25 Feb Wenda Kochanowski sheds light on her restoration of reredos in St. Luke’s Chapel
St. Luke’s Chapel (c.1901) is nearing the end of a four year long rehabilitation that has restored the sanctuary space with a fully accessible basement that now holds restrooms and a kitchenette. Wenda Kochanowski is a Decorative Arts Conservator and has been working with the Spencer Preservation Group on the rehabilitation of St. Luke’s Chapel. Here, Wenda offers a glimpse into her work restoring the intricate wooden reredos by master woodcarver Johannes Kirchmayer in St. Luke’s sanctuary.
My name is Wenda Kochanowski; I am a decorative arts conservator in private practice for 25 years with a studio in Salem, MA. I recently had the pleasure to work in coordination with the Spencer Preservation Group on the preservation of the St. Luke’s Chapel in Roxbury, MA in the historic parish of St. John and St. James. The chapel, designed by Ralph Adams Cram, was built between 1893-1901.
I was contacted by the Spencer Preservation Group to undertake a conservation treatment for the wonderful carved oak reredos in the chapel. The reredos, carved and signed by Johannes Kirchmayer, depicts a central Christ figure rising from the cross behind him. There are niches on either side that contain a carved central figure surrounded by four smaller figures. The four points of the cross contain a gilded panel with a carved figure or animal and the name of one of the apostles: “S. Lucas” above Christ’s head, “S. Marcus” at his left hand, “S. Mathew” at his right hand, and “S. Johan” below his feet. The reredos has a carved and pierced gallery at the top and a central carved and pierced hood over the Christ figure. A gallery of linenfold carved panels is below the figures; below those is a central tabernacle depicting the lamb. An inscription beside the tabernacle reads: “To the Glory of God and in loving memory of Susan White Seaver Walker December 16 1824 – April 21 1903”. The surface appears to be finished with a chemical stain and a resin spirit varnish, with decorative elements that have been oil gilded.
CONDITION OF THE REREDOS PRIOR TO TREATMENT
Note: Proper left and right refer to the object’s left and right when facing the viewer.
After years of having been exposed to the elements, the reredos were extremely dirty and missing many decorative elements. My original treatment proposal included cleaning the reredos, replacing missing elements on the reredos and the Christ figure, and inpainting them to blend with the original surface. Areas of missing gilding on the reredos were also to be inpainted.
The reredos prior to treatment and before the Christ figure became detached.
Once restoration and some remodeling began on the building, however, vibrations to the building walls caused the Christ figure to detach from the reredos. It sustained structural damage and was brought to my studio in Salem for treatment. Elements that had detached from the figure (the arm, fingers, toes, and sections of the halo) were reattached. Missing elements were re-created from molds made from existing original ornament, and then inpainted with acrylics to blend with the original surfaces.
The Spencer Preservation Group team then securely reattached the Christ figure to the reredos so that no further mishaps could occur.
The site where the Christ figure had been attached. Note the glue block construction that was holding it in place.
The detached Christ figure with the joint of the proper left arm exposed with a broken dowel.
Areas of detached and missing ornament on the crown.
Areas of detached and missing ornament on the halo; note the abraded surface on the top of the halo.
The detached fingers of the proper left hand. The fingers were present but there was wood loss in the break areas.
Areas where the toes on the figure had detached. Note Kirchmayer’s carved initials at the base of the Christ figure. Kirchmayer used the Latin spelling of Iohannes for his signature, resulting in “IK.”
The detached proper left arm of the figure. The force of the impact had driven the dowel sideways, breaking through the surface of the arm.
The broken outer surface of the proper left arm dowel joint.
During treatment. Replacement ornament on the crown and halo; ornament replacements on the garment have been painted with a color to match the ground layer of the gilded areas prior to inpainting to blend with the surrounding area.
Replacement areas on the halo, crown and garment after gilding/inpainting.
Replaced areas on the sleeve and hand on the proper right arm.
Replaced areas on the sleeve and fingertips on the proper left arm.
The Christ figure after treatment.
After work on the Christ figure had been completed, the work on the reredos commenced. Layers of dust and dirt were removed from the surface, revealing the beauty of the carved oak surface and the gilded elements underneath. Over thirty carved decorative elements on the upper gallery were missing, presumably chewed by squirrels that had nested in the chapel when it was in disrepair. Other elements had detached over time and were lost.
Missing decorative elements were replaced by making molds of original elements and casting new ornament in carveable epoxy. The application of a barrier coat on the original surface before attaching the new ornament allows for reversibility in the future, if needed. New ornament was inpainted with acrylics to match the original surface.
An example of dirt and accretions on the surface of the reredos.
After work on the Christ figure had been completed, the work on the reredos commenced. Layers of dust and dirt were removed from the surface, revealing the beauty of the carved oak surface and the gilded elements underneath. Over thirty carved decorative elements on the upper gallery were missing, presumably chewed by squirrels that had nested in the chapel when it was in disrepair. Other elements had detached over time and were lost.
Missing decorative elements were replaced by making molds of original elements and casting new ornament in carveable epoxy. The application of a barrier coat on the original surface before attaching the new ornament allows for reversibility in the future, if needed. New ornament was inpainted with acrylics to match the original surface.
Area of ornament replacement on the large female figure on the proper right side of the reredos.
The area of ornament replacement on the large female figure on the proper right side after inpainting.
An additional signature was discovered on the large female figure on the proper right side of the reredos. On the left is Johannes Kirchmayer’s (used the Latin spelling “Iohannes”) signature under the central Christ figure. The right is the signature found under the large female figure.
An area of replacement on the carved ornament on the central panel of the lower half of the reredos.
Ornament replacement on the central panel of the lower half of the reredos after inpainting.
Areas of wood loss on the tabernacle door were filled.
Areas of ornament replacement on the tabernacle door after inpainting.
Replacement spires on the proper right side of the reredos made of casts from molds of originals.
Replacement spires on the proper right side after inpainting.
Areas of ornament replacement on the upper gallery and both sides of the Christ figure prior to inpainting.
Detail of ornament replacement on the proper right side of the upper reredos.
Areas of ornament replacement on the proper right side after inpainting.
Restored reredos after inpainting.
All work was performed in accordance with the American Institute for Conservation of Historic and Artistic Works (AIC) Code of Ethics and Guidelines for Practice.
For questions and comments, contact Wenda Kochanowski at:
wkconservation@gmail.com