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.)
We all know that water can wear away rock; and rain finding its way into a statue via these "waterways" has the same effect. It can erode a figure from the inside, making it unstable.
These breaks in the structure can 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.
Liturgical artist/restorer. Bachelor of Art and Design, Catholic Blogger
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