Cabildo and Diocese restore three 18th‑century paintings at Ampuyenta hermitage

Press Release

The Hermitage of San Pedro de Alcántara in La Ampuyenta hosted, on Thursday afternoon, the presentation of the restoration work carried out on three of its historic canvases. The project was made possible by a cooperation agreement between the Cultural Heritage Department of the Cabildo of Fuerteventura, led by Rayco León, and the Diocese of the Canary Islands, aimed at conserving, restoring and promoting ecclesiastical heritage on the island.

The work guarantees the proper preservation and valorisation of three large‑scale 18th‑century canvases that belong to the movable assets of the Hermitage of La Ampuyenta, which is declared a Bien de Interés Cultural (Cultural Heritage Site).

The restored canvases are:

• “Mystical Encounter” and “Construction of a Refuge by Angels,” restored by Chus Morante;
• “Foundation of a Convent by San Pedro Alcántara,” restored by Alicia Meosnero‑Romanos.

“The conservation and dissemination of heritage is a fundamental pillar of the Cabildo of Fuerteventura,” said Lola García, President of the Cabildo. “Within these efforts, ecclesiastical heritage is an important and highly valuable part of our past.”

García highlighted the work carried out by the island’s Cultural Heritage Department, the outstanding effort of the restorers, and the sensitivity of the Ampuyenta community toward its culture and heritage.

David de León, Councillor for Historical Heritage of Puerto del Rosario, thanked the Cabildo’s Cultural Heritage team for their exemplary restoration work, emphasizing that “it is essential to preserve it.” Also present at the ceremony were Loren Castañeyra, project writer, and Aday García, Archpriest of Fuerteventura.

Restoration Process

Chus Morante, the project lead, explained the intervention steps undertaken to recover and preserve these works of high artistic, historical and patrimonial value. The treatments applied to the canvases included, primarily:

• Chemical and mechanical cleaning of both front and back surfaces;
• Disinfestation and cleaning of the stretcher frames;
• Re‑tensioning of the canvas on the frame;
• Consolidation of preparatory and pictorial layers;
• Production and insertion of canvas grafts to fill missing areas, with re‑lining where required;
• Reintegration of missing polychrome, using an imitative approach for small gaps and discernible reconstruction for larger ones;
• Final protection with a varnish layer applied by brush or spray.

These measures ensure the long‑term stability and visual integrity of the three historic canvases now proudly displayed in the Ampuyenta hermitage.