The head teacher of St.Patrick's catholic school asked if we could restore the crumbling statue which had once stood outside the building.
It wasn't until all the old paint had been removed that we could determine what it was made of. What remained of the statue was very heavy, and for the most part, it appeared to be a finely cast cementitious substrate.
(Too many Guinness, and the words "finely cast cementitious substrate" can be quite a tongue twister - not that I have tried it of course!)
The statue had been repaired so many times, that he was no longer able to withstand the rigours of the outdoors.
I remembered the days of school masses at my Parish, when we would sing on the feast of St. Patrick,
"Hail glorious saint Patrick dear saint of our isle, On us thy poor children bestow a sweet smile...on Erin's green valleys look down in thy love!"
Even though Liverpool is many miles away from Erin, it didn't seem to matter. The Irish priests who had served the people of Liverpool for centuries, and those of Irish descent sang with such gusto, as to shake the rafters.
It made me feel like St. Patrick was very "Glorious" saint-wise indeed.
With those happy memories in mind, I hoped to pass on some of that enthusiasm to the children of St. Patrick's in Thornaby.
David re-assembled the statue, and repaired it, then he carved the new crosier head, (whilst I created a replica head for one of the snakes.)
Finally, I got to paint him, shamrocks and all - well if you are going to teach the children about the trinity, these details are significant - (even though we decided against putting one in the centre of the crosier.)
It was exciting to see the face which had been hidden for so many years; St. Patrick is looking is "glorious" once again.
Archbishop Bernard Longley had now blessed the outdoor statue of Our Lady of Fatima which we restored for the children of Our Lady & St. Werburgh's school this April, as featured in the local news " The Sentinel".
(You may wish to read our previous post on this statue.)
As promised, photos of the finished Gothic statues, which had been awaiting restoration in our previous post, "Lenten Challenge".
The surfaces were restored to their original colours and decoration, which had been altered by a previous restorer; likewise the face and flesh areas were repainted to present a natural look...(rather than heavily applied make - up!)
Our next project consists of two lovely antique statues from Mayers of Munich.
The decorative surfaces have some damage, and they need cleaning up.
Needless to say, the face of the virgin has suffered a poor make over at some point.
One of the more difficult aspects of restoring statues like these is addressing the areas of gold which have been "touched up" over the years with mismatched foils and paints.
We observed that the gemstones have been painted with something resembling plasticote, and (horror of horrors), it appears an indelible marker used to fill in part of the design. The original detail in the top right hand corner has been poorly observed ( see below.)
We will post the results . so come back soon!
This statue of Our Lady of Fatima belongs to a school who want to foster in their pupils a respect for Our Lady and the Rosary. The brief was to make the statue look as lovely as possible for the children ~I've completed the painting, except for the gold details.
I have scaled up the gold embroidered details this morning, though it will be a few days before I can hand paint them.
I will post my usual "before and after" restoration pictures to my face book page, and here on the blog. so do call back to see how she turned out!
Pope St. John Paul II understood that if artists are not supported and encouraged by the church, they would earn their keep by secular pursuits, filling the world's demands for Godless imagery. He exhorted artists to create works which would inspire the faithful, and to pursue excellence in their task.
Yet many artists flood the internet, wondering why the church is not responding, to their eagerness to glorify God. They conclude that "false economy" has overtaken the virtue of thrift, where the drive is to think short term.
Recognising God as Artist...
Fr. Ian Petit OSB in his book "How can I pray?" describes how, as a child, he first perceived an encounter with God:
"The fields and hills filled me with awe and reverence, excitement and wonder...
He ponders on the artist, and God as divine artist :
"I have often seen some work of art and felt a desire to meet the person who could create such beauty... that within them something of that beauty must reside.....
After the now famous "Ecce Homo" fresco was defaced in an Italian church by an amateur artist some years ago, I hoped such a mistake might not be repeated.
Then I read of the amateur "artist" who had attempted to restore a Madonna statue in Canada. Ms. Wise had offered her services "for free", and as she was not Catholic, the results were fated to be somewhat dysfunctional.
The Parish Priest responsible for allowing the artistic faux-pas, excused it by admitting that he had not been taught at Seminary about "these things". (Thankfully, people will always forgive a good priest some of their more silly mistakes. )
When Ms. Wise met Lisa.
Considering the words of Fr. Petit, one asks what kind of encounter with God should we expect when viewing Catholic Art? When the amateur artist Ms. Wise met "Christ", it seems she thought of Lisa Simpson.
That is the danger of the church no longer leading culture but reflecting it. The world needs Catholic artists, and Catholic Artists need the support of their church.
As St. Theresa of Calcutta said; "together we can do great things for God."
On my flickr feed, I've got a whole album dedicated to the statues of St.Anthony I've restored. One popular model of the saint, depicts him holding a book, with the infant Christ standing on the pages, about to hug him.
