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Abstract
The conservation-restoration intervention on the Mudéjar ceilings from the National Museum Machado de Castro, as a part of the rehabilitation and expansion project of the museum, focused not only on the treatment of the ceilings, but also on the reassembling and relocation of the wood panels. Originally provenient from the Old Cathedral of Coimbra, the ceilings were altered in structure, geometric decorative composition and colour layer. Besides the conservation-restoration treatment, the present intervention sought to remove the undesirable previous interventions that could give a wrong perception of the design and original location of the ceilings. This adaptation was recognised and the panels were contextualised not as simple architectural elements but as museum pieces. Introduction The conservation-restoration intervention on the wooden ceilings of the National Museum Machado de Castro (MNMC), as planned in the rehabilitation project of the museum, included the treatment of 11 ceilings with internal and external bin structures and of the flat polychrome ceilings. This article describes the intervention performed to the two ceilings belonging to this ensemble. The intervention was performed by Atelier Samthiago as subcontractor of Edifer Reabilitação, from June 2007 to December 2008. The work on the Mudéjar structures comprised, beside the conservation-restoration treatment, the complete disassembly and relocation of the final assembly. The Mudéjar Art Origins and formal characteristics The presence of the Islam in the Iberian Peninsula produced a society very different from the Christian one but permanently in contact with it. The importance of the cultural expression of the Islamic society, often linked to religiosity, was a striking presence for the Hispanic culture even after it ceased to exist, having created one of the most original components of this culture: the Mudéjar. This new art, influenced by images of Islamic faith, would impose itself by the end of the VIII century having as main objective to serve the needs of religion and aspects of the socio-economic life. By that time, new buildings for religious purposes started to appear. The architecture played a central role in Islamic art as well as all the other arts depended from it. It is important to note that the figurative art was completely excluded from the liturgical sphere of Islam. Sculpture and relief were practically nonexistent in the decoration of monuments, its absence being greatly compensated by the ornamental richness of the plaster carved coatings, the mosaics of glazed ceramic and, in particular, the wooden carved panels. The decorative elements inspired by nature - leaves, flowers, branches, etc. - were stylized to the maximum, forming their own compositions, reticulated, intertwined and geometric surfaces known as arabesques. Another innovation in the decorative programs was the introduction of epigraphic elements. In every type of surfaces - architectural decoration, furniture, etc. – Arabic calligraphy was used as a proclamation of the Koran faith and its beauty as formal element. It was between the 13th and 15th centuries that the entire Iberian Peninsula, Spain in particular, and Morocco were definitively converted to the artistic and cultural model of Mudéjar art, which gained great popularity and in the case of Morocco is still in use today. But what had marked the Islamic culture in the Iberian Peninsula of such singular and unique character that was not observed in any other territory dominated by the Islam? This singularity is owned to a series of special historic circumstances that made possible such particular artistic manifestation to occur in this territory. For eight centuries (8th-15th), the medieval Iberian peninsula, especially Spain, was divided between two political cultures and religious rivals: Christianity and Islam. However, political and religious separations did not prevent mutual teaching and cultural contacts and it was precisely from these contacts that Mudéjar art arose, at the border between Islamic and Christian art. The Mudéjar art was a long-term phenomenon, much more durable in time than other European artistic styles of that time - Romanesque, Gothic and Renaissance. The Christian reconquest of southern Spain in the 11th and 12th centuries brought on a delicate situation concerning the occupation of the territory, in particular of the larger cities, for which there was not enough manpower to repopulate. When the Muslim population was allowed to stay in the conquered territories under Christian domination, being allowed to maintain their religious practices, language and legal organization, a new figure was created on the then social context: the Mudéjars, i.e., Muslims with authorisation to remain in the Christian Spain in exchange for a tribute. The existence of a cheaper, quick and effective workforce and the construction of a system considered more economic, together with a crisis and an economic recession in the peninsula, may