Historical Context
Zinc statues became popular in the 1850s as a more affordable alternative to bronze. They were widely distributed, especially to small towns, through trade catalogs and then delivered via railroad. The use of the material though diminished and by the 1950s, zinc statues were no longer produced. Thus these statues are historically significant, reflecting early 20th-century American life.
Despite its previous popularity, there are many downsides to the metal - especially the fact that it is a weak and brittle material. Many of the historical statues experience cracking at the joints as they start leaning from the weight and lack of internal structure. It used to be common practice to treat these statues by filling them with concrete, which created more problems by allowing water to penetrate and further damaging the metal.
This Sacred Heart of Jesus statue most likely experienced some brittleness when it suffered severe damage during a vandalism incident in 1996. A pipe was used to knock off its head and hands. This caused extensive fracturing and breakage to the right hand, arm, shoulder and chest area as well as damage to the head. It became apparent that the chest area to the right of the sacred heart where the cloth drapes over was damaged so severely as to cause a total loss of metal in that section.
The previous restoration was done with a concrete fill surrounding a mild steel armature, secured in various spots with stainless screws/bolts, and cracks/seams filled with a putty type epoxy. The missing sections were carved out of concrete. The statue was painted at least three times previously. The first of the of these was copper based in nature.
Restoration Process
Paint Removal and Cleaning: The restoration began by stripping the paint and finish. This revealed the original bronze-like finish and the concrete inside the statue. Soldering material was softened with heat to allow parts of the statue to be taken apart.
Interior Cleaning: As pieces came apart, the interior concrete, plaster, and Bondo fill was removed using power tools. In preparation for media blasting, all pieces of the statue were heat washed to remove any remaining solder material.
Surface Preparation: The statue pieces were blasted with fine glass beads to clean off any remaining oxidation and old repairs. This exposed the true extent of the damage. Lots of pitting had occurred where the metal was in direct contact with the concrete.
Structural Reinforcement: The statue’s base was attached to its granite pedestal using a sturdy stainless steel frame and brass spacers to help with moisture evaporation. Inside, brass strips were used to reinforce the structure. In areas where soldering wasn’t possible, a strong epoxy putty (Belzona #1111) was used to fill cracks, sometimes backed with brass screws for extra support. Belzona is “2-part repair composite for metal repair and resurfacing based on solvent-free epoxy resin reinforced with silicon steel alloy. This repair material will not corrode and resists a wide range of chemicals.” (More info can be found here: https://www.belzona.com/en/products/1000/1111.aspx).
Right Shoulder Reconstruction: The right shoulder, badly damaged and previously reshaped with concrete, was recast using a mold made from latex and fiberglass. This new resin piece was attached with Belzona and brass tabs, then painted to blend in with the rest of the statue.
Final Painting: OnAim used Permalac NT paint for the final coating of the sculpture, which is a fast-drying, easy-to-apply acrylic lacquer coating. It is a transparent tinted, low VOC formula which lays down similar to a paint. Permalac NT Bronze is highly resistant to environmental breakdown caused by UV, acid rain, and salt. OnAim applied a darker bronze colored base coat which was then highlighted with a lighter copper colored top coat, most closely matching the original orbronze patina. It was finished off with 3 coats of Permalac NT semi-gloss clear.
Findings and Historical Insights
During the restoration, the number 31 was found stamped inside many metal sections, possibly indicating the edition number. This suggests the statue might be from a 1931 mold, differing slightly from a similar statue in a 1929 catalog. Existing repairs showed the use of copper plates for filling holes, aligning with original techniques, and the added brass tabs and screws were consistent with these methods.
The statue graced the front of the old Downtown Houston Co-Cathedral of the Sacred Heart church for many years. It was one of the pieces that was saved to now welcome the community at the new Archbishop Fiorenza Plaza, located at the corner of St. Joseph and San Jacinto, directly across from the entrance to the Co-Cathedral of the Sacred Heart.
The restoration of the Sacred Heart of Jesus Blessing statue not only preserved its physical structure but also honored its historical and cultural significance, ensuring it remains a cherished artifact for future generations.