The intervention that the Church underwent in 2006 served to restore and preserve the paint on chestnut wood, located in the chancel, whose support and painting were first applied in 1693, the painter Manuel de Freitas Padrão, from Guimarães, one of the founders of the Brotherhood of Saint Luke of Guimarães.
The ceiling of the nave, in chestnut wood and barrel vault, was carried out in the eighteenth century polychromed and, most probably in the same period, with a monochromatic water-green colour. In the mid-twentieth century one central figure was painted, representing the Resurrection of Christ, flanked by a representation of the Evangelists, one for each corner of the ceiling.
If the first figure was performed directly on the substrate, the other four images were produced on canvas and fixed in the ceiling with contact adhesive. Later, the roof was covered with synthetic bright green lettuce-coloured enamel, except the most recent figures. The purlins also suffered a marble-like painting .
The wooden planks of the ceiling were raised to access the interior near the rosette in the Church's façade. The back surface was cleaned of dirt and accumulated debris and its attachment structure to the roof was revised and strengthened. In areas of vulnerable woodwork and poor mechanical strength, acrylic resin was applied with a brush.
In order to make the curative and preventive immunization against the attacks from insects that feed on wood, an insecticide / fungicide product was applied with residual action for 10 years.
The closing of the opening giving access to the back surface was replaced, and also revised and strengthened in its connection to the roof by fixing with stainless steel screws.
The canvases of the four Evangelists were easily removed with a spatula and no underlying paintings were found. After cleaning the traces of glue, the screens suffered a mild chemical cleaning to remove surface dirt.
The repaint of synthetic enamel on the ceiling and in the purlin was removed with paint remover, scrapers and spatulas, without resorting to heat. The aged mortar between board joints were removed and replaced with elastic dough made of fiberglass.
Then, a primary insulator, already attuned to the approximately defined colour through liquid concentrated dyes was applied and the final painting, in a single coating, was carried out. In order to grant an aged hue to the ceiling, a coat of Jewish bitumen was applied.
The canvas of the Evangelists were restored to the same place, fixed to a support of maritime plywood with two millimetres. These paintings, like the central one, were not framed, so a frame was placed in bas-relief around each one of them.
The purlin and applied frames were painted with a natural sienna earth hue, featuring in the doors of altarpiece, in the purlin on the ceiling of the chancel, in the back surface of all exterior doors and furniture of the Church, at the same time that the granite stone present in the Church is harmonized.
The polychrome gaps were filled with colour abstraction technique, after the cleaning of the surface with solvent. Finally, we applied a layer of protection with a mate varnish for paintings in all figurative paintings.
The side altars of the Church were also subject to an intervention for conservation and restoration. Over 60 days we proceeded to the cleaning of the polychromy, gilding and the preventive treatment of the retable structure.
For cleaning, in which saturated swabs were employed, a mixture of xylene and ethanol in equal parts was used, with the exception of the water green areas that were cleaned only with dichloroethane.