partly explain the success of the Muslims work, especially in the artistic field, where they were structured by crafts and had their own terminology. The Muslim culture would eventually be assimilated by Christianity, and Christians would eventually surrender to the allure of Islamic monuments, transforming them into royal palaces or consecrating them to churches and cathedrals. It was this confluence of different artistic traditions that would eventually result in a new stylistic expression, so singular and unique, and different from each of the parties that composed it. The alfarge1 work and its expression in Portuguese territory From the formal point of view, the Mudéjar art is characterized by the combination of Christian and Muslim artistic elements. It is also commonly, although wrongly stated, that it takes advantage of the structures of Christianity and the ornaments of Islam. Returning to the basic principles of the Islam artistic representation, which formalize the vegetal elements to the extreme – with the incorporation of new motifs coming from Christian art, such as naturalist gothic flora - and register artistically the Arabic epigraphic elements, the almost abusive use of repetitive rhythms that completely cover the surfaces using patterns without spatial limit can be noted. From the structural point of view, there are several basic examples of the Islamic character applied in the Mudéjar architecture, the most important in the current context being the woodwork. The carpentry work was in fact one of the important legacies of Mudéjar art. There were many carpenters working in the Iberian Peninsula which were known for their peculiar way of working wood ceilings and beams with exquisite technique. The structures, particularly the roofs, were light and allowed an even load distribution on the walls. The Mudéjar art, undervalued in terms of art history, is one of the most genuine and particular art forms developed in the Iberian Peninsula. In what concerns Portugal – where this art had influence all over the country, even in places without any kind of Islamic tradition, and where the prestige of Mudéjar masters reached its peak during the 15th century - the Mudéjar art was little studied and even less published. The alfarge work is not abundant in Portugal; without the significance it has in Spain, it would have been susceptible to get lost. Due to its material vulnerability to fire and the fact that it has a shorter lifespan, it was greatly altered and/or removed in successive restoration campaigns. In general, the alfarge work preserved until nowadays is characterized by an extreme heterogeneity and can be divided in 2 main groups, as Dias [6] notes: those located at the border - in Alto Minho and Beira Interior – which are the result of Spanish regional schools influence, and those located in the Portuguese territory, which comprise some workshops and/or teachers mostly from Coimbra and Évora.
Figures 1 and 2. Mudéjar ceilings of the National Museum Machado de Castro, now designated type 1 and 2, respectively.
Figure 3. Expression of the Mudéjar woodwork in Portugal. Tables 1 and 2. Mudéjar woodwork in Portugal; referenced location and artists (painters and carpenters). The Mudéjar ceilings from the National Museum Machado de Castro Historic and Artistic context Information such as the interpretation and analysis of the formal composition, aesthetics, iconography and history of the object are of the outmost importance for those who undertake a conservation intervention. Normally, this kind of information helps to contextualise the intervention and to establish actions and methodologies to use in the treatment. However, there is almost no information concerning Mudéjar art, especially on timbering and alfarge. It is therefore imperative to fully explore the theoretical, historical and technical considerations, bearing in mind that during intervention is the best time to clarify uncertainties, acquire data and enhance theoretical knowledge. The Mudéjar ceilings were made during the bishopric of João Galvão in Coimbra, between 1460 and 1481, to decorate the background of the high choir support of the Old Cathedral of Coimbra. The ceilings are an example where the use of an ornamental Islamic system corresponds perfectly to the religious needs of the Christian population. They date from 1469, the likely construction date of the Old Cathedral’s high choir. It is believed that they were painted and gilded in 1477, as outlined on a wood beam. “It was in 1469 that the choir was inaugurated. It occupied all the space of a big nave from the main door till the second pillars. Two arches [...] served as support to the choir. Those from the first section of the nave who would lift their eyes would see some beautiful Mudéjar ceilings that dressed the choir from underneath – these ceilings were precious and very rare examples in Portugal.” [10]. It is from an albumin print dated 1880, of unknown author and that belongs to the collection of Alexandre Ramires, and a sketch dated 1894, made during the demolition by