From September through November 2024, the Argentinean artist Silvana Frías worked on renovating some important figures of the Original Shrine in Schoenstatt.

She worked on—and, in some cases, restored—the main figures of the Shrine: the image of the Blessed Mother, the statues of St. Peter and St. Paul, the statues of St. Joseph and St. Vincent Pallotti, and the statue of St. Michael the Archangel. She also worked on some minor details on some broken pieces of the altarpiece (the front part of the Tabernacle).

Like her father, Silvana is dedicated to restoring historical pieces, especially sacred ones. Silvana, with ample experience, tells us what it was like to do this work and her desires now that the images are ready:

Did you know Schoenstatt? What was your impression of the place when you visited it?

Yes, I knew Schoenstatt. I grew up in Argentina with the Sisters of Mary; I studied in their school, so from a very young age, I spent time with the sisters and got to know Schoenstatt and Father Kentenich. Furthermore, I had the opportunity to join the Schoenstatt family. For me, when I visit any Schoenstatt place in the world, I always feel at home. And I was even more impressed when I arrived in Germany, where we always had our hearts set, where the Covenant of Love had happened, where Father had sealed the Covenant of Love with Mary. Because of the language and everything else, I thought it might not be very easy to communicate and relate, but the truth is that Schoenstatt is always family wherever you are.

How was it for you to work on the restoration of the pieces of the Original Shrine?

It has been an honor and a responsibility for me that the Blessed Mother has chosen me to do this work. It has been very exciting and also a great responsibility since I have had to protect and take care of all the images that historically were close to Father Kentenich and the first Schoenstatters.

So, for me, it was very exciting to be able to do this, to give this to Schoenstatt and to the people who will visit the Shrine in the future. It also implied a lot of responsibility to preserve absolutely everything that has a great historical value in this place.

Is there a piece that has been most special to work on? Which one has impressed you the most?

Of course, there is. The image of the Blessed Mother was extremely important to me. Well, emotionally, for me, she is my mother, guide, and companion. It is an image that accompanies me, one that my family loves and considers as a mother. In my house, there is a Home Shrine – both in my house and my parents’ house. So, for me, it was very meaningful and inspired much love and many emotions in my heart to be able to restore it and to imagine Father and the first sodalists, the first Schoenstatt members, looking at this image, praying, placing all their spirituality and their desires before it. I know that, for me, it was extremely moving and important to be able to do it and to be able to give her, the Virgin Mary, what she deserves.

From a technical point of view, what steps were necessary to preserve these images of historical value?

It was very important to determine what had to be preserved and what had to be restored. Some extremely damaged parts could not be preserved from a technical point of view.

When some parts of the pieces deteriorate irreparably with time due to dirt, erosion from cleaning, and the deterioration of the original materials, a restoration process is necessary. What remains preserved over time is conserved.

In these pieces, in any of those being restored, it is necessary to prioritize their historical and artistic value. You must respect what the artist did and what people consider important in a piece in this place. These people are important in studying and understanding the development of restoration. Above all, you have to respect the origins of the artist and the people who have been the guardians of these pieces. So, each one of them received different restoration techniques: polygraphy, wood, gilding, etc. All of them were undertaken primarily trying to be preserved and, in the case of the pieces that were very deteriorated, as a form of restoration.

Looking at your finished work, do you have any particular desire?

When I see everything finished, my greatest desire and wish is that everyone who enters the Shrine can appreciate the beauty of God in them, see the luminosity, and see the light of these images that bear in them so many prayers and strength.

Whenever I do a restoration, my desire is that people can see in the images the beauty, the aesthetics, and the beautiful immensity of God.

I hope that it generates prayers and elevates the hearts of all those who pray before these images.

Translation: Maribel Acaron