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.
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