The artist has some styling quirks, and after a while one spots these traits and says " Ah, its "Him" again. ( or "Her" if you please...)
The habit of making one foot larger than the other, and hands too large for the head are just two which have been applied to shepherds, kings and saints alike by this artist.
Whereas I used to find this anatomical incorrectness annoying, I now view it rather like recognising an old freind and meeting them again.
As sculptors in large studios seldom get to paint their works (that task is often passed on to others) the difficulties of squeezing a brush filled with paint into the gaps between books, crooks and beads formed by the sculptor is none of his concern.
The painter just has to adapt, contorting his brushes and face to reach the recesses.
One of St. Anthony's religious brothers who was in formation "borrowed" his book of sermons without his permission. St. Anthony prayed for the return of the brother, and the book.
The return of said book (and the brother who purloined it) gave rise to the practice of praying for St. Anthony's help, in the return of Lost objects.
I can't help wondering though, when I see what usually represents the writings of St. Anthony on his statues, ( top left) if the brother returned his book because he couldn't decipher his writing!
I have had a number of suggestions made to me of what one should or could write in St. Anthony's book (when statue - painting):
"Return to us what we do not know we have lost..." or " Make me a channel of your peace..." But my favourite is from the Our Father - "Give us this day our daily bread."
Anthony's preaching of the time emphasised the "Hypostatic union"; that is the uniqueness of Jesus being both fully divine and fully human. He did so to refute the eroneous beleifs of Catharism. The acceptance of Jesus as a whole divine person, (body, blood, soul and divinity), is key if one is to recognise the true and whole presence of Christ in the Catholic Eucharist...He is our "Bread of life."
I think St. Anthony would be happy with the little statue of Jesus standing on his book, painted with the words " Give us this day our daily bread."
Clients often travel some distance to bring their treasured statues for my attention.
Its always a pleasure to sit down to a "cuppa" and discuss their statues with them.
This small sacred heart statue is around sixty or seventy years old; As a "family devotional piece", the owner wanted it restored to its original appearance.
"Ms. M's" statue was made of a soft grade plaster. It was spray-painted and finished with a coating of glossy lacquer. The few hand painted details were sparsely done.
Soft plaster figures combined with lacquered surfaces, are tricky to repair, and this one was just "On the Edge" of being salvageable.
This statue had once belonged to a favourite aunt; it had been thought that the missing colour on the hair, and sparse detail were due to seventy years of wear and tear.
However, this actually was how the statue had looked when it was first purchased
( Less the chipping of course!).
This presented a bit of a dilemma, as the original paintwork was not as attractive as one had hoped.
Rather than restore exactly to the original, it was agreed that a higher standard of finish was preferrable. Keeping in mind the simplicity of the originals, I kept the face details restrained, but more natural - looking.
"Ms. M" also brought her "Immaculate Heart" statue for rejuvenation. As this statue had similar faults to those of the Sacred Heart, I restored it with the same approach.
While the physical efforts of producing a sculpture result in a temporary reward - the work put into praying the rosary with devotion will be "Eternal!"
The following quotes are from” The Secret of Mary" By St. Louis De Monteforte.
"....Mary is the great mould of God, fashioned by the Holy Spirit to give human nature to a man who is God by the hypostatic union, and to fashion through grace men who are like to God.
It was a cold wet morning in early March when we drove into the city greyness of the car park.
Passing under the archway to find the orderly beauty of the courtyard was an unexpected delight.
The warm greeting we received from Brothers "P" and "I" helped us to shrug off the weather (which had felt all the colder for the early start we'd made from Liverpool that morning.)
adversely effect weight -bearing areas, creating an undesirable "land slide" effect if the movement is not arrested.
It was evident that the ankles of the corpus were about to slide if not remedied soon.
Preparation, Preparation, Preparation...
It was a warm day in August, just right for outdoor projects when David began the first stages of restoring the courtyard crucifix. First on our "to do list" was to make the whole structure stable again.
Following that, David prepared the corpus and wood of the cross ready to receive preservation treatments. (Good preparation is essential to restoration work, in order to achieve desireable results.)
Restoring the canopy pelmet
We found that the canopy above the crucifix, is made from a combination of metals and wood.
Several of the pendants which form the pelmet, had been replaced, and the fleur de lys painted free hand. They were executed in a way that was a little "out of keeping" with the standard of artwork enjoyed at the Oratory.
David dismantled the pelmet piece by piece, along with the INRI plaque, and further restoration was carried out at our studio.
The Body of Christ - polychroming the Corpus
In recent times many of "us" have lamented the sup-plantation of traditional art skills for something "less meaningful" within our churches.
Extending the life of a religious artwork by way of restoration is important, as it helps to preserve the memory of past traditions, and so carry them into the present. They give us a sense of continuity, and are an important aspect of keeping faith alive.
I approach work like this; I see that God is beauty, and the essence of beauty is to be drawn by it, and to it.
