The Sun and Sky are the themes of oil painting on the woodwork existing on the ceiling of the nave of the Church, dating back to the nineteenth century. The conservation and restoration works carried out benefited from the good quality of the planks of chestnut wood, even taking into account the infiltrations occurred.
The ceiling is composed of several boards of different sizes and ten millimetres thick. The purlin is also in chestnut wood. Both the boards and the elements of the purlin are fixed to the ceiling structure, detached from the one supporting the roofing, through wrought iron nails.
The painting is polychrome, both in the ceiling as in purlin, consisting of a thin layer of preparation and a thick coat of paint, although the execution technique was less than exquisite, as the layer of preparation was very thin and did not isolate the wood painting properly.
The recovery works entailed the removal of some of the wooden planks of the ceiling to access the exterior. Then, we proceeded to the cleaning of the back surface and purlin of the dust and dirt by brushing with small brooms and controlled vacuum.
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 areas of vulnerable woodwork and poor mechanical strength were subject to consolidation and reinforcement and an acrylic resin was applied with a brush.
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 polychrome surfaces were fixed with a synthetic resin, the volumetric gaps were filled and the surfaces of dirt were cleaned by brushing. The polychrome surfaces were chemically cleaned, proceeding to the chromatic reintegration through abstraction of colour for the gaps in the polychromy.
The image of Our Lady of the Milk, probably from the Gothic period was the subject of recovery and enhancement during 2006 and 2007.
It is a rare piece of historical and artistic value still not fully recognized, which would have been donated to this Church by a priest. Its origins may be in Ferreira do Alentejo or Lisbon, according to some experts.
The picture represents Our Lady of the Milk carved in a stand up and frontal position, looking straight forward, dressed in a robe and a long tunic breastfeeding the bare nude Child. The head appears oval, of thin lips torn horizontally. The hair is wavy and black falling on the back, where a fixed and richly crafted crown sits. The back is flat, without any work.
The sculptural composition is static and the polychrome painting features soft carnations and bright colours. The sculpture was done on Ançã stone, white limestone, oolitic, homogeneous and friable with no discernible grain to the naked eye.
The first cleaning sought to remove loose dust by using bristle brushes. The fixation of the polychrome was carried out by the application of acrylic resin at 15 percent in acetone. The remains of the resin were cleaned with its own solvent.
The lateral altars and walls of the nave of the Church received conservation and restoration works between September and November of 2006. The altarpieces, probably dating back to the second half of the nineteenth century in neoclassical style, are composed of polychrome gilt.
The left and right side altars treatment for the fixation of the polychrome surfaces through the introduction of an adhesive applied with a metal spatula. Then, an acrylic-type copolymer of ethyl methacrylate diluted to 10 percent with aromatic hydrocarbons was applied.
The support was subject of cleaning due to the large amount of dirt and accumulated debris and deoxidation and protection of the metallic elements by applying tannic acid, dissolved in distilled water and ethanol and protected with antioxidant varnish.
After disinfection and disinfestation against xylophagous insects and microorganisms, by spraying and injecting insecticide / fungicide products, we proceeded to the consolidation and strengthening of areas of wood and vulnerable mechanical resistance by injection and brushing of acrylic resin of copolymer ethyl methacrylate type diluted in solvent with average volatility and in increasing concentrations of 8, 16 and 25 percent.
With regard to the polychromy, the superficial cleaning of dirt, the lifting of repainting and chemical cleaning of surfaces. Then, we proceeded to the filling of the polychrome and gold gaps and the levelling of filings.
Particular attention was given to the volumetric reintegration and colour reintegration in the gold and polychrome gaps that caused interference with the aesthetic reading of the ensemble.
Finally, acrylic resin of copolymer type of ethyl methacrylate dissolved in trichlorethylene was applied by brushing and in a three percent concentration as a protection layer producing a satin-wax gloss effect.
A protection layer, consisting of carpenter wax applied by brush, was put on the celebration tables.
On the left and right side altarpieces the procedure was very much the same.