For decades, Santarrufina, within its dedication of service to the Church, has been carrying out specialized restoration work, covering all the needs of our clients in a manner that respects the current intervention criteria, always seeking the recovery of the good to be treated, maintaining the same execution processes, systems, materials, etc. they were used in their origin.
Chalices, Monstrance, Tabernacles, etc. The metalware’s shop is restored by recovering the pieces that are salvageable and replacing those parts destroyed by new ones, but executed in the same way they were made at the time (hand chiselled, buril engraving, fire hand enamel, etc.). We take care not to use welds that aren’t made of silver or gold, depending on the cases, maintaining manual polishing, in order to guarantee their perfection and performing electrochemical processes in their final terminations that guarantee a coating of either pure gold 24 K. or pure silver of 1,000 thousandths with a maximum quality thickness..
Botafumeiro restoration of the Santiago de Compostela’s Cathedral
Initial state of Monstrance of the 19th Century of the Buen Suceso’s Parish
Restoration process of Buen Suceso’s Parish Monstrance
Monstrance restored of the Buen Suceso’s Parish
In wood, marble, bronze, wood pulp, fiberglass or resin. The most common interventions are the disinsection, cleaning and consolidation of all the parts that form the support of the work, making new those missing pieces to achieve their volumetric reintegration. The polychromy, once cleaned and properly fixed, will be chromatically reintegrated by stucco, embolate, gold-plated in fine gold, polychromed and stewed. Finally, a layer of natural resin will be applied in order not only to protect the work, but to achieve a vivacity of color and a homogeneity of texture and brightness very close to those of the original.
Virgin of Valdetorres del Jarama
Initial state of the Virgin of Valdetorres del Jarama
Virgin with detailed volumetric faults
Virgin restored of the Valdetorres del Jarama
After an initial study on the state of the work, which analyzes its settlement, state of the canvas, dirt, pictorial faults, etc., we proceed to perform various tastings with which the most appropriate method to follow is determined to recover the work to its original state.
Settlement and re-stamped.
Protection – varnished.
Initial state of the painting
Painting restored detail
STAINED GLASS WINDOWS
After a previous analysis of them, once prepared and numbered, following the protocol of Corpus Vitrearum, they are transferred to the workshop. After different cleaning interventions with distilled water, using papers, blades, scalpel ..., they are studied in detail on a light table in order to discover the broken glass, absences and interventions performed previously. Broken glass is sealed through the use of specific adhesives. Lead fractures are sanitized, welding and masking, recovering their original state. Absences of greyhounds can be treated by superimposing a transparent glass on the back or by making a new greyhound duly documented for identification and possible reversibility, leaving the original greyhound preserved outside the window assembly.
We present a sample of the restoration work of the stained glass windows of the Parroquia de la Santa Cruz, in Madrid.
Retable, benches, Altar tables, etc. As an example of furniture recovery and restoration we will take this Retable of the 16th century, in which, after an exhaustive study and in order to return the work, within a devotional criterion, to its original state, the following are carried out works: dry cleaning, disinsection, consolidation of both the support and the pictorial layer, final cleaning through the use of suitable solvents, volumetric and sculptural reintegration, chromatic reintegration and protective varnishing. The magnificent pictorial work that composes this Retable was treated as explained in the painting restoration described above. Within this restoration process the structure or support of the same is consolidated, in order to ensure after its assembly a perfect stability of the work.
16th century retable
Some tasting made in the images
The organs, as much or more than any other work of art, should seek in their restoration to recover all their original splendor. Therefore, starting from the deep knowledge of the organ to be restored, from the organizer that built it, from the characteristics of the time it was made, etc., it must be faithfully recovered until its original state, saving all the pieces that it still has and making new ones that have disappeared, using the same materials, systems and methods that were applied in their day for their manufacture. Within the general interventions carried out in the restoration of a mechanical pipe organ, we can detail the following actions:
Dismantling of records and secrets.
Restoration of the Jaladeras.
Replacement of valve rails.
Keyboard disassembly and restoration, keeping the keys of the halftones and making new ox bone keys in the tones.
Change of the skin of the belts and the windshield liners.
Cleaning and replacement of tubes.
Assembly of the original manual bellows and the 2nd air circuit by high rotation ventilator.
General cleaning of all the elements of the box and handles of the records.
Tuning and cleaning of all elements.
Cleaning and restoration of furniture.
Assembly and tuning.
Organ of the Convent of the Madres Concepcionistas of Cuellar
Initial state of the inside of the organ
Organ restoration result
Organ restoration process
Chasubles, Fully, Altar clothes, etc. The fabrics and embroidery, depending on the cases, are recovered by tissue transfer, cleanings or re-stamping, although, whenever you want to continue using the piece to be restored, it is advisable to make the transfer of the decorative elements (embroidery or applications) to a new fabric. Only for those cases where its use was the exhibition in a museum, showcase, etc., would its cleaning or re-treatment be applicable, in order to achieve its consolidation. All those embroidery mistakes will be recovered by executing new hand embroideries, maintaining the same work styles and qualities, as well as the materials (threads, leaflets, earrings, beads, etc.), so that, being reversible and clearly identified and identifiable as a contribution to the original work, however, maintain the quality and beauty of origin.
Dalmatic of the Almería’s Cathedral
Detail of the initial state of chasuble of the Almería’s Cathedral