Author(s): Gomes, S ; Ferreira, C ; Nascimento, G ; Piorro, L ; Cardoso, A ; Candeias, A ; Lorena, M
Date: 2017
Persistent ID: http://hdl.handle.net/10174/21261
Origin: Repositório Científico da Universidade de Évora
Subject(s): restoration; conservation; painting; overpaint; cleaning
This article is an outcome of the study, deci-sions, and restoration work undertaken during the inte-grated conservation project of the 16th century paintingsof Funchal’s Cathedral main chapel’s altarpiece, inMadeira Island, Portugal. After diagnostic research hasallowed a complete understanding of the original mate-rial of the 12 Portuguese–Flemish paintings, it has beenrevealed the presence of other superimposed layers,whether actual overpaints or the accumulation of materi-als occurring in time over the old ones. Identificationtogether with the cleaning and removal of these coatingswas a delicate and a complex process. Conservatorsalready suspected the existence of overpaints in somepaintings, a close observation of the painted surfaceshowed differences in terms of color, texture, and execu-tion technique in specific areas. Chemical and strati-graphical research together with radiography andhistorical research on primary documental sources pro-vided important clues about the paintings of the previousinterventions and relevant and crucial information for thedecision making
