Canvas plafond "Triumph of Aphrodite/Venus"

Composition

The square-shaped ceiling painting is designed with a strong sense of symmetry. At its centre is a figurative cartouche, complemented by roundels with putti in the corners. These elements are linked by an intricate ornamental design that creates the illusion of three-dimensional stucco decoration.

The central cartouche, with its softly rounded corners, is framed by an egg-and-dart moulding and an acanthus frieze. A narrower acanthus frieze surrounds the roundels and other painted areas. Laurel-leaf friezes run between the central field and the roundels, as well as along the edges of the painting. Painted in shades of grey, these friezes imitate sculpted white relief, while red decorative ribbons add colour and visual interest.

The cut corners of the central field feature olive branches and palm leaves set against a yellow background. Surrounding lunettes display mascarons intertwined with acanthus scrolls on a deep red ground. Rectangular panels along the sides show bundles of arms on a light red background. The most elaborate acanthus ornament, enriched with playful putti, appears in the panels with a blue background.

A sense of depth is created through the careful use of light and shadow. The composition is designed so that the light appears to fall from above the centre, enhancing the painting’s three-dimensional effect.

Restoration

To remove the plafond painting, a 19th-century mirrored ceiling was dismantled and five beams added in the 18th century were taken down. In the conservation studio, up to five layers of limewash were carefully removed from the painting.

Cleaning the oil-painted areas was relatively straightforward, while the distemper-painted ornament required much more delicate treatment. The canvas was cleaned, damaged areas were repaired, and both the canvas and paint layers were stabilised. Creases and stretched areas were then pressed flat.

The figurative scenes, painted in oil, were exceptionally well preserved and needed only minimal retouching. Small losses were discreetly filled to restore visual unity, while a few larger repared areas were left visible. In the distemper-painted sections, the ornament was gently enhanced with light washes, without reconstructing missing details.

The final stage involved joining the nine canvas panels and mounting them on a specially designed frame. A spring system allows the more than 300-year-old canvas to adapt to indoor climate changes, removing almost all creases. The fully mounted ceiling painting weighs approximately 200 kg.

Conservation team: Hilkka Hiiop, Varje Õunapuu, Taavi Tiidor, Edgar Umblia, Kaisa Milksaar, Liis-Marel Aak, Johanna Lamp, Siiri Pank, Hannes Vinnal.