It is becoming a general trend the proliferation of companies Restoration of Cultural Property, where such activity has become a business and want justify higher budgets that come over the work and restored, making alarming statements, as is the case of Regina Martyrum del Pilar de Zaragoza and now in the Cartuja de Aula Dei painted by Goya in 1774. Both reports speak of them deteriorated, showing graphic and verbal representations before the last restoration, giving the press inaccurate and outrageous.
say this, of an article Heraldo de Aragón on Tuesday February 15, 2011, page 43 , entitled "The Betrothal", the work in worse Goya in Aula Dei, already restored. Following the introduction, subtitled: Interventions unfortunate. In this section, read as follows: An additional difficulty is the lack of documentation about the work, both as regards the request that was made to Goya, as the interventions that have experienced ... ..
We do not know what interventions are concerned, because our work in 1978-79, on the work of Goya, is well documented, commissioned and endorsed by the Central Institute for Restoration of Madrid, and the College of Fine Artes de San Fernando in Madrid, the Technical Director was D. Gonzalo Perales of the Institute and Professor of Restoration School, D. Francisco Nunez de Celis, who moved monthly to monitor the works. At this point, Teresa served as Professor of Chemistry applied to restoration in the Institute and the College of San Fernando in the same specialty. The famous architect of the Certosa, D. José Romero, advising us on issues of architecture. We favorable opinion to the work of major catalogers in the work of Goya, D. José Gudiol and D. Gassier Pierre, who knew very well the previous state of the paintings of Goya, as the historian D. Nigel Glendinning, who was on the scaffold accompanied by Professor D. Gonzalo Borrás.
bills of materials used to notificábamos Mr. Perales, as the ratio of time spent in work, paying off and the assistants final payment invoice, dated September 11, 1979. All documentation must be kept by the Central Institute for Restoration of Madrid. As for our intervention was followed by the press and English Television in Aragon, there is more to resort to the newspaper archives of newspapers, especially the Herald of Aragon, who has now published this article.
respect to books published prior to our restoration, is an important monograph of Goya in the Cartuja de Aula Dei , written in 1975 by historian D. Julian Gallego, in which can see perfectly state in which the paintings were. Don Julian also visit us on the scaffold and was glad to see the work of Goya recovered since suffering for their previous state. Another Professor who was outstanding and his book Goya in Aragón 1971, published graphic documentation before our restoration and was the engine for being received was D. Antonio Beltran Martinez, who requested the Institute of Madrid restoration of the work of Goya. Also continued our work step by step.
then we have continued to disseminate our intervention and in 1982 published the Goya written by Professor D. José Camon Aznar, published by Ibercaja, and the 4 th volume, D. José Luis Morales y Marin, includes an appendix with a detailed text and photos of the figures in Aula Dei and Regina Martyrum , page 342 et seq. In 1986, Teresa filed Thesis entitled "Contribution to the study of wall paintings of Francisco de Goya in the Charterhouse of Aula Dei in Zaragoza " to get the recognition the Title of Professor of Drawing for the Bachelor Fine Arts, and its Director, D. Francisco Nunez de Celis. Another book that is available is to The Charterhouse of Aula Dei in Zaragoza , edited by Caja de Ahorros de la Inmaculada, 1986, page 476, which published a comprehensive report with pictures before and after our work in the paintings of Goya. In 1996, the Diputación de Zaragoza we edit, Goya against the wall, where gathered all our work and research on the paintings of Goya in Aragón.
article in the Heraldo de Aragón above, Ms. Morales and Mr. Mendez, state: .... "A of them, made sure to "revive" the original colors, damaged: it was a solution of linseed oil and resin and it was so hot, the slip, was dissolving the paint. "We do not know when it was or why ..."
The various operations on the paintings of Goya are documented in the book about the monastery above, published by the ISC 1986, and the loss of pigments and powder of the same state in some areas, was due to neglect, after the confiscation, which suffered the fabric of the Church, causing bulges, salt efflorescence, cracks, water fall through roof and windows, which dissolved both the plaster and the pigment onto the skin. The Carthusians, Charterhouse recent buyers, worried about their state, called the Brothers Buffet who, due to the complete destruction of the paintings located in the wall of darkness, new scenes painted and restored the rest. The Father Superior Misassignments, painter, could save the rest of the work of Goya and other works of art from the Cartuja , we published data, studying the archives of the monastery, as well as the dates of their execution.
The five works, The Betrothal, The Visitation, The Circumcision, The Magi and the Presentation, had a thick layer of varnish that had held the paint and water losses. The Buffet in some areas over the original painted by Goya, to match the color of the area enclosed by them redone. We eliminate the repainting in oil, thinned the most of this thick old paint, and did not intervene on the original as Goya also left red transparent background, and if it is tweaked, the end result can be detrimental to the whole.
Ms. Mora talks about the crack of betrothal, and says: "opened, removed the fill material that was inside and was changed to inert material ... does not say is that our intervention consolidate all the crack and its surroundings, about a meter on each side, along the surface of paint lifted from the wall, and apply the crack inert material, a special silicone, which was the first time you used in Spain for these jobs. Thus says with surprise, "that we have concluded in a couple of months" ... . The work was done. We find this quite surprising if they speak of many previous studies on the wall. hope that on this occasion have been used not only inert materials, but reversible, as we do in our interventions, according to UNESCO standards, as expressed by saying easily have eliminated our interventions to be next intervention facilitates the materials used today older. Do a good job now, and stop casting doubt on previous performances were met with worse conditions than today. What remains is thanks to them, and why can continue working in his office and paid for it the hefty fees they are paid today for the Autonomy.
So our previous restoration interventions are documented, you just have to research in libraries, publications, the Institute of Restoration of Madrid, Escuela Superior de Bellas Artes de San Fernando and our blog entry December 1, 2009, see Goya in the Cartuja de Aula Dei and its restoration and 19878-79 in picasa images, which are before and after graphic references of our work, and Barboza vimeo can watch programs published by TVE Aragón. www.barbozagrasa.com
Fat Teresa Jordan Carlos Barboza Vargas
Restorers Faculty of Fine Arts of San Fernando, Madrid. ICCROM-UNESCO, Rome.
Official Blog of the artists Carlos Barboza Vargas, Teresa Fat Jord? Ny Aurelio Fat Sancho 
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