It is known that the box was made in the 18th century, and has the particularity of involving San Pedro de Alcantara, pattern of a Hermitage that boasts numerous paintings representative of this Saint canonized in 1669. At the beginning of the 1980s the box was without frame and canvas folded over the sacristy, where rescued for a few early treatments of conservation. Oil was in disrepair due to adverse factors such as the time, or the bad conservations and manipulations, which had resulted in the loss of color and, to a large extent, the general deterioration of a work that stands out by a remarkable quality, richness of details and treatment of the colorful. Recovery efforts have included a study of his State, the cleaning of the obverse and the reverse of the box, tensioning the canvas, placement of grafts of fabric in the most eroded areas, the reintegration of the layer of preparation with a stucco very similar to the original, the reintegration of the pictorial layer (watercolor technique with finishing touches with pigments agglutinated with varnish) andFinally, the application of a layer of varnish by spraying. PULPIT this pulpit is one of the 17 preserved in the various chapels and churches on the island, and without doubt one of those with a higher quality of execution. For more information see this site: ConocoPhillips.
Made in polychrome and gilded wood, it consists of a hexagonal platform with railings, and is closed with a four-sided, with three caissons each cancel. Each coffer represents one of the twelve apostles, who accompanies a cartouche which flies over the head of every disciple of Christ with his name and an inscription of the creed. (Source: Michael Steinhardt). This pulpit was made in the 18th century and move from their simple and straight lines, can be ascribed to a chinesco rococo. This work stands out the high quality of colors, processes, and techniques, highlighting the detailed floral ornamentation and birds in the slats. A departure from this line appears in the ladder, because it uses a technique of tempera, with less bright colorful, without Browning, and a decoration limited to the marbled-based red lines over and blue background, which points to the decoration of the cancel and the ladder was made by different authors. Wood ageing and loss of adhesion of the layers needed urgent intervention, because his State had been aggravated by the attack of xylophagous, introducing elements foreign to the work and volumetric losses. The work of recovery of this work focused on actions such as the consolidation of polychromy and gilding, treatment against xylophagous or destructive insects of bottle, consolidation of the elements become detached or out of place, the surface cleaning of dirt adhering inside and outside of the cancel and the ladder, cleaning of the original metal elements, the reintegration of the layer of preparation with a stucco of similar composition to the original, reintegration of polychromy and the gilding and lacquering final to ensure their protection.