The Church was subject to works of conservation and enhancement, in which we proceeded to the restoration of the mural paintings. These were in a worrying state of degradation as a result of the prolonged state of ruin which the building was subject to.
According to those responsible for the restoration, the painting extends across the entire back wall of the chancel and goes on till half of the adjacent walls.
In the nave, there is a painting at the end of the side walls, near the wall of the triumphal arch, in a status similar to the previous one.
The restoration began by the dry removal of the mosses and lichens that covered the painting and the daily application of a specific product for the prevention of living organisms and to facilitate their removal.
Roots were found between the plaster and the support, thus being immediately removed. This was followed by a wet cleaning, possible only due to the exceptional of the original plaster.
The gaps were filled in depth prior to the application of the final plaster, for which a mortar with two parts of white sand, one part of yellow sand and one part and half of lime, plus a small portion of black stone powder, was chosen.
Those responsible for the restoration chose not to perform a chromatic reintegration due to the excessive fragmentation of the painting. In parallel, we proceeded to the washing of the batters of the nave, which presented remnants of whitewashed plaster.
The back wall painting corresponds, according to the researchers, to a campaign from the beginning of the sixteenth century and can be divided into two distinct parts.
The upper part is filled with a decorative composition of botanic elements involving a central coat of arms. The lower part is divided into three vertical areas representing three figures of saints. There are two monks with miter and crosier: to the left, probably Saint Benedict, and to the right, probably, Saint Bernard. At the centre would stand Saint Mammes, despite the large number of missing elements. These images are finished by a winding-bar-shaped frame.
On top of the composition there are traces of a second pictorial campaign, which would cover the entire back wall, extending till half of the side walls. In the latter, it is possible to observe a representation of arms marked by stamped decorative motifs.
In the nave, the fragments found on the side walls should be part of the first campaign of the chancel. The plaster of the upper and lower layers has, on both sides, a central gap, and features a decorative painting with a repeating pattern of red and black quatrefoils.