Modern European context. This is a subject that starts to be a point of interest in the field of studies related with art collections but whose reality is still almost unknown in Portuguese studies.
7. REFERENCES
Barata, C. 2008. Caracterização de materiais e de técnicas de
policromia da escultura portuguesa sobre madeira de produção erudita e de produção popular da época barroca.
Lisboa: Dissertação de Mestrado em Química Aplicada ao Património Cultural apresentada na Faculdade de Ciências da Universidade de Lisboa.
Barata, C. 2015. Materiais e técnicas de policromia da talha
barroca erudita e popular no Noroeste de Portugal. Aveiro:
Dissertação de Doutoramento em Geociências apresentada na Universidade de Aveiro.
Campos, T.; [et al.] 2002. Igreja da Madre de Deus: História,
conservação e restauro. [S. l.]: Instituto Português de
Museus, Instituto Português de Conservação e Restauro. Capelão, R. M. S. 2011. El culto de reliquias en Portugal en los
siglos XVI-XVII: contexto, norma, funciones y simbolismo. Porto: Dissertação de Doutoramento em
História na Faculdade de Letras do Porto.
Carvalho, M. J. V. 2003. Práticas de devoção e equipamentos litúrgicos numa casa monástica feminina: alguns exemplos da Madre de Deus de Lisboa. In Carvalho, A. (ed.), O
Presépio da Madre de Deus. Lisboa: IPM, Palácio Nacional
da Ajuda.
Cunha, D. & Barata, C. & Pais, A. 2018. Four reliquary busts from the former monastery of Madre de Deus: study and conservation. Estudos de Conservação e Restauro 8: 96-117. Curvelo, A. (ed.) 2009. Casa perfeitíssima: 500 anos da
fundação do Mosteiro da Madre de Deus - Celebrating 500 years of the foundation of the Convent of Madre de Deus: 1509-2009. Lisboa: IMC, Museu Nacional do Azulejo.
Ibañéz Fernández, J. & Criado Mainar, J. 2011. El arte al servicio del culto de las reliquias: Relicarios renacentistas y barrocos en Aragón. Memoria ecclesiae 35: 97-138.
86
Noticia da Fundação do Convento da Madre de Deos de Lisboa das Religiozas Descalças da Primeira Regra de Nossa Madre Santa Clara E de algumas couzas que ainda se puderão descubrir com certeza das vidas e mortes de muitas Madres Santas que ouve nelle, escritas por huma freira do mesmo convento, e dirigida a todas as mais delle no anno de 1639. (Autoria atribuída às Madres Sorores Joana da Piedade
e Maria do Sacramento). Manuscrito de 1639-1652 (versões existentes: Biblioteca Nacional de Portugal; Museu Nacional de Arte Antiga; Museu Nacional do Azulejo).
Nunes, F. 1615. Arte poetica, e da pintura, e symmetria, com
principios de perspectiva composta por Philippe Nunes natural de Villa Real. Porto: Editorial Paisagem.
Pacheco, F. 2001. El arte da la pintura. Madrid: Ediciones Cátedra.
Telles, L. 1899. Mosteiro e egreja da Madre de Deus. Lisboa: Imprensa Moderna.
ACKNOWLEDGEMENTS
Diana Cunha wish to acknowledge the Portuguese funding institution FCT - Fundação para a Ciência e a Tecnologia for supporting their research with the grant:
87