The artworks affected were two canvases representing “St. John the Baptist” and “The Annunciation” and a panel painting representing a “Virgin and Child”; and from the very first moment it was decided to transfer them to the CCRBC; a centre that has a multidisciplinary team and laboratories to carry out the complex restoration treatment required.
The damage that was initially detected because of exposure to high temperatures and smoke from the fire were soot deposits, lifting of pictorial layers, alteration of varnishes, as well as physicochemical transformations of some pigments.
This initial diagnosis determined the need to carry out complex studies and specific analyses for the precise characterisation of the deteriorations; thanks to which it has been possible to carry out a detailed restoration adjusted to the problem.
This whole process has been a challenge and has only been approached as a complex and complete research project to analyse, understand, identify and address very specific deterioration produced in a very particular case, such as a fire, and that can help other professionals to face similar problems. KEYWORDS: fires, cultural heritage, recovery.
In PROCULTHER-NET 2 Project. Technical Bulletin N. 3, July 2024, pp 63-71. This contribution is completed by the paper “Fire in the Church of the Holy Trinity of Segovia (Spain): from response to recovery - an incident/disaster can be small... losses never are”, Gomez Gonzalez, Cristina - Territorial Culture Service/UGRECYL Territorial Cell, Segovia; Escudero Remirez, Cristina - UGRECYL Central Unit, Junta de Castilla y León, Spain. Ibid., pp 52-62
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