Prof. A. Gonçalves, that we can seen with clarity the presence of the panels covering completely the high choir support. The campaigns in 1894 promoted by A. Gonçalves led to the disappearance of much of the works, the high choir being completely dismantled and the pieces transferred to the then Bishop's Palace. Later these were incorporated into the Museum Collection – ‘The Mudéjars ceilings that were moved from the Old Cathedral to the low lands of the new cathedral were beautifully recovered here’ [8]. Formal description and interventions after the execution The ceilings, now measuring 406 x 595 cm (type 1) and 406 x 590 cm (type 2), have structures and supports in chestnut wood, as the majority of the lace ceilings known in Portugal. They are decorated by alfarge work with geometric elements combined in the foreground in order to create similar interlaced patterns. The background is flat and polychromed with red, blue, ochre, black and gold leaf. The type 1 ceiling presents alfarge lace work in eight and sixteen points. The ceiling is polychromed and painted in shades of red, blue and gold in tempera on a thin preparation layer with epigraphic motifs in the centre of the azafate. The profiles, made in woodwork and artistically intertwined, are painted in white, red and gold. The geometric composition, made of broken and tangled laces, forms 8 and 16-pointed stars in the middle of which are beautiful golden rosettes. The type 2 ceiling presents alfarge work with geometric lace motifs, forming stars and interlaces, although it shows a higher rigidity and styling (not original, as previously mentioned). The profiles are white, red and golden but they preserve few traces of polychromy. We believe the colour layer was removed due to the fact that the new geometric composition of the profiles did not match the then existing painted decoration. Figure 4 and 5. Plan of the first floor of the Old Cathedral of Coimbra, with original location of the ceiling (source: IHRU). Albumin (owned by Alexandre Ramires) where the type 1 ceiling above the high choir can be observed. In our opinion, the ceilings would not form a completely horizontal plane, but 2 slopes broken by a soft horizontal, each composed of 9 sets of panels. Figures 6 and 7. Type 1 and 2 ceilings, repetitive stylising used in the profile decoration. An interesting aspect of the construction is that there are profiles in both ceilings that are assumed as part of the structural composition integrating the secondary timbering of the panels and incorporating a decorative function at the same time.
What we see today is, in fact, only a diffuse image of what was the original alfarge work and decoration. As Dias refers in his attempt to organize the Portuguese Mudéjar Architecture [5], what we can see today at the National Museum Machado de Castro are “parts of the ceilings which decorated the entrance of the Old Cathedral”. The panels went through several interventions, both on the structure and on the polychromy, which altered their disposition and profile geometry. Interventions included overpainting and application of finishing and protection coatings such as waxes, varnishes, etc.
Figure 8
and 9. Construction system with double function elements: structural
and decorative; type 1 panel, with combined 16-pointed lace. 1. Bell;
2. Azafate;
3. Ponta de Azafate;
4. Almendrilla; 5. Candilejo;
6. Aspilla; 7. Costadillo.
Image 10 and 11. Polychromy adjacent to the existing alfarge work (evidence of intervention 1) and inadequate connection between different panels (evidence of intervention 4). Table 3. Interventions after the execution; quantification, characterization and dating.
Laboratorial exams were performed to gather information for a better understanding of the characteristics and execution technique of the ensemble and of the sequence of previous interventions. It was also sought to quantify and characterise the stratigraphy, with the number and thickness of layers, for a possible removal of the lower quality interventions. Analysis to the pigments present in the overpaintings and polychromy were performed at the Center of Conservation and Restoration of the School of Arts of the Portuguese Catholic University in Porto. The pigments were identified by Energy Dispersive X-ray Fluorescence (EDXRF). There are few colours present. The areas analysed by EDXRF identified iron, mercury and lead, from earth pigments, vermilion and lead white, respectively. These pigments are present both in the original strata and in the overpaintings. An organic black was also identified. The overlayers of pictorial strata were studied through examinations of cross-section by optical microscopy with reflected and polarized light at different resolutions. The analysis of the fillers present in the preparation layer was done by microchemical tests which detected the presence of carbonate (chalk) and/or sulfate (gypsum) anions. Table 4a. Chemical elements identified by EDXRF analysis and interpretation of the pigments present in the samples.
Tables 4b. Description of the layers observed.
