Maderuelo

 

 

Chapel de la Veracruz.
Twelfth century mural painting.
Maderuelo. Segovia.
Commissioned by the General guidance of Cultural Heritage of Castilla Leon.
The original is preserved in the Museo del Prado.

 


The chapel of Veracruz, Monument in 1924, the sanctuary had lowly forms, however, used to be a home for one of the most interesting and best preserved sets of romanesque painting in Spain. With the creation of the Linares’s reservoir and the hopeless arrival of the waters, a delicate conservation of the paintings was compromised. In 1947 they were transferred to canvas and rebuilt in the Museo del Prado, since forming part of the fixed collection.


apperance before copying

Awarded the recreation of the paintings by the General guidance of Heritage of Castilla y León, arises, taking account the original chapel preserves important remains of painting of great historical, building on the opposite side of the place and facing to the original a structure containing the copy. All aspects of the work are studied with technicians of the Segovian Architecture and the untold Maderuelo’s mayor help, Don Santiago Bayo.


View from the original to the replica

The reproduction of the paintings is aimed the most accurate representation of the lost image. Therefore, does not compete with the original, but wants to becomes the faithful witness to the splendor and beauty that original had before the avulsion. The dialogue effect achieved between copy and original, get recompose in contemplation of the original walls, the immediate recall of the firmness and color that brings the objectivity of the replica.



Seen the original from the replica

The new chapel is placed on a concrete lightweight platform, with the intention to mimic the effect of entry into a different room. Due to possibles floodings, the mortar demanded permeability the necessary to filter water and prevent stagnation.

The material used to construct the structure, six meters over five wide and deep, was aluminum. For the resistance to oxidation and the tensile and compression, aluminium was established as the best option. Polycarbonate sheets were placed as background support. The irregular volumes of the walls, which have a significant presence, were modeled with expanded polystyrene, assembly of the paintings in the Museo del Prado meets a regular geometric shape, which forced to cut or modify the pictures to fit to the original forms. The entire set was coated with epoxy resin reinforced with fiberglass. Finally a plastic mortar was applied imitating the texture, gaps and cracks on the original.


Mounting the structure

Policarbonate and rubbing

luis and marc

olga modeling polystyrene

detail of the process

vera

inside view of the structure

olga and nacho applying mortar

The photographs were taken by the Arsus Paper team into el Prado Museum. Once the images were sized, decals were printed to outline the profile of the mortar and give the appearance of characteristic on relief lost material.

After a proper application of Papelgel, scenes were projected onto the new wall. The images were placed following the loss of material, providing an exceptional sense of depth and volume.

Photography in the Prado Museum

Imaging


Removing papelgel


Volume detail

Contour detail

Relief detail

The lighting has required an elaborate approach. The walls are covered with pictures and floor will be inundated by the flood water. Thus, there are provided four lightening halogen lamps modified with controlled intensity. The most visible at the end of the room, have been concealed in the false wall.


 
 
 

 

 

 

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