| Here's the process Restoration of this work, presented to the public on December 7, 2010, coinciding with the eve of the Feast of the Immaculate, an excellent time to observe how the parish community can be spectacular restoration.  |
| The work was at a considerable height, so it was necessary to use three bodies of scaffolding for lift and descent. |
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| Once on the ground became visible the many problems that presented the work. |
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| At the workshop, waiting for the first study and report damage. |
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| tastings begin to determine q type of varnish was used, the type of solvent and time will need action from them. |
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| The reverse had various problems, including the accumulation of dirt and insect droppings, as well as the transfer of a resin used for the painting process. |
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| Upon reaching the area in which the author used some resin unknown and inadequate, we proceed to the protection of the area to secure the component layers of the work. |
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| Clean the back of the chessboard-shaped bracket. |
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| edges are measured to be added the original to the chassis, the new media. |
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| a thermoplastic resin is used for patching areas of loss of the textile support. |
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| grouting phase begins. |
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| gaps flush stucco, we proceed to the chromatic reintegration |
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| edges were applied at the ends of the work. |
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| A series of graft in the most damaged by rubbing the bar of the old frame. |
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| Once dammar varnish applied |
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| comparative picture before and after |
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