IMMACULATE CONCEPTION

In late 2020, John Canning & Co., Ltd. was onsite to perform paint exposures and other analysis in preparation for making recommendations on the restoration. Here is a wonderful summary of their findings to accompany the photo gallery below:

"Paint expsoure is a process of peeling multiple layers of paint away to reveal the original decorative scheme. Exposures were performed at the northwest corner window, as well as at the ceiling above the balcony at the south side. Through the exposure process we found a continuous chair rail height stencil that runs throughout the interior. This finding is confirmed in the historical photographs. The pattern is two colors that include a gold painted field with a brown stencil layover.

We found the window and door reveals (pockets) were similarly decorated. They both had a gold painted surface, with the same brown color border stencil bead & reel motif. This is also confirmed in the historical photographs. The bead & reel pattern continued up and over the window hoods to add emphasis to the openings and frame the stained glass windows.

During the onsite paint investigation, the original stencil where the walls vault and meet the ceiling was revealed. This pattern can be seen in historical photographs. The stencil here was a red-brown outline with a colored wash interior. This pattern is similar to the existing floral pattern at the ceiling perimeter.

The ceiling includes two existing stencils. The outer border stencil consists of a gold painted field with a red-brown stencil laid over the gold. This stencil appears to have been touched up or the gold paint has tarnished and no longer offers any reflectivity or luster. The inner ceiling vine stencil appears to be original. This pattern includes a grape motif that was infilled with the same gold paint, which has also tarnished. We also have observed that when the ceiling was repainted, the paint encroached onto the stencil giving it a haphazard appearance. All of the artwork borders are overpainted with a mauve color that does not relate to any period or color design in the church.

Through our paint exposures we also revealed original paint colors. We found the interior of the church has a deep golden ochre palette. This color was intentionally chosen to support the stained glass windows. All stained-glass windows have a colored glass border with deep and light amber colors. One could imagine when entering this space, how the warm gold effect, rich in style had an uplifting effect. This color palette is also very supportive of the high altar and side altars. The altars, Stations of the Cross and stenciling, either have gold leaf or gold paint embellishments that provide added emphasis supporting of this golden-yellow palette of both the paint and the windows.

The narthex (entrance vestibule) was similarly painted to the gold effect and gold stenciling found at the interior of the church. However, the cornice stencil has a slightly different floral motif but it is of the same color and same style as the other patterns.

The apse blue ceiling is not original and at one point, the pastel blue was applied to the field and painted closely to the Seraphim angels and stencil border. It should be noted that the Seraphim angels are also painted on canvas. Through magnification, we observed that the original ceiling was a deeper color turquoise. The apse walls have been over painted with a pastel pink. However, much like the nave, it has the same golden ochre wall treatment including the wainscot stencil. The existing four tondo paintings in the apse walls are also painted on canvas. Where the wall meets the ceiling the original stencil has been painted out. This pattern can be seen in historical photographs and is the same pattern found at the cornice in the narthex.

The sanctuary wall and arch patterns have been completely obliterated. This original pattern is also found in historical photographs. These patterns match other patterns found in the space.

We were quite pleased when we studied the high altar and realized the onyx shafts are faux painted and an excellent example of fine craftsmanship.

When examining photographs from 1930, we observed cold staining of the plaster walls and ceiling of the apse. This cold staining is a process of thermos convection, which ultimately causes surfaces to attract dust and creates patina over the painted surface. As a result, we can conclude that the decoration and paint scheme on display in 1930 was installed many years prior and is most likely original."

If you believe in making sure that we can pass on the Traditional Catholic Liturgy, art and architecture to future generations, please donate to Immaculate Conception Church - A Restoration of hope using the link below!

The following galleries contain photos taken by our Parishioners and by John Canning & Co. 

Renderings Copyright 2021-2022 @John Canning & Company, All Rights Reserved
All else Copyright 2021-2022 @Immaculate Conception Church, All Rights Reserved