Conservation of a Thirteenth-Century ‘Sedes Sapientiae’

Abstract

An interesting problem involving the conservation and restoration of a poly chromed oak sculpture is shown. It is a beautiful seated Madonna and Child belonging to the Musees Royaux d' Art et d'Histoire, Brussels (Mosan, 1270; height 89cm, inv. no. 9018). The back of the sculpture is hollowed out. On the wood, fissures and other alterations due to successive attacks by xylophagus insects are visible. In the 1950s the sculpture was immersed in a paraffin wax bath for the purpose of consolidation. It was extremely dirty: the sculptural lines were clogged with a thick layer of rather chaotic paint in a bad state of preservation. Stratigraphic and topographic examinations under the binocular microscope revealed 19 successive layers of polychromy. Of the original one, which was extremely fine, only a few fragments remain: on the Child's face, on the Madonna's dress, on the outside of her coat and also on the moulding of the bench. The 18 subsequent layers of polychromy vary in extent and quality. They do not always cover the whole surface; some of the overpaints are limited to a few retouchings. At present, areas of the first seven overpaints show in the hollows and protected recesses of the sculpture. An accident must have occurred between the seventh and the eighth overpaint which caused the loss of almost the entirety of the previous layers. The eighth overpaint covers what remains of the previous layers as well as large areas of missing paint where the bare wood showed. This polychromy, of excellent quality, covers the whole sculpture; the colours are beautiful, motifs adorn the garments. That is why we decided to remove all later overpaints down to this ninth polychromy which is the eighth overpaint. Watercolour sketches illustrate the documentation made throughout the process on the different stages of the various overpaints. Various motifs adorned the successive layers; as far as possible, each