In general, the panels present two main sequences of strata: the first is the original one (strata 1 to 5) and the second (strata 6 to 8) corresponds to the overpaint. The preparation layer is essentially made of calcium filler (gypsum). The particle size of the filler is large and uniform and it was applied in two different layers. It is likely to contain also lead white, as identified in the EDXRF spectra. Areas without filler were also observed due to lack of cohesion between the particles and the binder. Conservation state – identified degradations Four types of degradations were identified in the analysis of the conservation state of the ceilings: the poor conservation condition of the support, including a strong biological attack of the timber support; the detachment of the colour layer of the type 1 ceiling; the presence of numerous non-original materials; the strong dirt accumulation, especially at the masonry level, where the weight of the existing rubble combined with the low resistance of the timbering could have induced a possible collapse of the structure. At structural level, a difference was noticed between the conservation state of timbering types: the structural timbering of the building, mainly the one of the type 1 ceiling was strongly degraded by biological attack and led to its total replacement (in case of type 2 ceiling, the conservation state allowed its partial preservation after treatment), and the structural timbering of the panels, which presented similar degradations that are described below. The main degradation of the panels’ wood support is related to the large number of fissures and cracks: the natural movement of the wood, expansion and contraction driven by continuous humidity changes, combined with the strong oxidation of the nails and its consequent volume increase resulted in the appearance of major cracks. In the areas where many nails were present, the iron corrosion products contributed largely to the deterioration of the wood support. Furthermore, the migration of the corrosion products promoted by moisture altered the colour layer as well. The structural timbering of the panels presented similar degradations, having been substituted due to the lack of resistance. The possibility of its maintenance was considering but this would imply the reinforcement with new wood beams which would create weight problems and structural stability and, thus, the option was abandoned. It should also be mentioned that some problems were observed due to the presence of fungi and dry rot. The conservation state of the polychromy also presented considerable disparities, mainly due to the massive loss of polychromy in the type 2 ceiling. The remaining polychromy was protected by the relocation of the profiles and was in good conservation state. Although type 1 ceiling preserves more of the polychromy, it was poor conservation condition, with numerous gaps of variable size and depth and severe detachments and lack of adhesion and cohesion between pictorial layers. A pronounced darkening of all the surfaces should also be noted, directly related to the existence of a highly altered varnish and a thick superficial wax-based layer, facilitating adhesion and accumulation of dirt. The ceilings were approached as a unique set in the conservation treatment despite the fact that it presented different pathologies and specific problems. The panels of type 2 ceiling were in a worse condition due to the location in the Old Cathedral and in the museum. At the Old Cathedral, the panels were always subject to varying levels of moisture and temperature, and even exposed to moisture from rain water or capillary ascension, while at the museum they were subject to sun exposure from north and south windows. However, type 1 ceiling had more inventions, according to the fact that a worst conservation state had required a higher number of interventions. Therefore, and despite the problematic and particularities of each ceiling concerning the different degradations and causes, our intervention on ensemble aimed to achieve as final result an homogeneous quality in presentation, reading and aesthetic consistency. Conservation-Restoration Intervention The condition of the work itself defined the intervention on the architectural wood structures, making clear the materials to be used and the operation mode. Obviously, such methodology could not have been defined so precisely without a clear assessment of the conservation state and without performing diagnostic exams, interpretation of data and compatibility tests. The materials used in the intervention were chosen taking into account not only their compatibility with the original but also their reversibility and stability in time, thereby safeguarding the integrity of the object. The operations and the technical specifications followed the following outlines: Table 5. Stages in the conservation treatment and respective technical specifications.
