Restitution of San Juan Bautista Niño

Conservation of the Collection

Private cultural institution created by the will of Her Excellency Doña Victoria Eugenia Fernández de Córdoba y Fernández de Henestrosa, XVIII Duchess of Medinaceli.

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History of its restoration

In 1994, the Fundación Casa Ducal de Medinaceli, on the initiative of its President, the Duke of Segorbe, and through the mediation of the Marquise de Bona de Frescobaldi and Professor Giorgio Bonsanti, deposited in the Opificio delle Pietre Dure, a restoration centre of extraordinary prestige in the conservation of stone materials, whose origins date back to 1588, the seventeen preserved fragments of an infant Saint John the Baptist, then attributed to Michelangelo and now confirmed, from the Chapel of the Saviour in Úbeda, which was destroyed in 1936.

From the outset Opifico accepted that the aim could not be the mere material conservation of each fragment, which would only serve to perpetuate the memory of the vandalism of its destruction, but the recomposition with new pieces added to the original ones to restore the sculpture to its original state, giving it back its dignity and visibility. The actual restoration work was carried out over the last year and a half, between 2012 and 2013. All the previous years were focused on research and the search for a method that, in addition to fulfilling the aforementioned purpose, would work mechanically and would be respectful of international restoration criteria.

Formerly Then

Difficulties

One of the great difficulties was that the legs, which were to be modelled in a modern material completely different from marble, would have to support both the fifty kilos that the marble of the original fragment of the hip weighed, and the thirty kilos of the remaining fragments of the bust and head. Initially a handmade method of restitution was considered, but this proved to be impossible.

Technology

Thanks to state-of-the-art volumetric reconstruction technologies using two-dimensional images, it was possible to construct a three-dimensional digital image that made it possible to locate the position of the preserved fragments (which turned out to be fourteen of the seventeen) with total accuracy, and to faithfully model the new pieces in fibreglass with a stainless steel structure inside so that they were invisible.

 

Restoration criteria

Having reached this technical point, all that remained was to establish the restoration criteria, which can be summarised as follows restoring legibility complete sculpture, the recognisability of the new parts and the reversibility of the whole process. This last point was achieved by mounting the sculpture with magnets, so that if new original fragments were to appear, they could easily be replaced.

Finally, it remained to patina the new parts to visually approximate them to the original fragments previously cleaned by laser technique, also applied to the fragment of the head, without reaching the same white of the Carrara original, as this fragment had been thrown into a bonfire in 1936, irreversibly altering the composition of the marble.