Juan de Mesa_Master of Passion - Page 122



Figs. 93 a and b Juan de
Mesa, Cristo de la Agonía, before
and after restoration (view of
upper body from above).
Evaluation and Conclusion
Following the research into, and conservation and restoration
treatment of, the sculptural image of Cristo de la Agonía, it may
be concluded that the initial objectives have been met. Firstly,
the material conservation of the work has been achieved. The
removal of all the superimposed layers allows us to see the
work which now resembles more closely how it was originally
conceived (figs. 91 & 92). It is now possible to appreciate better
the modelling of the carving and its anatomical features,
previously degraded by false chiaroscuro created by the added
layers (fig. 93 a & b). Uncovering the original polychromy
exponentially reinforces the volumes of the sculpture and defines
the features of the Crucified Christ which resulted from Mesa’s
superb skill (figs. 94 & 95).
The comprehensive intervention on this work has allowed us to
reach a deeper understanding of the construction solutions and
technical processes used in its creation. In this respect, the way the
image was constructed follows Juan de Mesa’s working method
and schemas which we have been able to study in interventions on
other works by this artist carried out at IAPH.
The intervention has enabled knowledge of an original cross
made by Juan de Mesa. The way the elements were put together
is flexible, since the crossbars are not glued together but act as an
assembly system. This means that stability in the whole piece was
achieved through the image of the Crucified Christ, which formed
the connection of all the constituent parts.
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