The complete disassembly of the panels was unavoidable due to various reasons, such as the treatment in the atelier and the relocation, and to facilitate the proper treatment of support and structures. Nevertheless, efforts were made, whenever possible, to avoid fragmentation and to safeguard various original elements such as connectors and assembling parts, often neglected. The intervention could have been limited to action to stop the degradation process, hoping that the museum environment, providing the best storage and exhibition conditions, would act on the deterioration agents. There were, however, numerous previous interventions that needed to be corrected in order not to induce perception errors of the whole composition: the ceilings were not designed for the same place; the original number and arrangement of the panels was not the actual one; the lace geometric decoration in the case of type 1 ceiling did not correspond to the original, and the polychromy was altered by the overpaints, extensively in case of type 2 ceiling. The decision to remove the overpaintings was taken after the assessment and study of the conservation state of the underlying polychromy and it was conditioned by two factors: the existence of original paint in a relatively good condition and the thickness and resistance of the overpaint layer which could not exceed those of the original layer, in order not to jeopardize its integrity during the removal. The inpainting sought to give a uniform reading of the ensemble in order to recover its full artistic potential. Often, with the absolute respect for the authenticity and integrity of works of art, one of the most important factors of a work may be disregarded: its aesthetic value. How many times what captures our attention in a recently conserved work is precisely the lacunas that, under the excuse of pseudo-deontology, are religiously maintained highlighted? Indeed, this aspect plays an important role in the concept of an artistic work and even in the most controversial cases, its conservation should prevail. Thus, without resorting to technical or material mimetism, the inpainting sought to restore the general reading of the panels. Retouching was made on the gold layer of the profiles in order to regain the continuity of the geometric work of the alfarge, on the central motifs with rosettes, on those elements of the new support which prevented a continuous reading of the background panels (in some cases just by applying a patina) and punctual areas such as lacunas that disturbed the overall aspect either by their size or importance. The contextualisation of the ceilings in a museum may be seen as a loss of the value of use, i.e., the inherent value to the purpose for which the panels had been designed and their function. However, the panels disposition and location still succeed to convey their function as ceilings and architectural elements, and yet, they no longer have that function that is now performed by a plaster false ceiling. The panels were exhibited by a horizontal layout that by far best corresponds to the physical need of the building and even to the aesthetic reading of the geometric work of the alfarge, without distorting or altering it. The relocation of the Mudéjar ceilings was included from the beginning in the architectural project. Originally, it was planned to locate the two ceilings in separate rooms but the project was revised so that the relocation could be made in a single room. The architectural project also comprised the assembly of the panels based on a practical two-way system: on the one hand, convenient for conservation, as the system allows the treatment of individual panels because they were mounted individually; and on the other hand, advantageous for exhibition, by changing in a simple way their distance from the floor. The mounting system includes the use of numerous threaded rods that allow the vertical movement of the panels, changing the exhibiting distance with 15 to 100 cm from the ceiling and makes possible the partial or total disassembly for future maintenance operations. Conclusion It was an intense challenge to assimilate such complex project of rehabilitation; it was also a great responsibility to carry on an intervention on the heritage of a museum that is without doubt one of the most important, well equipped and planned in terms of design on a national level. The communication between a the members of a large working team - architects, engineers, curators, archaeologists, historians – with the collaboration of various professions - construction, carpentry, electricity, archaeology and conservation - actually represented a big challenge, which gave everyone a broad work experience that no theoretical knowledge can replace. Notes 1 Alfarge is an Arab term meaning carved wood ceiling. References [1] A Arte Islâmica – A estética islâmica na Arte Cristã, Civilização, Lisboa, 2000 [2] A. Amaral, Digital Ortho-photos & Photogrammetric Restitution - Ceiling of Mother-Church of Caminha, Porto, 2006 [2] Catálogo Guia. Museu Machado de Castro. Secções de Arte e Arqueologia, Coimbra, 1941 [3] V. Correia and A. N. Gonçalves, Inventário Artístico de Portugal. Cidade de Coimbra, Lisboa, 1947 [4] P. Dias, Arquitectura de Coimbra na transição do gótico para a Renascença, 1490-1540, Coimbra, 1982 [5] P. Dias, Arquitectura Mudéjar Portuguesa: tentativa de sistematização, Mare Liberum, n.º 8, Lisboa 1994 [6] P. Dias, Geografia Mudéjar: Portugal, El Mudéjar Iberoamericano, del Islam al Nuevo Mundo, Barcelona, 1996 [7] P. Dias, Techos Mudéjares, El Manuelino - El Arte Portuguesa en la época de los Descubrimientos, Electa, Lisboa, 2002 [8] A. Gonçalves, Enumeração das obras preparativas para a instalação do Museu Machado de Castro, Coimbra, 1929 [9] Notas, Museu Machado de Castro, Coimbra, 1916 [10] A. Vasconcelos, Sé-Velha de Coimbra, Imprensa da Universidade, Coimbra, 1930
About the author
Carlos José Abreu da Silva Costa
Conservator-restorer
Contact: ccosta@samthiago.com
Website: http://www.samthiago.com
Carlos Costa (b. 1980) is a conservator-restorer graduated from the New University of Lisbon in 2003. From 2001 to 2004 he worked in part-time as a freelance for several conservation enterprises from Portugal. In 2005 he co-founded the conservation-restoration company Atelier Samthiago, where he is a managing partner.
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