Painting of St. Benedict Martyr
Restoration works on the picture found in the St. Peter and Paul Church in Lviv
In 2011, a large painting of St. Benedict was found in the attic of the church. St. Peter and Paul, in Lviv. The baroque artwork from the mid-18th century depicted a saint dressed in ancient armor. At the time of its discovery, nothing else was known about its history, or who painted it.
It is not known how long the painting of St. Benedict lay forgotten in the attic. After its discovery in 2011, minor repairs were performed and the painting was safeguarded against progressive damage. At the time, the painting was rolled up on a wide drum and kept in the church’s gallery. However, the canvas and layers of paint were in such poor condition that comprehensive restoration work was necessary.
Painting with St. Benedict Martyr. Destruction in the top corner of the canvas (1741) by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
History of the painting
Examination of the state of the painting showed that in the past it had been cut out of its frame and its edges had been trimmed away. The canvas with the image of St. Benedict was weakened and deformed, its fibers had begun to crumble owing to the passage of time. The canvas itself was ripped and torn in many places.
Face of St. Benedict Martyr from the painting from Lviv (1741) by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
The artwork was painted using oil paints on a thin layer of ground in the colour palette commonly used in the 18th century, ochre, cinnabar, soot black and lead white, as well as copper green and Prussian blue. The composition was painted with a very thin layer of paint and secured with a thin layer of varnish.
St Benedict Martyr (1700/1800) by Jakub LabingerPOLONIKA The National Institute of Polish Cultural Heritage Abroad
In the artwork from the church of St. Peter and Paul in Lviv, St. Benedict was presented in an antique stylized armor, i.e. as the so-called knight of Christ ( miles Christi), defender of God and faith. Apart from the sword, there is also a palm branch in Benedict's hand, symbolizing the saint's martyrdom.
St. Benedict Martyr, final stage of restoration (1741) by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
The crown with crossed palm branches and the initials BM [Benedictus Martyr] painted in the lower part of the composition have the same meaning.
St. Benedict Martyr by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
Archival and historical research has made it possible to glean some the history of the painting. The artwork was probably created around 1741. It must have been ordered for the celebration of St Benedict the Martyr’s relics being placed at church of St. Peter and Paul.
These relics were placed in the chapel built following the death of starost Jerzy Stanisław Dzieduszycki. In 1741, the chapel was consecrated, and ceremonies were organized in honor of St. Benedict with cannon salutes and an illumination of the church, which was even referred to in "Kuryer Polski" - a newspaper published in Warsaw.
The dimensions of the canvas indicate that during the ceremony in 1741 the painting was displayed at the main altar of the church. Later, it was probably hung occasionally during ceremonies related to St. Benedict. Today, there is no information as to the painting’s author as the work is unsigned. It was most probably painted by a Polish artist specializing in sacred art.
Restoration of the painting
In 2020, conservation work began with the intention to stop progressive damage to the painting, strengthen its structure and protect it against future damage. The second stage, performed in 2021, focused on the restoration of the aesthetic and artistic value of the painting.
Paitning with St. Benedict Martyr. Details before restoration (1741) by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
The photo documents the condition of the image prior conservation. The damaged canvas (underpainting) is visible under the layers of paint and ground. The ground applied to the canvas and the paint layer are heavily chipped, especially where the canvas had been folded.
Painting with St. Benedict Martyr from Lviv before restoration by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
This damage was caused by the passage of time, but also due to poor storage of the folded artwork. For some time it had most probably also been used to wrap a sculpture.
St. Benedict Martyr by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
The painting was photographed under UV light prior to the start of restoration work. In places where the greenish glow is visible, a thin layer of varnish has been preserved. In dark, light-absorbing places, the original green paint with a copper pigment has been preserved.
St. Benedict Martyr. Detal of the painting (1741) by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
The canvas on which the painting was painted was photographed at a high magnification of 250x.
Painting of St. Benedict Martyr. Detail before restoration (1741) by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
The painted surface was enlarged 250x before conservation. Visible is the dense network of deep cracks, chipping and cavities reaching the underpainting i.e. the canvas. The paint layer is in poor condition.
Painting with St. Benedict Martyr. Restoration works in progress by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
The front of the painting is under maintenance. The process shows the securing the surface of the painting with Japanese tissue paper glued to the painting layer. This forms protection against damage while supplementing and strengthening the canvas.
Painting with St. Benedict Martyr during restoration by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
The back of the painting undergoing maintenance. The process of pasting the places with the greatest damage to the canvas.
St. Benedict Martyr (1741) by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
Image relining. The canvas support was glued onto a new, strong canvas. The face of the painting was covered with Japanese tissue paper to protect the painting layer.
Painting with St. Benedict Martyr. Restoration works (1741) by unknownPOLONIKA The National Institute of Polish Cultural Heritage Abroad
Stretching the image on new self-tensioning looms.
Painting with St. Benedict Martyr. Progress of the restoration works (1741)POLONIKA The National Institute of Polish Cultural Heritage Abroad
Filling the missing ground, retouching and supplementing the composition of the painting, varnishing the entire surface.
Conservation work was financed and supervised by the POLONIKA Institute. Work was completed between December 2020 and November 2021, and was performed by the Polish-Ukrainian team ARTEM RENOVO under the supervision of Dr. Paweł Boliński and Lesya Hanulak.
text is based on the detailed descrition of restoration works by ARTEM RENOVO, edited by Anna Ekielska
research on history and iconography: Jan Jakub Dreścik
photo: Paweł Boliński
© Narodowy Instytut Polskiego Dziedzictwa Kulturowego za Granica POLONIKA na authors
Supervisory Institution: Ministerstwo Klutury i Dziedzictwa Narodowego RP
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