Miracle restoration of Jesús Nazareno ‘El Pobre’ tunic

Jesús Nazareno “El Pobre”
Restoration: Eighteenth-century tunic of Jesús Nazareno  Credit: Facebook

NEXT Saturday, September 12 in the Cloister of the royal convent in Velez-Malaga, the restoration of the 18th-century tunic of Jesús Nazareno ‘El Pobre’ will be presented.

The restoration, which has been carried out for more than two years, has been carried out by the ‘Santa Conserva’ workshop for the conservation and restoration of old fabrics in the town of Antequera.

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In 2015, a preliminary study by the aforementioned company determined the evident deterioration of the tunic of Jesús Nazareno ‘El Pobre’ due to the journey and use of this unique piece over the years, which was saved from terrible events and destruction during the Civil War in 1936. In these two years of work, always with the approval of the brothers of the Arch-Confraternity gathered on specific occasions to discuss the issue, the original colour of the velvet has been recovered before these embroideries were finished, the original design of the piece with its verification with old photographs and the enhancement of the tail of this style of tunics of the time.

The presentation of the restoration will be the responsibility of the artist archicofrade and second general executor, Mr José España Martín.

The 18th-century tunic of Jesús Nazareno ‘El Pobre’ is one of the most valuable pieces in the history of Velez-Malaga. The tunic is embroidered by hand on burgundy-aubergine velvet with predominantly floral decoration. It was very altered in time due to the various pasts and its change in pattern in the last third of the 20th century. In addition, most of the original embroidery has been preserved adding to these new pieces to form the new design that is what will be on display.

On their Facebook page, Santa Conserva shows you the original design of the 18th-century tunic of Our Father Jesús Nazareno ‘El Pobre’ from Velez-Malaga, which they have recovered for its restoration. “Due to continuous and inadequate previous interventions, the tunic was in a regrettable state of conservation, in addition to not presenting a correct reading of the design and pattern, the result of the continuous past to which it had been subjected throughout its history. We have carried out this work during the last year and in a few days, your presentation will be published.”


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