The Aragon Government has achieved this Thursday to warm the environment in the offices of the National Museum of Art of Catalonia (MNAC), causing an unknown anger in the enclosure and a forceful denial from its direction. The catalyst for that anger are statements made by the Director General of Culture, Pedro Olloqui, who denounced in Zaragoza that some “humidity” had appeared in the Romanesque murals, proves for him that the execution of the sentence that orders his return must accelerate. The MNAC has responded with one of the counted communications that it has used during the Sijena crisis, to deny the major: “The information released today are false. There are no humidity of any kind in room 16 that hosts the paintings of Sijena, an isolated space and with certified stable conditions.”
Olloqui has denounced the “neglect” of Sijena’s paintings by the MNAC, to justify “the need to accelerate the transfer.” And it has come to say that “surely” moistures “are after the installation of these paintings in the current support.”
The latest studies carried out to evaluate the evolution of the paintings of the old chapter room of the monastery of Sijena have revealed the degradation of the paintings because of their fragility but in no case mentions is made to that moisture used by Olloqui.
“The spots and the numerous alterations that these paintings have, such as cracks, uprisings, decay between layers, etc., are part of the set of damages and vicissitudes that these paintings have suffered over time, and are the evidence of their high degree of degradation and its extreme fragility, a fact that absolutely advocates its movement,” said the MNAC, whose technician They advise their transfer to Sijena, for what last week they sent to the investigating judge of the case to avoid or suspend the execution of sentence endorsed in May by the Supreme Court.
According to the explanations of the Algonés high position, the humidity has appeared in the corner of one of the arcades that support this mural set and have been detected thanks to the “exhaustive work” carried out by the “national and international technical team sent by the Aragonese government to the MNAC during the month of July, which made” an exhaustive photographic lifting “to know with” absolute precision “the chemical situation of the chemical situation. “Humidades – he has continued – is a more serious condition, without a doubt, on that mural set than a transfer. It is obvious,” said Olloqui, who has also said that “there is a physical condition on the rear of the canvases.”
The MNAC has admitted that there is also “discharge paint, but not in room 16 or in the paintings, but in the original architecture of the National Palace of the International Exhibition of 1929, that when the Romanesque paintings were transferred to their current enclave in the 90s they were not repressed since the museography left that hidden part in sight”.