Proceedings e report - Firenze University Press

EXAMINATION AND CONSERVATION OF TWO DIFFERENT WOODEN POLYCHROME SCULPTURES
Portuguese churches, usually placed near the altarpieces (Fig. 4), and used as candlesticks for lighting,
during 17 th and 18 th centuries [5].
Fig. 1 – Nossa Senhora do Rosário. Fig. 2 – Nossa Senhora do Rosário. Areas where longitudinal
fissures can be seen on the painted layer. They correspond to the
assembling joints of the pieces of wood.
Fig. 3 – Anjo Ceroferário. Fig. 4 – Interior of the Church of Nossa Senhora do Carmo in
Beja. Original flunking position of the sculptures on the main
altar (yellow).
3. Methods of analysis and construction techniques
3.1. Nossa Senhora do Rosario
To characterize the sculpture’s support, small samples of wood from the base were collected for
optical microscopy (OM) analyses which, within reasonable limitations, confirmed the existence of
cedar (Cedrus sp.) and mahogany (Kaya sp.) (Fig. 5). Although those wood species were very
commonly used in Portugal by that time [2], are easily workable and allow good finishing, they were
not so often used for sculpture making [6]. Characterization of the wooden support identified a
multiple number of cedar and mahogany pieces, combined side-by-side, building up the sculptures
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