Brothers "I" and "P" chose a mid blue for the underside of the canopy, and requested the addition of a "star ceiling" effect.
David and I worked as a team to get those stars in place, and finally our work came to an end with the re-attachment of the gilded pelmet.
For David and I, one of the blessings of our work, is that we are both never too far from the Blessed Sacrament. We meet some of the most dedicated priests, religious and parishioners. (Peter we must thank, for the much appreciated cup of tea!)
Working at the Birmingham Oratory supplied us with an extra spiritual blessing, that of kneeling at the altar rail to receive holy communion.
We hope before too long we can visit once again, and share that experience with our children.
As we left the courtyard for the last time, the sun shone brightly on the water flowing from the central fountain.
A lovely statue of the Divine Infant, ( El Divinio Nino) came to us for restoration recently. Below are some photos of the results.
As promised, the results of our most recent restoration; a Madonna statue which was missing a hand, and the cross for the Christ child's orb.
She now holds Rosary beads rather than a sceptre, as the statue will be installed in a prayer room dedicated to the Rosary.
It is not professional restoration practice to repair in this way, because the results can be discordant, and even comical.
When parts of a statue are missing, I always sculpt a new replacement part to ensure that it is modelled to the correct style and proportions of the statue.
In this way the the figure retains its dignity and original aesthetic.
So, this week I have been preparing a clay model for the replacement - (Photos below) and hope to make the mould and cast it by the weekend.
As we will be making the sceptre too, the statue should be complete within a couple of weeks, when I will post the results of the completed restoration.
Above: Three views of the clay hand, to the right it holds a modelling tool which is the correct diameter for the sceptre.
Since writing this post, we visited the area where the statue was to be displayed, and it was decided that the statue would hold a rosary rather than a sceptre.
So I have since made some adjustments to the model of the hand, and it will soon be ready to cast.
Putting Faces to Names
I though it best to follow convention where "portraits" of the Martyrs were concerned, working from historic images of them.
Unable to find any portraits of Blessed Thomas Maxfield, I had to decide on his appearance, and what symbols I could use to identify him;
and so here is what I chose:
The flowers he holds signify more than just the fact that both the Gallows and his path to them were strewn with wild flowers; I chose species which represent the blood of the martyrs and their association with the passion of Christ.
The butterfly is a nod to his having suffered biting insects when imprisoned; though I have used here the symbol of "Eternal Life".
Balancing act with colours
The composition of the mural was to echo the paintings of Giotto and Fra Angelico.
As both had distinct styles, I chose elements from both to achieve the desired marriage between the two!
These artists did not use perspective as a contemporary artist would, and they favoured large discs of halos, and layering of their figures.
In assimilating the richness of the Scovegni chapel, the P.P. chose to paint the architecture in yellows and blues.
"I purchased the statue 55 years ago, on my 16th birthday, at the Catholic Repository shop on Moor Lane in Bolton.
Since then, it has travelled all over the country with me. I was upset when it got damaged but you did a splendid job in repairing it!"
Last year we restored a Marian Retable for a church in Accrington.
The original shrine statue was long gone, and the replacement didn't quite fit.
To accommodate her size, some carved swags had been removed.
Despite her pretty face, stylistically the figure was rather stiffly posed; the overall impression was one of tension, as though she was teetering on the edge, preparing to jump.
Fr. S wanted to find something more fitting to help with devotions in his church.
Providentially, the answer to this problem came as a commission for us to produce a new statue of Our Lady of the Blessed Sacrament.
Our Lady under this title is traditionally portrayed in a shade of Royal blue, with a red gown.
As I painted the wine (precious blood of Christ) within the chalice, it felt right to continue this colour onto Mary's gown; (mindful that Jesus is of Mary's blood line.)
I decorated the hem of Mary's gown with orpherys of gold, similar to the ornament found on ornate tabernacles, for both are places which house Our Lord Jesus.
In making the statue, I felt it was important to have the Christ child assimilating the same gesture as the priest. (Who during the celebration of the Mass, serves in persona Christi, that is, in the very person of Christ, who is truly present.)
The new statue of Our Lady had to fit exactly into the existing aperture, and this was one reason Fr. S had problems finding a replacement. The apse was chamfered on both sides, so measurements had to be exact.
" Because he belongs to Christ, the priest is radically at the service of all people: he is the minister of their salvation, their happiness and their authentic liberation, developing, in this gradual assumption of Christ's will, in prayer, in "being heart to heart" with him. Therefore this is the indispensable condition for every proclamation, which entails participation in the sacramental offering of the Eucharist and docile obedience to the Church." - Pope Benedict XVI 24 June 2009
The religious sisters who own this Madonna statue were unsure of what she was made, but did know that she weighed a lot for her size!
On examination, we found that the statue is made of resin, with a concrete core.
The statue was missing a cross from the orb which the Christ child holds, and her Sceptre was broken in half.
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