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A presente dissertação de mestrado tem como objeto de estudo a urna-relicário de Santo Aurélio, da Sé do Porto.
Através deste estudo tomou-se conhecimento da importância da urna-relicário, quer pela sua função (a de guardar e expor os restos corpóreos do santo, ou seja a relíquia, para que os crentes as pudessem observar e venerar), quer pela obra de arte que em si encerra. Esta obra é um feliz resultado dos conhecimentos dos artistas de então, que tão bem a executaram e decoraram.
No sentido de a conservar condignamente e permitir que continue a exercer a sua função, foi necessária uma intervenção de conservação e restauro, dado que perigava a sua integridade material [gravemente afetada pela infestação de insetos xilófagos (Anobium punctatum e Xestobium rufovillosum) e pela falta de coesão da camada cromática]. Para tal, recorreu-se a técnicas de exame e análise, tais como a radiografia, fotografia de fluorescência visível com radiação ultravioleta (UV), microscopia ótica (OM), espectrometria de fluorescência de raios X por dispersão de energia (EDXRF) e a micro-espectroscopia infravermelho com transformada de Fourier (micro-FTIR) e testes microquímicos. Todas as técnicas de policromia, cargas e pigmentos identificados eram comuns na época de execução da obra. Desta forma pôde-se aplicar uma intervenção séria e adequada, respeitando a integridade e singularidade da obra, tendo em conta os princípios éticos vigentes inseridos no Código Deontológico do Conservador-Restaurador.
Os dados obtidos indicaram que a urna é uma construção composta por vários tipos de madeira: acer e castanho utilizados para áreas estruturais, buxo e choupo para áreas entalhadas e o salgueiro para áreas funcionais e o tipo de assemblagem mais usado foi de «união viva». È uma obra representativa do estilo rococó, revestida por aplicação de camada de douramento e monocromia amarela e vermelha. A pintura e douramento originais foram executados em 1768 por Domingos Teixeira Barreto, pintor e dourador da cidade do Porto.
A urna-relicário de Santo Aurélio da Sé do Porto constitui uma importante obra de arte no panorama local e nacional pela sua representatividade religiosa.
A intervenção de conservação e restauro desenvolvida sobre a urna-relicário pretendeu contribuir para que qualquer testemunho material de autenticidade e historicidade da obra sobreviva o máximo de tempo possível.
The present masters dissertation has as objective to the study of St. Aurélio´s urn reliquary-urn, in the Oporto´s Cathedral. Through this study we acknowledge the importance of the reliquary-urn, either by its function (to store and display the tangible remains of the saint, that is, the relic, so that believers could observe and revere), or by the artwork involved. This work is a great result of the artist´s knowledge back then, that executed and decorated it so well. In order to preserve the dignity and allow it to continue to perform its function, conservation and restoration intervention was necessary since there was danger to its material integrity (seriously affected by the infestation of wood-destroying insects (Anobium punctatum and Xestobium rufovillosum) and a lack of cohesion of the chromatic layer). To this end, we resorted to the examination and analysis techniques, such as radiography, fluorescence photography visible with ultraviolet (UV) radiation, optical microscopy (OM), Energy dispersive X-ray fluorescence spectrometry (EDXRF) and Fourier Transform Infrared Spectroscopy (micro-FTIR) and micro-chemical testing. All polychrome techniques, fillers and pigments identified were common at the time of the execution of this work. In this way it was possible to apply a serious and appropriate intervention, thus respecting the integrity and uniqueness of the work, and taking into account the prevailing ethical principles inserted into de Code of Ethics of the Conservative Restorer. The data obtained indicated that the urn is a construction made up of several types of wood: maple and sweet chestnut used for structural areas, boxwood and poplar for carved areas and willow for functional areas and the most used type of assembly material was «união viva». It is a representative work of the rococo style, coated by applying gilding layer and yellow and red monochrome. The original painting and gilding was executed in 1768 by Domingos Teixeira Barreto, painter and gilder of the city of Oporto. The reliquary-urn of Saint Aurélio of the Oporto Sé/Cathedral is an important work of art in the local and national panorama, for their religious representation. The intervention of conservation and restoration that was carried out on the urn reliquary-urn intended to contribute to any material witness authenticity and historicity of the work, in order that it survives as long as possible.
The present masters dissertation has as objective to the study of St. Aurélio´s urn reliquary-urn, in the Oporto´s Cathedral. Through this study we acknowledge the importance of the reliquary-urn, either by its function (to store and display the tangible remains of the saint, that is, the relic, so that believers could observe and revere), or by the artwork involved. This work is a great result of the artist´s knowledge back then, that executed and decorated it so well. In order to preserve the dignity and allow it to continue to perform its function, conservation and restoration intervention was necessary since there was danger to its material integrity (seriously affected by the infestation of wood-destroying insects (Anobium punctatum and Xestobium rufovillosum) and a lack of cohesion of the chromatic layer). To this end, we resorted to the examination and analysis techniques, such as radiography, fluorescence photography visible with ultraviolet (UV) radiation, optical microscopy (OM), Energy dispersive X-ray fluorescence spectrometry (EDXRF) and Fourier Transform Infrared Spectroscopy (micro-FTIR) and micro-chemical testing. All polychrome techniques, fillers and pigments identified were common at the time of the execution of this work. In this way it was possible to apply a serious and appropriate intervention, thus respecting the integrity and uniqueness of the work, and taking into account the prevailing ethical principles inserted into de Code of Ethics of the Conservative Restorer. The data obtained indicated that the urn is a construction made up of several types of wood: maple and sweet chestnut used for structural areas, boxwood and poplar for carved areas and willow for functional areas and the most used type of assembly material was «união viva». It is a representative work of the rococo style, coated by applying gilding layer and yellow and red monochrome. The original painting and gilding was executed in 1768 by Domingos Teixeira Barreto, painter and gilder of the city of Oporto. The reliquary-urn of Saint Aurélio of the Oporto Sé/Cathedral is an important work of art in the local and national panorama, for their religious representation. The intervention of conservation and restoration that was carried out on the urn reliquary-urn intended to contribute to any material witness authenticity and historicity of the work, in order that it survives as long as possible.