Senglea’s statue of the Immaculate Conception is one of the most important sculptural works by Mariano Girada (1771-1823). Today, we can enjoy the statue almost as it was in its original state thanks to an extensive conservation and restoration project concluded last August.

Girada was a Maltese sculptor known for his mastery in polychrome wooden statues and contributions to both religious and secular sculpture. Trained in Valencia, Spain, Girada gained recognition for his fine works, particularly evident in pieces such as Our Lady of Grace in Żabbar, the Assumption of Our Lady (Santa Marija) in Għaxaq and St Catherine of Alexandria in Żurrieq.

The statue after conservation treatments.

The statue of the Immaculate Conception was sculpted in Girada's home in Cospicua and completed in 1804. It was transported on December 6, 1804, from the sculptor’s home in Cospicua to St Philip church in Senglea. On the same day, after vespers at the collegiate church, the canons, clergy, and members of various fraternities processed to Porto Salvo church. There, after the choir sang the antiphon of the Immaculate Conception, Archpriest Dun Vincent Cachia blessed the statue. The procession then returned to the collegiate church. On December 8, 1804, the feast of the Immaculate Conception was celebrated for the first time with the artistic statue.

The statue depicts the Immaculate Conception, a significant religious figure in Christianity, particularly in the Roman Catholic tradition. It portrays the Virgin Mary in a moment of grace and divinity, standing on a cloud symbolising her purity and divine nature, with her feet crushing the head of a serpent, symbolising the triumph over sin and evil. Mary is dressed in flowing robes adorned with gold detailing, emphasising her heavenly status. A blue mantle, also edged with a bas-relief gold motif, drapes over her shoulders and arms. Her hands are crossed over her chest in a gesture of devotion and humility.

Detail of the polychrome wooden hands after conservation treatments.

The statue was transported to the Atelier del Restauro laboratory in Naxxar in July 2023. The wooden support structure was found to be stable. Some longitudinal cracks were observed on the front of the vest and others on the lower back of the mantle. There were several detachments of the overpainted paint layers, especially on the proper right knee.

The gilded motifs had been heavily re-gilded and a thick ‘primer’ layer that had been applied on the vestments in a past restoration proved very difficult to remove

Over the years, the statue has undergone numerous interventions and renovations, including at least three times repaintings of its polychromy. The conservation and restoration treatment proposed involved removing the thick overpainting on the statue, including later additions made to the gilded motifs on the Virgin’s vestments, in order to reveal the original polychromy and gilding. Cleaning tests revealed multiple paint layers beneath the thick overpainting. Past renovations carried out also altered the appearance in the choice of colours.

During the cleaning of the lower part of the statue, uncovering the original gilded decorations.

The process of removing the overpainting included chemical and mechanical methods to reach the original polychrome layer. The gilded motifs had been heavily re-gilded and a thick ‘primer’ layer had been applied on the vestments in a past restoration proved very difficult to remove.

The extensive additions of gilding and synthetic silver paint to the silver cloud were also addressed. Cleaning tests were particularly time-consuming due to layers of gesso under the blue mantle. A tailored cleaning method was implemented for different zones of the statue.

The face was uncovered using small blades, while solvent gels were used for cleaning the vestments and base with clouds. This detailed process was time-consuming due to the intricate detailing and varying thicknesses of overpainting, necessitating different techniques and materials. Careful removal of each layer of overpainting was crucial to preserve the original polychromy.

Before (right), during and after the uncovering of the original polychromy of the face. Photos: Atelier Del Restauro

Structural cracks in the wood were consolidated to stabilise the statue before further cleaning and restoration. The original dark blue colour of the veil that was found aligned with the dark blue colour traditionally found in important depictions of the Immaculate Conception in both paintings and sculpture.

Traditional iconography of the Immaculate Conception shows Mary dressed in white and blue. The white colour, symbolising purity, represents the immaculate whiteness with which the Virgin Mary is adorned, untouched by original sin. The brightness of the white garment is then covered by a dark blue mantle, representing the sky. Therefore, blue becomes a symbol of God, with whose power Mary is covered and protected, so that sin does not stain or touch her.

The most time-consuming aspect of the restoration was the filling of lacunae with gesso di Bologna and levelling. This process required meticulous attention to detail to match the original surface layer. Where original gilding was heavily worn, re-gilding was done using 23.75k gold. The base of the clouds required complete re-gilding with double silver leaf due to previous sanding during a renovation intervention. One of the glass-ball eyes of the serpent that was found to be broken was reconstructed through a particular technique using a special resin material.

During the reconstruction of one of the broken glass eye balls of the serpent.

Pictorial reintegration using reversible colours was carried out only on abrasions and losses, unifying the chromatic integrity of the polychromy with tempera colours using the mimetic technique. Varnish colours were then applied in fine glazes to refine the retouching done with tempera colours. Finally, a synthetic resin varnish with high resistance to ageing and UV protection was applied to protect the gilded and painted layers, giving the statue a satin finish.

The restoration process was crucial not only for bringing back the statue’s aesthetics but also for its long-term preservation. By removing invasive overpainting and restoring the original polychromy, the statue was returned to its authentic state, providing valuable insights into the original artistic techniques and intentions of artist Girada.

During the infilling of the uncovered original polychromy of the statue, infilling the various micro losses that occurred due the wearing of jewellery because of the great devotion towards the statue.

Why preserve and restore rather than renovate?

Conserving and restoring sculptures is essential to preserve their original artistic and historical significance. It allows future generations to experience and appreciate the sculpture as it was intended, avoiding the alterations and potential damage that can occur during renovation. Renovation may alter the original character and value of the artwork by replacing original materials and techniques with modern substitutes. Conservation and restoration aim to maintain the artwork’s integrity, using compatible materials and techniques to ensure longevity while respecting its historical and aesthetic value. This approach preserves cultural heritage, honors the artist's work, and ensures that future generations can learn and appreciate these important works of art.

Conclusion

Thanks to the professional conservation efforts of Atelier del Restauro Ltd, we successfully restored the statue’s authentic aesthetics, including facial features, original colours, and vestment decorations. The sculpture’s original physiognomy has been revealed, allowing viewers to appreciate Mariano Girada’s original intent and the beauty of the Immaculate Conception statue. This restoration has preserved it as one of the few locally found works now in its original aesthetics.

Valentina Lupo is a conservator and co-founder and director of Atelier del Restauro Ltd.

Acknowledgements

Thanks to the basilica’s collegiate chapter, especially Archpriest Robin Camilleri, for their trust in our company and commitment to preserving the basilica’s artworks and to basilica curator Gino Parnis and his team of volunteers, for his invaluable support and dedication in maintaining the church’s fabric and artworks.